5/5 McBride's Ode to the School of Ray Brown
  by William S. Hughes (kalamazoo, mi)
Christian McBride records another masterpiece of moderized mainstream jazz, paying homage to the likes of Ray Brown, Sam Jones and Paul Chambers. Beautifully done!

4/5 Solid modern "straight ahead" jazz quintet
  by A. Gillette (Austin, TX)
Like many jazz bassists, Christian McBride has made a solid career from his instrument, often playing beside better known stars (Freddie Hubbard, Herbie Hancock, James Brown, many more) but receiving only passing mention. In recent years, he has struck out as the leader of his own group and offers in this release a number of impressive "straight ahead" jazz tracks. The chords and sounds are modern, though, and the group has some nice experiments with tempo changes and off-beat rhythms. I like the explosiveness of Theme for Kareem (tk 2) and minor tonalities of Rainbow Wheel (tk 3). For an Andrew Hill kind of feel, try Pursuit of Peace (tk 7); for a Lionel Hampton kind of feel, try Stick and Move (tk 9). Track 10 is too slow in my opinion, and track 1 grates on me for being borderline smooth-funk. Still, the album gels due to the skilled artists McBride collected for this quintet. Worth a spin.

5/5 Kind of a kick
  by Rick Erben (Omaha, NE)
Bassist Christian McBride has been a popular element of the jazz scene for some two decades. He's played in groups led by such notables at Freddie Hubbard, Benny Golson, Bobby Watson and Roy Hargrove and has some nine albums to his credit as leader. On "Kind Of Brown", McBride's latest, he fronts an excellent quintet for a stimulating set of music that ranges from funky to straight ahead. Members of Inside Straight include saxist Steve Wilson, vibist Warren Wolf, Jr., pianist Eric Reed and drummer Carl Allen.

It's a welcomed opportunity to hear the fine alto and soprano saxophonist Steve Wilson on this recording - who has been unpretentiously creating a substantial body of excellent work as either leader or sideman. Vibist Warren Wolf, Jr. will come as a new name to many, although he is beginning to appear as accompanist on a few albums and has one obscure leadership date issued - on the Japanese Pony Canyon label, that will be very pricey. Expect to hear much more from him in the future but, for now, we can content ourselves in enjoying his wonderful tone and playing as part of Inside Straight. Eric Reed is an accomplished and captivating pianist who fits right into the excellent rhythm section with the superb drummer Carl Allen and McBride's plucky bass.

The program includes a number of McBride compositions including the funky "up" blues "Brother Mister", bright melodies such as "Rainbow Wheel" and "The Shade Of The Cedar Tree", the langorous "Starbeam", a gospel-tinged "Used 'Ta Could" and a tune that evokes thoughts of some of Bobby Hutcherson's adventurous Blue Note dates in "Stick & Move"; as well as Freddie Hubbard's "Theme For Kareem" and pianist Reed's complex "Pursuit Of Peace". Although McBride takes short, engaging solos on several numbers, the album is a group effort and showcases each member to similar extent, aside from lovely bowed work on "Where Are You" with spare accompaniment by Reed.

McBride possesses a firm yet agile bass sound and it's really a joy to listen to his insistent beat with the vibrating bass strings in supporting role or solos. He owns the instrument, and his work is both authoritative and interesting, especially when he dips down into the lower register. During "The Shade Of The Cedar Tree", one thinks of Mingus and his prominent sound while simply driving the group while listening to McBride's confident, tuned-in pulse.

Wilson, who plays mostly alto and some soprano saxophone on the album, is in typically fine form, getting around on the horn with an at-ease almost belying the technical skill required to pull it off; and he's saying somethin' in the process. Wolf drops his mallets in mellifluous tones and consistently engaging choruses. Comparisons to Bobby Hutcherson are not out of order. Reed doesn't overwhelm or rely upon heavy-handedness; rather, deftly runs the keyboard conjuring attractive solos that fit right into the pocket of each number in the fashion of a John Hicks. Allen is, of course, a highly versatile drummer who provides consistent support, creative but not obtrusive accents and exciting flourishes in brief solo opportunities.

This is very positive-feeling music in a diverse program that affords the listener much insofar as fine soloing from first-rate artists and excellent group harmony.

4/5 good but baffling reviews
  by G. McMahon
While I enjoyed this CD and McBride's playing is excellent, I'm a bit baffled by some of the reviews. This is a solid but unexceptional CD, very much in the vein of what Dave Holland has put out for years. It even includes Steve Wilson, the sax player on Prime Directive, which I think is the best studio recording of the various renditions of the Dave Holland Quintet. For me, this is the type of CD that makes me think I'd love to see these guys live, but it is not an essential jazz CD of this or any other year.

5/5 A Bonbon of Bop Delivers Sweet Sensations
  by Ava Barbi (Everywhere & Nowhere)
Nowadays I don't often have the opportunity to experience musical ecstasy within a jazz context unless it's live. KIND OF BROWN is the caliber of jazz CD I've been desiring for some time, music for the mind and libido.

KIND OF BROWN's straight-ahead jazz signals a bop renaissance in full force. Bassist extraordinaire Christian McBride swings sublimely at the helm of Inside Straight. His quintessential quintet has the cohesiveness and jazz chops to groove in tight places. Just listen to "Rainbow Wheel," "Brother Mister" and "Stick & Move," as standout examples. On these selections McBride walks -- no, struts -- that bass with confidence and virtuosity. And Eric Reed and Warren Wolf Jr. are syncopating wonders on piano and vibes, respectively. On "Stick & Move," sit back and let yourself get bedazzled. Imagine McBride's fingers a flurry of brown on the strings in a brief but amazing flamenco interlude that will transport you to Andalusia.

I have no favorites from KIND OF BROWN because every single track is a joy to my ears. Every nimble note and moody chordal progression is a spirited workout for my brain. The lilting bossa nova of "Starbeam" showcases saxophonist Steve Wilson peppering the bouncy tempo with seductive accents and drummer Carl Allen serving up rhythms as intoxicating as a caipirinha.

The melancholy "Where Are You?" spoke to my heart, reaching interiors that I previously had been too timid to access. The plaintive melody of "Where Are You?" which starts out almost like a lullaby -- reminding me momentarily of the Irving Berlin song "Count Your Blessings" performed in the Bing Crosby film White Christmas -- is enhanced by leader McBride's gently emotive bowing and Reed's sensitive pacing on keys.

Upon each listen to "Uncle James," I get swept away by the lush arrangement, the adagio tempo and Wolf's vibralicious solo. I don't know who "Uncle James" is, but he sure would be proud to tap his feet and bop his head as Wilson curls sweet notes from his sax over a smooth bottom courtesy of McBride and drummer Allen.

KIND OF BROWN tempts and goes down smooth like the finest milk chocolate. Christian McBride and Inside Straight deliver a tasty jazz confection, replacing the caffeine with oxytocin to give you a scintillating eargasm. With McBride's throbbing bass in the house, the only thing that'll be bouncing off the walls will be his quintet's full-bodied, soul-stirring music ... well, for some of you, your headboard, too.