Soul Express CD Review

This is the latest release from our Norman, and although is a mere 10 tracks in length makes up for it in the quality department. I feel that the vocal cuts are more aimed at more adult R&B audiences than those jazzier ones. I have yet to hear a bad set from Norman Brown, and fans will be pleased with both vocal efforts and instrumentals which are warm and very much from the George Benson school of musicianship.

The opening cut, "I Might" really sets the tone for the vocal tracks. Norman takes centre stage on this, but I don't know who share the female vocals - very good she is, too. This has been produced by the very busy James Poyser and a good job he has done, too. This leads into a very tropical and fresh instrumental "Up 'N' At 'Em", which would not be out of place on his "After The Storm" set a decade previously. The title song features some great slap bass and horns and flugelhorn courtesy of the great Jerry Hey. Luis Conte adds his professionalism with percussion and I was thrilled to have a dash of flute courtesy of Dan Higgins.

Producer, now artist in his own right, Paul Brown sets to work on my favourite cut, "Missin' You" which is a scat-instrumental and for these ears is just superb; the flugelhorn again supplied by Jerry Hey is wonderful. One of my favourite vocal cuts is the sauntering head nodder "Come Over" which is co-written by no less than Eric Benét. What on earth is happening to this man and his new album? James Poyser takes credit as producer and Norman's vocals are smooth, and flow atop the rough, dragging beat perfectly.

My least favourite track is the cover of "What's Going On". I wish more artists would show more imagination by actually covering something different, as Chazz Dixon has done in his recent, excellent, set. One gets the impression that Marvin is only known by his greatest hits. Let's have some depth here and some vision. That aside, "Let's Play" soon washes that away and Paul Brown's production on this semi-instrumental is very much top-drawer and as professional as we would expect.

There's more substance to this than most of the dreaded smooth jazz sets about right now, and I think Norman certainly helps out on that score. The uptempo Benson-esc "Right Now" is a Brian Culbertson composition and also features Lynn Fiddmont-Linsey on backing vocals. We really need her upfront on a few tracks, guys. No relegation to the background, please. "Angel" is an interesting track as well as being my other favourite vocal cut. Norman actually sings on lead vocals, but it doesn't sound like it to me. The crafting of this record owes more to Tony Rich than anything else. Superb track and some cool piano and guitar intertwined within the flavours too. Just to top off the album the tropical "Remember The Time" sweeps in and closes down nicely. I would not say this set was as good as the last but it is still very impressive nonetheless. Considering Warner Stateside's commitment to quality black music is virtually nil then we must be thankful for any small mercies. Do not overlook.
- Barry Towler