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White Sand (Bonus Track)


Download links and information about White Sand (Bonus Track) by Paul Brown. This album was released in 2007 and it belongs to Jazz, Contemporary Jazz, Crossover Jazz, Smooth Jazz genres. It contains 11 tracks with total duration of 45:58 minutes.

Artist: Paul Brown
Release date: 2007
Genre: Jazz, Contemporary Jazz, Crossover Jazz, Smooth Jazz
Tracks: 11
Duration: 45:58
Buy on iTunes $9.99


No. Title Length
1. White Sand (Featuring Jessy J) (featuring Jessy J) 4:21
2. The Rhythm Method 4:00
3. Makes Me Feel So Good (Featuring Al Jarreau) (featuring Al Jarreau) 4:06
4. Ol' Skoolin' (Featuring Boney James) (featuring Boney James) 4:25
5. Mercy, Mercy, Mercy (Featuring Bobby Caldwell) (featuring Bobby Caldwell) 4:18
6. R 'n' B Bump (Featuring David Benoit) (featuring BenoƮt David / Benoit David) 4:27
7. I Say a Little Prayer (Featuring Lina) (featuring Lina) 3:37
8. More or Less Paul (Featuring Euge Groove) (featuring Euge Groove) 4:39
9. For What It's Worth 3:36
10. Mr. Cool (Featuring Rick Braun) (featuring Rick Braun) 4:11
11. Mercy, Mercy, Mercy (Featuring Jessy J) [Instrumental] (featuring Jessy J) 4:18



Smooth jazz producer, arranger, and songwriter Paul Brown made the transition to recording artist with 2004's Up Front, which, like its successor, 2005's The City, was a Top Ten hit on the Contemporary Jazz chart. With a switch from GRP to Peak Records, Brown should continue his popular ways with his third solo album White Sand. He has enlisted more guests than usual this time, to the point that the disc is practically one of those "and friends" duets collections. Al Jarreau sings on "Make Me Feel So Good," Bobby Caldwell on a cover of "Mercy Mercy Mercy," and Lina on a cover of "I Say a Little Prayer." Among the star instrumentalists, Boney James is heard on "Ol' Skoolin'," David Benoit on "R 'n' B Bump," Euge Groove on "More or Less Paul," Rick Braun on "Mr. Cool," and saxophone newcomer Jessy J on the title track. The guests simply augment the contributions of the leader, however; Brown's guitar is a dominant instrument, and he has a vocal on a cover of "For What It's Worth." As the familiar titles indicate, he has taken inspiration from the '60s, but his rhythm tracks often have a current hip-hop sound, and the well-known lyrics and melodies will only serve to make the album more palatable for radio. Brown isn't interested in making any changes to smooth jazz except the occasional tweak to keep it sounding current, and this is another album that will please his own fans, and fans of the guest artists (whose discs were sometimes produced by him).