- Released: May 17, 1994
- Label: Motown
- 1.Take Me There
- 2.After The Storm
- 3.That's The Way Love Goes
- 4.Any Love
- 6.For The Love Of You
- 8.It Costs To Love
- 9.Let's Come Together
- 10.Acoustic Time
- 11.El Dulce Sol
Personnel: Norman Brown (acoustic & electric guitar, synthesizer, keyboards, programming, background vocals); Gary Bias (alto & tenor saxophone); Raymond Brown (trumpet, flugelhorn); Reginald Young (trombone); Brian Simpson, Gail Johnson (keyboards); Herman Jackson (keyboards, piano, programming); Crayge Lindesay (guitar, programming); Tony Dumas (acoustic bass); Larry Kimpel, Freddie Washington, James Manning, George Lopez (bass); Ricky Lawson, Land Richards, Alonzo "Scooter" Powell (drums); Darryl Munyungo Jackson (percussion).
Background vocals: Lynne Fiddmont, Lindsey Brown, Bridgette B. Bryant, Arnold McCuller, Baby Lee, De Netria Champ.
Recorded at Winsonic Process & Recording, Beverly Hills, California and Quintus Recording Studios, Hollywood, California.
Personnel: Norman Brown (vocals, guitar, acoustic guitar, wah-wah guitar, background vocals); Crayge Lindesay (wah-wah guitar, keyboards, drum programming); Gary Bias (alto saxophone, tenor saxophone); Ray Brown (trumpet, flugelhorn); Reggie C. Young (trombone); Brian Simpson (horns, keyboards); Herman Jackson (piano, keyboards); Gail Sherman Johnson (keyboards); Tony Dumas (acoustic bass); Alonzo Powell, Land Richards, Ricky Lawson (drums); Darryl Jackson (percussion); Denetria Champ, Baby Lee, Lynne Fiddmont, Arnold McCuller, Bridgette Bryant (background vocals).
Audio Mixers: Malcolm Cecil; Ralph Sutton ; Robert Margouleff; Brant Biles.
Unknown Contributor Role: Brian Simpson.
Arrangers: Crayge Lindesay; Land Richards; Norman Brown.
In the mid-'90s, Mojazz -- the contemporary jazz imprint of Motown -- was the place to turn for the best examples of the ways funk meets more creative improvisations. Norman Brown is one of the genre's brightest lights -- a George Benson type whose stirring fluidity makes magic with an edge Benson never had. Many of the tracks on After the Storm are formulaic, mid-tempo gems, but Brown adds zest to even the most typical groove with a lightning fast style that jumps off the disc. The Janet Jackson and Luther Vandross covers are fine, but better are more unique originals like "Trashman," "Take Me There," and others that use acoustic guitar and trumpet. As solid as this stuff gets. ~ Jonathan Widran