Charles Brown Albums (21)
'A Life in the Blues'
Release Date 11/18/2003
Tracks 23
Label Rounder
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What The Critics Say
While more than a few notable blues artists enjoyed late-life comebacks after years of inactivity, Charles Brown was one of the few whose second run of success was arguably more satisfying than the salad days of his youth. Brown's work in the 1940s with Johnny Moore & His Three Blazers and the solo sessions that followed resulted in a number of truly classic sides, but when Brown began actively recording again in the late '80s, his skills as a pianist were as keen as ever (and he obviously relished the opportunity to flesh out his solos in ways he couldn't under the constraints of the 78-rpm recording format), and the patina of age added a greater resonance and gravity to his vocals, which still boasted the smooth fire of a snifter of fine brandy. In the spring of 1990, Brown's comeback was moving into full swing and he was about to record his superb All My Life album when he played an engagement at New York City's Lone Star Roadhouse. A Japanese television network had arranged to record one of Brown's sets for later broadcast, using an experimental high-definition video system coupled with a multi-track digital audio setup, and A Life in the Blues is a CD/DVD package that allows this material to be seen and heard in the United States for the first time. Brown and his group are in nothing less than exemplary form in this recording; Brown was always a master of smooth, jazz-influenced "supper club" blues, but for all his refinement this set finds him drawing a remarkable amount of emotional heat from these tunes, and his elegant but inventive piano work leaves no doubt he was a master of his instrument. Danny Caron, Brown's guitarist and musical director, is as always a great foil for Brown's musical ideas, and if the DVD shows him mugging just a shade too much during his solos, given how well he performs with Brown, this can surely be forgiven. And the rhythm section of Earl May and Keith Copeland are perfectly simpatico, knowing when to add color and when to simply lend body to the arrangements. The CD and DVD both feature Brown's ten-song set in its entirety, while the DVD also includes two rare "Soundies" (shot in 1945) of Brown performing as part of the Three Blazers with vocalist John Shadrack Horace, two excerpts from an extensive interview with Brown, a gallery of still photos, and a heroically researched Charles Brown discography. The icing on the cake is the thick accompanying booklet, stuffed with photos, a remembrance from Brown's friend and touring partner Bonnie Raitt, and a marvelously detailed biographical essay from Chip Deffaa. The title A Life in the Blues is just a bit of a cheat -- while it suggests a career overview, this could be more accurately described as "One Night in a Life in the Blues." But it was a fine, fine night indeed, and those who love Charles Brown's music (or want to introduce themselves to his work) will revel in this audiovisual tribute to a master returning to the stage at the peak of his form. ~ Mark Deming, All Music Guide
'In a Grand Style'
Release Date 7/20/1999
Tracks 10
Label Bullseye Blues
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What The Critics Say
This posthumously released material -- mostly classic and classy love songs -- puts an exclamation point on the career of a true American music legend, a legitimate grand master in more ways than one. It is not, as the back cover states, a "solo piano album." Charles Brown does, in fact, sing on all the cuts save one, but there's no rhythm section or soloist to help. It's simply Charles Brown, all soulful, with light-colored blues, gently swinging but by himself. There are classics like "Black Night," "Stumbled and Fell in Love," the curious "One Never Knows, Does One?" and Little Walter's slightly raucous "Give Me a Woman." Brown's classical background on "Charles' Chopin Liszt" unleashes a cascading, tinkling, arpeggiated side rarely heard. Other intros also showcase this part of Brown's musicianship. Everything on the record, except for "Liszt," is a slow, cigarette-type smoldering blues that is sometimes downhearted, other times hopeful. But the lyrics of Brown's original "Wouldn't It Be Grand" speaks volumes about his hope for our future: "Wouldn't that be grand, if and when we die, we unite together in the sky/Get together, take our stand, glory land/Wouldn't that be grand." ~ Michael G. Nastos, All Music Guide
What The Critics Say
Like his previous two efforts for Verve, These Blues and Honey Dripper, So Goes Love doesn't really offer anything new from Charles Brown, but that' hardly a bad thing. Again, he serves up a collection of appealing, laidback blues that often drifts into jazz territory. The repertoire is a tad too predictable ("Stormy Monday," "Sometimes I Feel Like a Motherless Child"), but the performances are so lovely that there's no reason to complain. So Goes Love is hardly the first album to pick up if you're beginning a Brown collection, but once you've been introduced to his charms, it's quite welcome. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
"Soothing" is not a word normally associated with blues, but its the word that best captures the experience of listening to Charles Brown, and Honey Dripper is no exception. Listening to it is like sipping a fine bottle of cognac. Seventy-two years old at the time of this recording session, Brown sounds agile, almost ageless. Indeed, time seems to stand still when he plays and sings in that same understated, urbane manner he popularized with Johnny Moore's Three Blazers back in the 1940s. Like his other recordings this decade, Honey Dripper features Brown's regular working combo, led by guitarist Danny Caron and including saxophonist Clifford Solomon. The songs range from straight-ahead blues to jazz ballads, with some straddling the line. ~ Steve Hoffman, All Music Guide
'Cool Christmas Blues'
Release Date 10/7/1994
Tracks 11
Label Bullseye Blues
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What The Critics Say
Long recognized as the perennial top contender when it comes to Yuletide R&B, Brown salutes the holiday season in his own inimitable manner. Naturally, there's the umpteenth remake of his seminal "Merry Christmas Baby," along with several more that he's been crooning every December since before most of us were born. But nobody does 'em better. ~ Bill Dahl, All Music Guide
What The Critics Say
More 1963-1964 Mainstream sides with some duplication -- the first six tracks here also appear on the DCC compilation. Tracks 7-16 find Brown surrounded by strings as he smoothly intones "Pledging My Love," "Blueberry Hill," and "Cottage for Sale" (they didn't even let him sit down at the keyboard at all for these dates!). ~ Bill Dahl, All Music Guide
'Just a Lucky So and So'
Release Date 1/1/1993
Tracks 10
Label Bullseye Blues
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What The Critics Say
Charles Brown's casual yet stunning phrasing, inventive voicings, and piano accompaniment are wonderfully presented on this ten-song set. Ron Levy's production and the arrangements of Wardell Quezergue and Brown are tasteful, breezy, and geared for his carefully constructed, teasing solos and rich, creamy leads. Such numbers as Brown's classic "Drifting Blues," as well as "Gloomy Sunday" and "I Won't Cry Anymore," convey despair and hurt, yet retain a certain appeal and charm. Brown keeps making fine records, sounding as convincing in the 1990s as he did at the start of his career. ~ Ron Wynn, All Music Guide
'Someone to Love'
Release Date 10/19/1992
Tracks 9
Label Zensor/Bullseye
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What The Critics Say
Bonnie Raitt, who played such an integral role in Charles Brown's successful comeback, guests on two tracks on the pianist's Bullseye Blues encore, Someone to Love, which isn't quite the tour de force that his previous outing was, but is eminently solid nonetheless. Danny Caron and Clifford Solomon once again shine in support of their leader. ~ Bill Dahl, All Music Guide
