Tom Browne - 1981 - Magic

Tom Browne

1981

Magic

01. Let's Dance 5:22

02. Magic 4:23

03. I Know 4:44

04. Midnight Interlude 5:20

05. God Bless The Child 5:04

06. Night Wind 6:30

07. Thighs High (Grip Your Hips And Move) 4:37

08. Making Plans 4:03

Tom Browne (trumpet)

Cliff Branch Jr. (keyboards, acoustic piano)

Terry Burris (acoustic piano)

Kevin Cummings (electric guitar)

Sekou Bunch (electric bass)

Gregg Barrett (drums)

Bob Franceschini (saxophone)

James Stowe (trombone)

Like Roy Ayers, Patrice Rushen, George Benson, and George Duke, Tom Browne is a perfect example of a jazz musician who switched to R&B and was lambasted by jazz snobs for it. As jazz's hardcore saw it, the trumpeter was a sellout -- a gifted Clifford Brown disciple who was shamelessly wasting his chops playing commercial music. But commercial music isn't necessarily inferior to jazz, and the fact is that much of Browne's soul/funk output was excellent. While jazz snobs dismissed Browne's third album, Magic, because it contains very little jazz, the Dave Grusin/Larry Rosen-produced LP has a lot going for it from a soul/funk standpoint. The only cuts on Magic that have anything to do with jazz are the sensuous quiet storm instrumental "Night Wind" and a lush Grusin arrangement of Billie Holiday's "God Bless the Child." This is an R&B album first and foremost, and those who admired Browne for his 1980 hit "Funkin' for Jamaica" also admired such Magic cuts as the funky "Let's Dance," the Earth, Wind & Fire-ish "I Know," and the addictive funk hit "Thighs High (Grip Your Hips and Move)," all of which feature vocalist Toni Smith -- a passionate, Chaka Khan-influenced belter who had been featured on "Funkin' for Jamaica." While jazz snobs would be better off passing on Magic, R&B fans will find a lot to admire about Browne's third album.

A key bit of jazz funk from trumpeter Tom Browne – still grooving strong here, with a sublime mix of modern soul, funky jazz, and some of the 80s groove touches that showed up on the best GRP titles from the time! The album's got a smooth compressed groove – kind of post-Donald Byrd, with Tom taking solos over the top of most tracks, and occasional vocals , wither from a backing group, or an assortment of different lead singers