Rick Braun - All It Takes (2009)

Artist:Rick Braun
Album Name:All It Takes
Year Of Release:2009
Label:Artistry Music
Style:Smooth Jazz
Quality:FLAC (tracks) / MP3
Total Total Time:47:55 min
Total Size:331 MB / 131 MB
WebSite:Album Preview
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Trackslist:

01. Tijuana Dance? (5:30)
02. Puerto Allegre Jam (5:41)
03. Christiane (4:45)
04. All It Takes (4:59)
05. She’s The One (4:09)
06. I Got Your Back (4:32)
07. Ever Changing World (5:04)
08. Sleeveless In Seattle (4:33)
09. Berlin (3:44)
10. Freddie Was Here (5:01)

Personnel:

Rick Braun – Trumpet, Flugelhorn, Drums, Programming
Nick Lane – Trombone
Richard Elliot – Saxophone
Jeff Lorber – Keyboards, Programming
Philippe Saisse – Keyboards, Drums, Programming, Drum Programming
Tim Gant – Keyboards, Drums, Programming
Marc Antoine – Guitar
Dwight Sills – Guitar
Bakithi Kumalo – Bass
Nate Phillips – Bass
Ricky Lawson – Drums
Simon Phillips – Drums
Luis Conte – Percussion
Vanessa Falabella Donada – Vocals

Rick Braun has built his career as a contemporary trumpeter based on the basic concepts of predecessors like Herb Alpert, Chuck Mangione, and Tom Browne. Dependent on urban R&B beats, Braun can only marginally be called jazz, but does own an appeal to the smooth music crowd that this produced recording will only reinforce. Teamed with keyboardist and producer Philippe Saisse, Braun follows a path of least resistance in terms of the calculated nature of his music and the simplicity of his melodies. Saisse adds synthesized sounds for the most part alongside Braun’s overdubbed flügelhorn and muted trumpet to create soundscapes made of clear plastic and reflecting some prismatic colors. There’s not much to distinguish one track from another except slight midtempo changes and some Latin rhythms. “Christiane” uses the two-horn approach effectively in a fairly lyrical setting, “She’s the One” is easy-beat funk with plain synths and percussion, “Sleeveless in Seattle” sports a retro sound with handclaps, and “I Got Your Back” offers assimilated horn backing in more substantive ways. On the salsa side, “Tijuana Dance?” is a romp-and-stomp funk with some elegant acoustic and electric guitar, while “Puerto Allegre Jam” is a Latin disco number. “Freddie Was Here” might be appropriate for a film score in a slowed late-night dramatic or perhaps romantic theme. Perhaps the most interesting music crops up during the heavier “Ever Changing World,” with Braun’s two horns stretching ever so slightly from his lyrically urbane sound. Fond of fluttery notes in introductions, Braun’s self-absorbed, passive playing speaks to an urban crowd seeking predictable music, and in this regard he succeeds, remaining in the so-called pocket, not as syrupy as most, but sugary sweet like cotton candy. — Michael G. Nastos

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