Joy :  And, congratulations because that was the second one for you.  “Winelight” had that honor in 2006. That brings me to my next question.  You made a comment earlier about so much saxophone out there and you took your guitar and took a song in which the saxophone just shined, of course, that song being,  “Winelight” and I don’t think too many people could have done a remake  with a different instrument. The way that you brought that track out using the guitar was amazing. How did you end up choosing to remake that tune and what is Grover’s influence on you as a musician and producer? He obviously has tremendous influence not on sax players but contemporary jazz musicians in general.

Paul :   He had a way of turning a melody that was more similar to a vocalist and I think that’s one of the things that drew people to Grover. We used to listen, when, you know, I did ten records with Boney (James) in writing and we would always listen to Grover’s stuff just to get inspiration. There’s something about the not typical songs for an instrument and even “Winelight” it’s not set up like verse, pre chorus, chorus, it’s not that type of song.  It’s almost like a classic jazz tune in that it has the head and then it has the second section, this really cool bridge that he uses almost like a B section but it’s a bridge, a different chord, a different  key and then he comes out of that and there’s this big long solo section.   So the song is pretty intricate but simple and for reason I was hearing it my head as sort of this  house track like when we used to do remixes of songs.   It’s a great song and it just goes to show that you can take a great song and do it in a number of ways.

Joy : I have to bring this up, a couple of smooth jazz stations I know, in the last month, are no longer on the air and a lot of people I know are saying ‘what’s going on?’

Paul :  Well, at least people are saying that. They’re not saying “good riddance.”  I think some of it might be that in same way that artists are being taken advantage of by the internet in that people are able to download their music for free, I think radio stations are feeling a little of that.  You can go in your city, because you in Baltimore, right?

Jo y :  I am    
      
Paul :   You can go on the internet and listen to The Wave in Los Angeles, so why do you need a radio station in your neighborhood if there’s one from a city that you like you can just go to the internet and listen to it.  So, I think that might have a little bit to do with it but there’s always change and I think there’s not that many alternatives for adult music and they need it. I think those cities, I think you’re going to see somebody taking advantage of the space there and come with a smooth jazz station.

Joy :  The point you  bring up about being about being able to stream different stations on the internet is very important because a lot of people I have talked to say that there’s too much R & B or Pop mixed in.

Paul .  I was also reading more in detail about the actual numbers that they were dealing with and it really wasn’t as bad as they make it out to sound.  I think it comes down to management at the radio station and what their personal like and dislikes are.  I think the guy that took over there in Denver is obviously a sports guy.  The live thing seems to be getting better so I don’t know exactly.  But I do think that there’s something to be said for the way the stations are programmed and it does become just too much of the same thing, too much repetition and they sort of went the pop way and I don’t think that’s necessarily a good thing.

Joy :  Yeah, I agree.  I mean, personally, when I turn on my smooth jazz station, I’m not interested in hearing Beyoncé or Ne-Yo because they are not jazz.  There are so many new artists out there, and many of them don’t get the airplay in certain areas.  There are exceptions and one of the new faces that you have worked with is Jessy J whose album “Tequila Moon” was recently released.  She seems to be having fun out there on the Guitars and Saxes Tour.

Paul :  She’s great and you know for a new artist it’s difficult.  It’s difficult to get signed, it’s difficult to make a record and so she’s got past all that.  Now it’s really up to the market whether they’re ready for another saxophonist.  She’s a little different.  I mean, she’s the only female who plays tenor, for one thing, so she’s got the bigger, warmer sound than most girls.

Joy :  She definitely does and we’re looking for big and exciting things for Jessy.  So, tell me, what’s next for Paul Brown, ober-jazz man?

Paul :  I am working on my fourth album.  I’m also already working on the second generation of the “Guitar Night” and it looks like it’s going to be Jonathan Butler, Bobby Caldwell and myself so that will be interesting.  Bobby actually plays great guitar and it’ll be fun for him to play other people’s music for a change.

Joy :  Well, that’s great.  You never know where Mr. Paul Brown might show up or with who.

Paul :   We love playing at the RamsHead and the Birchmere.

Joy :  We love having you there,  it was great. I always love the energy that you guys bring onstage.  Much continued success to you.  I look forward to continuing to support you no matter what. I thank you so much for taking the time to talk to me.

Paul :   You got it, thank you.