The Jazz Guitar of

Andy Brown

January 29, 2013 | By Michael Steinman

What is the task of the Artist? One answer is Joseph Conrad's: "I want to make you see," which to me means a clarity of perception, a heightened awareness of patterns and details never before observed. I applaud that, but my parallel idea may strike some as more sentimental: that the Artist's job / chosen path is to make the world more beautiful, to bring beauty where there was none a moment before.

In these two quests, guitarist Andy Brown succeeds wonderfully. When he is playing the most familiar melody, we hear it in ways we had never thought of before — not by his abstracting or fracturing it, but because of his affection for its wide possibilities. And we go away from a note, a chord, a chorus, a whole performance, feeling that Andy has improved our world.

He is obviously "not just another jazz guitarist" in a world full of men and women with cases, picks, extra strings, and amplifiers. For one thing, he is devoted to Melody — understated but memorable. He likes to recognize the tune and makes sure that we can, also.

This doesn't mean he is unadventurous, turning out chorus after chorus of sweet cotton for our ears. No. But he works from within, and is not afraid to apply old-fashioned loving techniques. A beautiful sound on the instrument. Space between well-chosen notes and chords. An approach that caresses rather than overwhelms. Swing. A careful approach to constructing a performance. Wit without jokiness. Medium tempos and sweet songs.

His TRIO AND SOLO CD — pictured above — offers a great deal of variety: a groovy blues, a Johnny Hodges original, Latin classics, a George Van Eps original, some Thirties songs that haven't gotten dated, a nod to Nat Cole, and more. Although many of the songs chosen here are in some way "familiar," this isn't a CD of GUITAR'S GREATEST HITS, or the most popular songs requested at weddings. Heavens, not at all. But Andy makes these songs flow and shine — in the most fetching ways — with logical, heartfelt playing that so beautifully mixes sound and silence, single-string passages and ringing chords.

In the trio set, he is wonderfully accompanied by bassist Jake Vinsel and drummer Mike Schlick — and I mean "accompanied" in the most loving sense, as if Andy, John, and Mike were strolling down a country lane, happily unified. The CD is great music throughout. You'll hear echoes of great players — I thought of Farlow, Van Eps, Kessel, Ellis, and others — but all of the influences come together into Andy Brown, recognizable and singular.

And he's also one of those players who is remarkably mature although he is years from Social Security. We hops he will add beauty to our world for decades to come.

November 2008 | by Bruce Crowther

New to me and perhaps also to you, Brown is a New York born guitarist in his early thirties. After a seven year long formative spell in Cincinnati followed by time spent playing in New York, he is presently based in Chicago. There, he leads his own regular trio and also plays in groups led by Kimberly Gordon, Chris Foreman and Russ Phillips, and appears in duo with his wife, singer Petra van Nuis. Brown is a very melodic player with a coolly understated approach to his repertoire. Here, he offers satisfying interpretations of mainly familiar compositions; the two less well known pieces are Jimmy McGriff's City Lights and George Van Eps' Scott's Lullaby. The trio performances are well integrated and both bassist and drummer provide excellent support to the featured guitarist. Left alone, Brown is always interesting and this CD should appeal to all those who like to hear inventive soloing and still like to recognize the tune. This CD might be hard to find but very well worth any effort you might have to make.

May 2008 | by Matthew Warnock

Andy Brown is another example of why Chicago is becoming a hot spot for world class jazz guitarists. With players like Bobby Broom, John Moulder, Neil Alger, Zvonimir Tot, Fred Miller and Andy Brown, it is no wonder young players are flocking to the Windy City to study under these heavy hitters. With Trio and Solo, Brown firmly establishes himself among the city's top pickers. With his strong sense of tradition and the imagination to carry it forward, Brown will definitely be a name to keep an eye on.

Brown's playing is multi-dimensional throughout this album. His ability to mix single lines, octaves, double stops and chords during a melody or solo keeps the listener's attention firmly locked on each tune. His single lines are strongly rooted in the bebop and hard bop tradition, while his chords remind one of George Van Eps or Kenny Poole (with whom Brown studied). His use of counter-melodies, in particular during his chord-melody on My Shining Hour , is reminiscent of the classic Johnny Smith Royal Roost recordings of the 1950s.

What sets Brown apart from other straight-ahead players is his ability to comp for himself during a single note solo. This technique was perfected by the late, great Lenny Breau, and Brown manages to pay homage to Breau while not imitating him. His choice of voicings and rhythmic patterns keeps Brown within the tradition, but also brings a fresh sound to time-tested ideas.

The second half of the album contains seven solo numbers performed by Brown, and the contrast to the trio tunes is quite refreshing. Instead of simply mixing his solo selections in with his trio tunes, Brown separates the album into two halves. The solo half is a showcase for Brown's multi-faceted approach to the instrument. His solo tunes do contain more single lines than George Van Eps or Ted Greene, or other solo guitarists included, but his ability to switch between techniques helps keep the interest going.

If you are looking for a straight-ahead album that has both great trio and solo playing, than Brown's new album is just the thing. Not only does he pay tribute the jazz guitar tradition, but he takes time-tested material to new levels. This album is a great addition to the jazz guitar catalogue, and anyone who hears it will no doubt become an instant fan.

June 2008 | by Brad Walseth

Guitarist Andy Brown shows impeccable taste in song choices as well as musical heroes on this wonderful new release, "Trio and Solo." With outstanding touch and technique, Brown moves through 15 lesser known gems, with only, I would venture, the Gershwin's "Isn't it a Pity," and Joe Young/Bernice Petkere's "Lullaby of the Leaves," all that familiar with modern audiences. And isn't that pity, because these are some great tunes, and Brown deserves kudos for his work in keeping the Great American Songbook alive and dynamic.

On the trio portion, Brown is backed by a great local rhythm section of Jake Vinsel on bass and Mike Schlick on drums. Both are familiar young artists on the Chicago jazz scene who continue to impress with the perceptive and certain support they offer their bandmates. No disappointments here: Vinsel's tone is woody and rhythmically powerful, and his solos melodic, and Schlick exudes grace and good taste. Meanwhile, Brown's playing calls to mind many of the guitar greats of the golden past: Barney Kessell, Tal Farlow, George van Eps, Luiz Bonfa and Kenny Burrell. No surprise that several of the songs covered were either written by, or inspired by versions by, the aforementioned guitar masters.

It seems a misnomer to call such music, "mainstream" jazz guitar, since so few practitioners of this style still exist. Brown credits his mentor, Kenny Poole for much of his success, and certainly stints playing with some of New York's and Chicago's best have helped as well. All these tunes are exceptionally well-played and should please fans of traditional jazz guitar sounds. It's all "tout va bien," but some of the trio highlights for me include a version of "You're Blase," the elegant Johnny Hodges/Mercer Ellington "It's Something That You Ought to Know," and when Brown shows his blues chops on Jimmy McGriff's "City Lights," but repeated listening reveals rewards throughout. No wonder Brown is a top choice for many singers and organists around Chicago in need of stellar guitar work.

The last seven tracks feature Brown solo, and it is apparent that for as good as an accompanist as he is, he is also a standout in the solo spotlight. Again, it is hard to single out individual tracks, when all are of such a high level, but I will mention van Eps' "Scott's Lullaby" as an interesting choice, and Brown shows a sure touch with Bonfa's music, combining "Vem So" with "Samalamento" into a lovely and bitterweet melange. Brown ends this album with Victor Young and Edward Heyman's "Love Letters" and "London by Night" (written by Carroll Coates, but perhaps most well known for the Frank Sinatra version) and his sensitive and emotional playing will have the listener cheering for more. Quite a nice album, one with actual "songs" in the classic sense, as well as one that presents a welcome return to utilizing the guitar as an instrument in service to the melody of these great songs.

October 2007 | by Palmer Moore

You'll never meet a nicer guy than this peach of a jazz guitarist - Andy Brown. In addition, not only did he spend a lot of time learning the finer aspects of classy jazz from his late "professor of jazz guitar," Kenny Poole - he put talent to vinyl (well, CD) by including 7 finger style solos in his latest album as a tribute to Kenny. (Tuned down to D instead of the C that Kenny did.)

Whether using a plectrum or just his fingers - Andy Brown never loses sight of the fact that, like his mentor, Kenny Poole, he is playing for his audience - not just himself and/or showing off for his fellow musicians. Machine guns are best left for the likes of Elliot Ness - tact, patience, silky smooth single note lines, bad-ass chord lines, harmonies and an ever present bass line are better used by true jazz guitarists.

This album is full of little wonderful chordal nuances that makes the listener look even harder for the next one that happens along - and, they do. He's never far from the familiar melody - but, with twists and "tricks" that sooner or later educate us to the fact that Andy Brown is much more than a very practiced jazz musician - he's the real thing and havin' fun doing it...

Nov/Dec 2007 | by Tim Gault

Personnel:
Andy Brown - guitar
Jake Vinsel - bass
Mike Schlick - drums

Released: November, 2007
Label: String Damper Records

Guitarist Andy Brown has released his debut CD, aptly titled Trio and Solo. It's about time! Brown is noted in town for his versatility. He can easily fit in and accommodate any group or genre of jazz. Many local vocalists, especially, covet the opportunity to work on stage aside his sensitive accompaniment. He has rightly earned a significant place on the scene with regular appearances at clubs like the Green Mill, Andy's, and even the "on hiatus" Jazz Showcase. So it is a welcome find to finally hear him on his own feature album.

Brown has an understated style whereby less is clearly more. That's not to say that he doesn't have fantastic chops. He can rip it up as easily as anyone. Yet his dedication is firstly to clean, thoughtful musicality, rather than just showy flash. His cool manner comes through in musical expression.

The recording is divided in two distinct parts. For the first half, Brown pairs with musical collaborators Jake Vinsel and Mike Schlick. Schlick takes a solo now and then, but mostly does a nice job of just laying down a steady, yet quite interesting, zestful backing beat while "comping". This enables his rhythmic voice to make a quality statement of its own, while still staying enough out of the way like you want a drummer to do when he's not the featured artist. His work on the opening cut, "I Just Can't See For Looking," especially, offers an excellent example of this ability. Vinsel steps forward for a few short solos and for trading bars, but is otherwise often unnoticed--he's just there doing his job well. His instrument has a rich tone that is refreshing.

Further into this first part, Brown makes an important impression with his reflective rendition of "You're Blase," marking a point in the album where he announces that what he has to offer is truly special.

With "City Lights," a couple of tracks later, he picks up the pace and swings things, getting you feeling a good groove. He nonetheless manages to retain that wonderfully laid back sensibility, never needing to go over the top.

Halfway through, we reach Brown's solo work. It is here that he seems to shine. With "Isn't It A Pity," he shows something of subtle beauty in this pretty tune. His lovely coloration gets showcased particularly well here.

"Lullaby of the Leaves" will have you imagining that Brown is more than a single instrumentalist; it is notable for his extensive runs and fast flow of ideas.

"Scott's Lullaby" offers an almost classical guitar sound, which is wonderfully unique to hear from a jazz musician. This sensibility also carries through some on the next selection, "Vem So-Sambalamento."

During the second half of the disc, the music slows and becomes contemplative. In and of itself, it is fine and a pleasant listen. Yet I was left wishing that there might have been one more upbeat number tossed in near the end for a better flow and balance to the CD.

Overall, the album has appeal on numerous levels. For not only is Brown a fine player offering thoughtfully varied song selections in two distinct contexts, but, moreover, he provides something that crosses the strict lines of overly-defined musical boundaries. Trio and Solo has intrigue for those who wish to listen more carefully, and is simply pleasant guitar music for someone looking for "mood" music.