Maurice “Mobetta” Brown’s talent orbits him simultaneously through three worlds: contemporary jazz, blues-rock and cutting edge hip hop. He’s a mastermind as a trumpeter, composer, arranger, and producer. When Maurice picks up his horn, his soulful melodies soar into a rarefied space that uniquely marries be-bop to hip-hop and rock, producing his own distinctive sound.

Brown displayed an affinity for the trumpet at a young age as he won the national Miles Davis Trumpet Competition and studied under legendary clarinetist Alvin Batiste. His critically acclaimed debut album “HIP TO BOP”, recorded in New Orleans, foreshadowed Brown’s unique talent for creating fresh bop-inflected jazz. Yet, Hurricane Katrina’s devastation didn’t spare Maurice and he took his talent to Brooklyn.

Maurice reformed his own quintet, resurrected his underground hip-hop/funk combo, Soul'd U Out and recorded with Aretha Franklin, Wyclef Jean, De La Soul, Macy Gray, Dr. Lonnie Smith, Lettuce and The Roots.

His follow-up album, THE CYCLE OF LOVE garnered significant praise; Huffington Post and NPR named it one of the best records of the year. Brown further embraced his be-bop roots with hip-hop hooks; it also lays raw his dogged insistence on charting his own musical course, bred by the rare success of his debut album and a life uprooted post-Katrina.

Maurice was invited to join the newly formed Tedeschi-Trucks Band. He created the horn arrangements on TTB’s debut album, “Revelator” which won a 2012 Grammy for Best Blues Album. Brown’s trumpet was a wailing counterpoint to Derek Truck’s searing guitar wizardry.

Brown’s immersion into hip hop as musician/MC/producer culminated in the 2014 release of “MAURICE vs. MOBETTA” (Brown Records). This groundbreaking alter-ego album remixed original horn parts with newly recorded hip hop beats. Brown’s jazz roots are cultivated here through the lens of a hip hop perspective. Talib Kweli, Prodigy and Jean Grae’s spitting rhymes are met by Mobetta’s own, while his trumpet circles muscularly throughout every track.

Constant evolution drives him. His intuitive vision lights a fire under traditional jazz, adds sonic brass to rock n' roll and pushes the production tip in hip-hop. Having recently severed ties with TTB, Maurice “Mobetta” Brown is again charting his own musical path. The years release of album tracks he produced for Talib Kweli, Omar, and Prodigy will make 2017 a long, hot burn. His new album, “THE MOOD” is set to be released March 10, 2017.
(Mobetta Music)

Maurice Brown -Trumpet
Derek Douget - Sax
Chris Rob - Piano
Solomon Dorsey - Bass
Joe Blaxx - Drums
Mobetta & SOUL'd U OUT, HORNification (Mobetta Music, 2018)
Maurice Brown, SOUL'd OUT, Mixtape Brown Records)
Maurice Brown, The Mood (Mobetta Music, 2017)
Maurice "Mobetta" Brown, Maurice vs Mobetta (Brown, 2014)
Maurice Brown, The Cycle of Love (Brown, 2010)
Maurice Brown, Hip to Bop (Brown, 2004)
Maurice is featured on:
Mobetta & SOUL'd U OUT HORNification (Mobetta Music, 2018)
Maurice Brown, The Mood (Mobetta Music / Ropeadope, 2017)
Maurice "Mobetta" Brown, Maurice vs Mobetta (Brown, 2014)
Maurice Brown, THE CYCLE OF LOVE (Brown, 2010)
Maurice Brown, HIP TO BOP (Brown, 2004)
Maurice Brown, SOUL'd OUT Mixtape( Brown Records)
Omar, Love In Beats (Freestyle Records)
Prodigy, Hegelian Dialectic (Infamous)
Macy Gray, The Way (Kobalt)
Tedeschi Trucks, Let Me Get By (Concord)
Tedeschi Trucks, Everybody's Talking (Sony)
Tedeschi Trucks Made Up Mind (Sony)
Tedeschi Trucks Revelator (Sony)
Brian Simpson, Out Of A Dream (Shanachie)
DJ Center, EVERYTHING IN TIME (Push the Fader)
Diddy, ANGELS REMIX (Interscope Records)
Chelsea Baratz, IN FAITH (601)
DJ Center, Everything In Time (Push the Fader)
Chelsea Baratz, In Faith (601)
Cee-Lo Green, TBA (Atlantic Records)
Musiq Soulchild, TBA (Atlantic Records)
Diddy, Angels Remix (Interscope Records)
Laura Izibor, From My Heart to Yours Remix (Atlantic Records)
Dela Soul, Are you in? (Nike)
Aretha Franklin, Crown of Jewels (Arista Records)
Talib Kweli, Ear Drum (Warner Bros. Records)
Roy Hargrove, RH Facto (Verve)
Lettuce, Rage (Velour Recordings)
Vieux Farka Touré, Remixed: UFO Over Bamako (Modiba)
Kendra Ross, New Voice (P-Vine Records)
Gordon Chambers, Love Stories (Dome Records)
World Leader Pretend, Punches (Warner Bros.)
Rick Parker Collective, Finding Space (WJF Records)
Ernest Dawkins, Live at The Orginal Velvet Lounge (Delmark)
Gordon Chambers, Love Stories (Dome Records)
Eric Frazier, In Your Own Time (EFP)
Young Bleed, Carleone's Vintage (Da'Tention Home)
Ernest Dawkin's New Horizon, Mean Ameen (Delmark)
Fred Anderson, Back at the Velvet Lounge (Delmark)
George Freeman, At Long Last George (Savant)
Michelle Carr, Change (Salt Box)
Hip-hop and jazz in one Christmas package: Q & A with Maurice
- Neil Tesser

On the verge of 29, the Chicago-bred trumpeter Maurice Brown – performing this evening through Sunday at the Jazz Showcase – is on top of the world.  (You don’t have take my word for it; he’s an inveterate Facebook poster and Twitterer, and he’s happy to fill you in on everything from how rehearsals are going to his mama’s homemade pancakes.)

A budding star by the time he entered college, Brown moved to New Orleans a year or two before Katrina hit – just enough time to establish a wide following in the Crescent City, even as he was incorporating the city’s unique flavors into his potent mix of basic jazz, Chicago blues, and universal funk. He eventually landed in New York, where his flashy tone and instant command of a dozen idioms have made him a studio-session favorite.

Meanwhile, he’s working on a springtime release for The Cycle Of Love, the follow-up to his successful 2004 independent release Hip To Bop.  For nearly 20 years, the lure of finding common ground between hip-hop and jazz – which throughout its history has famously absorbed and transformed new beats and whole genres – has beguiled younger musicians. But other than the clever catch-phrase “From bebop to hip-hop” and a handful of exceptions (most notably the mid-90s success of the Digable Planets), the quest has come up empty – until now. No one is better suited than Brown to pull off this fusion. Instead of trying to bring jazz to hip-hop, he reverses course; as the title of Hip To Bop suggests, he brings his hip-hop experience to bear upon his jazz roots. The song “It’s A New Day” was the first result, and also the reason that his second release is among the more eagerly awaited projects of 2010. (Listen to the song “Time Tick Tock” from that upcoming album here.)

Brown will get to a few tunes from Cycle Of Love this weekend, but mostly he’ll stick to standards and even holiday fare with a quartet that comprises Chicagoans Lorin Cohen (bass) and Isaiah Thomas (drums), and another former Windy Citizen, the protean keyboardist Sam Barsh, who also infuses the spirit of hip-hop into his substantial jazz training. And Brown has also sent an APB to several other top local players to join him in a “pro (Christmas) jam” at the Showcase.

And you were afraid you wouldn’t get what you wanted for the holiday. Maurice Brown took time to answer a few questions from your Chicago Jazz Examiner.

What’s the difference between your regular band, the Maurice Brown Effect, and the sort of group you’re leading this weekend at the Showcase?

A main difference is that with my touring band, we do mostly originals, while here I’ll be playing more standards. But my style stays the same for both; the environment changes, but my whole approach is to be lyrical and melodic whether it’s swing or playing over a groove. I’m always looking for that melodic statement.

That’s the way Miles Davis worked. You could argue that he was playing the same solos from the 50s through the 80s, although the backgrounds changed dramatically.

Miles is a big inspiration for me during this journey, especially how he was able to adapt, to always be very current and fresh with what was going on. My whole thing is – people are big on hip-hop. And for jazz, it’s not just hip-hop but rhythm-and-blues, and blues itself, they’re so much a part of our culture now. I feel that if Miles or Bird [Charlie Parker] were here today, they’d be doing the same kind of thing that I’m doing.

What distinguishes your efforts to bring jazz and hip-hop together?
A lot of people are attempting to do their thing, and it’s hip; but I’m going for a more cohesive thing where neither side is watered down – which I think has been the case with most attempts. It’s like one side has to suffer. It’s either not this enough or not that enough. So our thing is to really combine them both. And that’s a little different from a lot of cats -- especially the jazz players, who may like hip-hop, but then try to bust out their jazz chops. That’s not what I want to do. I want it to be all integrated.

Remember, I come from that hip-hop generation. I’m also a producer, and I’m in front of this music all the time. Just this week I was in the studio laying down tracks for P.Diddy and for Cee-Lo Green (lately of Gnarls Barkley); I’m playing horns on Musiq Soulchild‘s new album, and I’m also on the new De La Soul album.
Is there anyone else who you think is pulling it all together the way you’re doing?
[laughing] Well, not so much. I can’t really think of anyone right now who’s doing this the same way. Robert Glasper, the jazz pianist, he’s pretty authentic. He’s in a situation like me. He doesn’t just dip into hip-hop; he lives it.  He’s touring with Maxwell, and when he gets in front of the keys, he just does his thing. [Glasper also scored a recent GRAMMY® nomination in the Urban Alternative category for his work with neo-soul star Bilal.]
What can you share about your upcoming album?
It’s coming out in March, and it’s gonna be pretty subtle, but definitely a big statement. It will be subtle because it’s acoustic, and not over-produced. We could have been swinging out, but we have our own thing going on; the music has its own life. The thing is that the rhythm of hip-hop is all in our music, and in the form of the songs. People will get a sense of singing along with the album as soon as they hear it.
You’re living pretty large now out in Brooklyn, with a duplex apartment and studio in the Bed-Stuy neighborhood. So what do you miss about Chicago?
Everything! Harold’s Chicken! And Chicago is one of the most beautiful places in the world. This whole last year I was touring almost nonstop – our band was backing up Laura Izibor -- so I’ve been to Paris like six times, Amsterdam four times, Ireland five or six. . . . I love traveling, seeing how other cultures get along, and not doing the tourist thing but trying to adapt to what they’re doing – which is similar to what I try to do musically, too.

And Chicago is very clean too. You can’t believe how clean Chicago is you leave and go other places.
CHICAGO TRIBUNE - The Remarkable Maurice Brown
- Howard Reich

What a remarkable composer Maurice Brown is becoming.

His debut CD of 2004, “Hip to Bop,” hinted at his potential, thanks to tracks such as the buoyant “It’s a New Day” and the technically daunting “Rapture.” But Thursday night at the Jazz Showcase, where the former Chicagoan is making his debut as headliner, Brown played music never heard here before. The scores will be on the trumpeter’s still-to-be-recorded CD, “The Cycle of Love,” and they show a significant maturation of his art.

Judging by the music Brown’s band—the Maurice Brown Effect—played during its first set, the trumpeter has refined his compositional methods. Before, he seemed to pack as much musical content and technical bravura as possible into every bar; now he’s allowing his phrases to breathe.

Brown—who grew up in Harvey—always has shown a knack for penning insinuating melodic hooks. Not surprisingly, then, the tunes from “The Cycle of Love” linger in memory.

Yet these are not simple pop ditties. Each of Brown’s themes from “The Cycle of Love” bristles with unexpected turns of phrase, pungent harmonic choices and other idiosyncrasies of rhythm and melodic line. The years Brown, 28, spent studying with the Louisiana musician Alvin Batiste clearly laid the groundwork for Brown’s development as composer-arranger.

In midtempo pieces, Brown unfurled puckish motifs driven by constant syncopation and other forms of rhythmic tension. In ballads, he reaffirmed his gifts as melodist without stooping to sentimentality.

Much of Brown’s work this night was articulated not so much as solo fare but as duets with saxophonist Derek Douget, backed by a propulsive rhythm section. The two horns gave these scores more heft and eloquence than either could have produced alone.

Still, one yearned to hear more solo prowess from Brown than he offered. Even in “Rapture,” a near-classic among Brown’s compositions, the trumpeter leaned heavily on Douget.

Perhaps it’s not just Brown’s composing style

CHICAGO TRIBUNE - "Brown's Promise Becomes A Reality"
- Howard Reich

Four years ago, a promising young trumpeter from Harvey, Ill., moved to New Orleans to sharpen his skills outside the pressures of Chicago's rigorously competitive jazz scene.

Over the weekend, 24-year-old Maurice Brown came home, and, within a few choruses of "I Hear a Rhapsody," made it clear he isn't a jazz prodigy anymore. Though still clearly in the nascent stages of what could be a major career, Brown has emerged as one of the most dynamic trumpet soloists of the under-30 generation -- in New Orleans, Chicago, New York or anywhere else.

Leading his quintet at the Green Mill Jazz Club, Brown brought an array of talents that rarely intersect in the same young musician. Blessed with as much instrumental technique as improvisational imagination, as much jazz erudition as appetite for innovation, he does not fit neatly into anyone's profile of how a rising jazz soloist sounds. He offers the enthusiasm of youth alongside the achievements of more seasoned musicians. Add to this an outsized personality that radiates optimism, and it's no wonder Brown had a standing-room-only audience cheering before he ended his first solo.

And though one hastens to add that Brown -- like anyone his age -- still has a long way to go in realizing his considerable potential, he's off to the fastest start since New Orleans trumpeter Nicholas Payton ascended in the 1990s.

Listeners who attended Brown's first set Friday night at the Green Mill heard a musician who not only couldn't wait to stand before the microphone but also had a great deal to say once he arrived there. Though youthful virtuosos tend to play hard and fast -- trying early on to establish their credentials -- Brown was in no hurry in "I Hear a Rhapsody." Indeed, the medium tempo that Brown chose, as well as his emphasis on gently swinging eighth notes and even slower time values, suggested that he has absorbed a great deal in New Orleans, where Louis Armstrong and Joe "King" Oliver first started to forge the vocabulary of the jazz trumpet and cornet.

Brown has learned a lot about the depth of sound that every note in a great trumpet solo can convey, and he has mastered uniquely lilting Southern tempos and rhythms. But Brown adds to this deeply lyric impulse the urge to experiment and reinvent, characteristics ingrained in the music of the city whose music first shaped him -- Chicago. When Brown tore into one of his most challenging and satisfying compositions, "Rapture," there was no mistaking the aggressive rhythms, earthy swing, technical bravura and go-for-broke experimentation of Chicago jazz, in all its thundering glory.

The big surprise in this set came when Brown picked up his flugelhorn to play the venerable ballad "Misty." The poise and expressive beauty of Brown's phrases -- which nimbly danced around the original melody line without explicitly stating it -- showed how much Brown has matured since he was a teenager sitting in on South Side jam sessions.Back then, Brown quickly became one of the more talked-about young talents in a city bursting with them. Today -- as his Green Mill engagement and his exceptional debut CD, "Hip to Bop," show -- he's way ahead of the pack.

NEW YORK TIMES - Making His Mark on Well-Tilled Soil
- Ben Ratliff

In a way, the trumpeter Maurice Brown exemplifies the state of young jazz musicians: he's trying to draw a continuous line between the music's old, fractured territories. Now 24, originally from Chicago and living in New Orleans, he has pushed toward a new, clipped version of R&B and funk; he has played free music, too, with mentors in Chicago like Fred Anderson and Ernest Dawkins. But his deepest interest is jazz's high-art mainstream, and he puts juice into it.

At the Jazz Standard on Tuesday, the first night of a two-night engagement, Mr. Brown played with some members of his Louisiana working band - the terrific tenor saxophonist Derek Douget, who hasn't been heard much in New York, and the pianist Anthony Wonsey - as well as a couple of New Yorkers, the bassist Peter Washington and the drummer Billy Drummond. The music had stylistic boundaries; a set consisting of one standard ("Alone Together") and a few of Mr. Brown's own tunes resurveyed the sound of jazz in the mid-1960's, the breakthroughs of Miles Davis and Wayne Shorter and Freddie Hubbard.

This is old, well-tilled soil, but that didn't matter much. Mr. Brown is a pretty complete player, soloing coherently through all of his instrument's range, especially the darker, lower notes. (He played the warmer-sounding flugelhorn on a ballad, "Lovely," and did that well, too.) And there was a nice tension of competing agendas, between the strict, tensile grooves of the rhythm section and Mr. Douget's wandering, exploratory solos, hung together with bending long tones and non-narrative immediacy.

The connection between a pianist and a horn-playing leader is crucial in small groups, and Mr. Wonsey bore out that truth, attaching himself to Mr. Brown's lines and offsetting them with hard, rhythmic accompaniment. And Mr. Drummond was especially impressive for not being a regular part of this group. He just explored the trap set for an hour, continually shifting his focus, working on the edges of the cymbals for a while and then the meat of them, altering his combinations between drums, then aligning in swing with Mr. Wonsey and Mr. Washington. The whole performance brought up some of the mysterious properties of that mid-60's music: the players used their discipline to make the tunes keep turning themselves inside out.

- Jason Koransky, editor, Downbeat Magazine

When he was living in Chicago, Maurice Brown would take his trumpet to the New Apartment Lounge on the South Side almost every Tuesday night to sit in with Von Freeman at the saxophonist’s jam sessions.

Now that Brown, 24, is living in New Orleans, his Tuesdays are spent at Snug Harbor, the top straightahead jazz club in the city. And he’s not sitting in on anyone else’s session. Rather, he leads his quintet, and word has spread throughout the city that this is one of the top jazz shows to catch.

“It’s packed in there every week,” says Brown, who leads a quintet with saxophonist Derek Douget, pianist Doug Bickel or Anthony Wonsey, bassist Jason Stewart, and drummer Adonis Rose or Troy Davis. “And we’re getting a younger generation to come out. There’s a great vibe there.”

Brown is one of the most exciting young trumpeters in jazz--be it New Orleans or New York. His improvisations are fresh, his chops dynamic and he’s writing what could very well become a new generation of hard-bop-meets-new-grooves standards. And given that he’s only played the horn for about 10 years, his potential to grow in the music is staggering.

Brown first picked up the trumpet in high school in south suburban Chicago. Two years later, when he was 16, Brown played at a seminar led by Wynton Marsalis and made Marsalis’ ears perk up. He started playing regularly around Chicago, picking up influences ranging from Freddie Hubbard and Benny Bailey to Lester Bowie and Don Cherry. Shortly after he started studying music at Northern Illinois University, he got a call from Clark Terry--on recommendation from Marsalis--to perform with him aboard the QE2. While around Terry, Brown picked up plenty of musical wisdom.

“He told me to always stay true to the melody. No matter how crazy the music may be, stay true to the melody,” Brown says, and then adds, laughing “he also told me, ‘Be careful not to get too hip. You know what you get when you get too hip.’”

The dreadlocked trumpeter sure isn’t lacking in the hipness quotient. After all, how many jazz artists sell women’s panties with the title of their album (Hip to Bop), on their website? But that’s not to say that the album is all about gimmicks. Brown’s self-produced debut, out on his own Brown Records, is filled with original compositions that give his simpatico bandmates a platform for impressive improvisation. “We worked this band before we went into the studio, “ Brown says. “It’s the opposite of how a lot of bands work today.”

Studying with Alvin Batiste at Southern University in Baton Rouge, La., gave him a lot of the foundation that makes this album swing. It also put him down South, and the growing scene in New orleans lured him. The band on Hip to Bop is the same group with which he plays weekly at Snug Harbor, a gig he got when he filled in for drummer Jason Marsalis’ group one week. That week led to a month, and now he’s become a fixture.

In addition to his quintet, he leads the funk/acid jazz band Soul’d U Out, which has been increasingly active in New Orleans. “That’s my baby,” Brown says, “it’s r&b, hip-hop, jazz and fusion. I’m constantly writing for this, and working on an album. It’s all original music, and I’m writing all the words, all the hooks.”

Talking from New Orleans toward the end of February, as the mercury was in a free-fall in Chicago, does he miss Chicago at all? He starts laughing. Sure he misses playing with the likes of Freeman, Fred Anderson, and Ernest Dawkins, but, “The weather!” he says. “The weather, food, and people here are real nice. Plus, this city supports what you do. You’d be surprised at how many great artists are here in New Orleans.”
- Eugene Holley, Jr. / CD Review

In the early 20th century New Orleans jazz musicians traveled up the Mississippi River to Chicago. The talented 24-year-old Windy City trumpeter Maurice Brown has made the reverse migration to the Crescent City, where he's emerged as a phenom. His debut CD aurally illustrates his burgeoning, diamond-in-the-rough trumpet style, influenced by masters like Fats Navarro, and Wynton Marsalis, the man who discovered him. Backed by a quicksilver New Orleans combo featuring Los Hombres Calientes percussionist Bill Summers, Brown's material is modern, neo-classic, and surprisingly accessible. The melodically complex opener "Rapture," swings like Miles Davis's classic 1960s combos and "Mi Amor" is a mature ballad, while "It's a New Day" bops with funky backbeats that echo Donald Byrd's finest flights from the 1970s. Like Roy Hargrove and Russell Gunn before him, Maurice Brown keeps it real, and reels in new listeners with his tradition in transition approach.

JAZZ TIMES MAGAZINE -CD Reviews Brass Tracks
- David Adler

With Hip to Bop (Brown), the New Orleans-based 24-year-old Maurice Brown articulates a sound that's closer to Russell Gunn's acoustic work for HighNote. But the title track, a modern funk blues colored by Wurlitzer piano and wah-wah trumpet, complicates that assessment. So does the catchy soul-jazz of "It's a New Day," with guest percussionist (and "hombre caliente") Bill Summers. Brown's sidemen-Derek Douget on tenor sax, Doug Bickel on piano and keys, Jason Stewart on bass and Adonis Rose on drums-offer sturdy support and exceptional solos on this gratifying all-original set, which includes such idiosyncratic themes as "Conceptions" and "Look Ma No Hands" (the latter derived from Herbie Hancock's "One Finger Snap"). Brown harks back to Wynton Marsalis' aggressive "Knozz-Moe-King" days with the pregnant pauses and cued tempo changes of the opening "Rapture," but his more lyrical side emerges on "Mi Amor" and "A Call for All Angels."

- John Murph / CD Review

From King Oliver to Louis Armstrong, Fats Navarro to Dizzy Gillespie, Miles Davis to Freddie Hubbard, Roy Hargrove to Nicholas Payton, it seems that all great jazz trumpeters, regardless of generation or stylistic inclination, are drawn to the funk. Each of those aforementioned artists – and there are many more – have steered jazz significantly by incorporating those sweaty, syncopated rhythms, edgy riffs and blues-based melodies we call funk.

You can now add Maurice Brown to that illustrious list of jazz trumpeters. His debut disc, Hip to Bop sublimely integrates the intricate improvisational burn of bebop with the pulsating rhythms of hip hop and R&B.

In concert, Brown’s scintillating trumpet prowess has been turning heads and seducing accolades from such masters as Wynton Marsalis, Curtis Fuller and Clark Terry. BET Jazz talked with Brown about his debut CD and about his woodshed period in Chicago and New Orleans.

BET Jazz: Why are so many jazz trumpeters attracted to the funk?
Maurice Brown:
I think that the trumpet is the closest instrument to the human voice. So, it’s easy for us to go for the vocal styles within the music and be real soulful with it. This goes all the way to Louis Armstrong. He used to be real funky when he played.
BET Jazz: Talk about your unique way of combining jazz with hip hop.
I just took the elements of hip hop and funk and kept those as my roots in my playing. I still stay true to the bebop form in terms of writing but everything has to be subdivided in the funk.
BET Jazz: Who’s currently in your band?
Pianist Anthony Wonsey, tenor saxophonist Derek Douget, drummer Gregory Hutchinson and bassist Charles Fambrough.
BETJazz: Briefly compare the jazz scene in Chicago with that of New Orleans.
The main difference is that Chicago is looser and more avant-garde. Free jazz is really big there. Straight-ahead jazz is bigger there than in New Orleans. New Orleans is more traditional but funky place.
BET Jazz: What was it like playing with saxophonist Fred Anderson, who’s mostly known as being an avant-garde player?
Brown: Fred was very key in my musical development. People like him and Von Freeman really took me underneath their wings when I was in Chicago. To play with Fred is always a spiritual thing, because most of the time we don’t use [scored] music. The last album we did at the Velvet Lounge, it was a live date and I wasn’t even supposed to be on it. They were recording the gig when I walked in and they asked me to play. I was going to leave but they asked me to stay to play on the gig; it turned out to be on the album. We played with no music, just total vibing.
BET Jazz: Take me back to the time Wynton Marsalis encouraged you to develop your musical skills?
When I first met Wynton, all this playing the trumpet was just a game to me. I wasn’t taking it seriously. I had a bunch of other things going on. I’m also a black-belt in Tae-Kwan Do. I played basketball all during junior high and high school. Meeting Wynton made me put everything else aside and say, “I really got something with this music.”He told me, “Never stop playing. Keep practicing and practicing; you’ll be great. You might be even greater than me.” Things like that really got me motivated. If Wynton Marsalis can see this in me, I really believed that I had something. Music wasn’t a game anymore.
BET Jazz: Who are some of the more influential trumpet players for you and why?
Well, Kenny Dorham for the way he connected his lines. I’m a huge fan of Fats Navarro. I think a lot of today’s cats are coming out of him. He’s really the first cat to lay bebop down on trumpet. also like Freddie Hubbard, who was the first person to say, “I don’t care.” He really played but didn’t care what people thought of his music. And he played from his heart. That’s real key in music for me, because you have to be honest; people have to hear the honesty when you play. You can’t try to be something that you’re not.

Of course, Dizzy Gillespie was a big inspiration for me. His skills as a leader set a good example for everybody. He gave everybody what they wanted; he was the people’s champion.

And you can’t leave Miles Davis out. He influenced me by how he always stayed true to the melody. Nowadays, a lot of cats don’t stay true to the melody. They’re so busy trying to play everything that you can’t hear the melody. You can play the melody with a lot of notes. That’s the trick. My song, “Conceptions,” has notes for days but you still can hear the melody.
Chicago Tribune - The Year's Best Recordings
- Howard Reich, Tribune Arts Critic

In one of the most startling debuts of the year, 23-year-old trumpeter Brown -- a Chicagoan now based in New Orleans -- announced himself as a triple-threat artist, equally effective as virtuoso trumpeter, versatile composer and supremely confident bandleader. That a musician of Brown's young vintage could conceive a work as harmonically bold and structurally intricate as "Rapture," the recording's explosive opening track, suggests that this talent runs deep. So does "It's a New Day," with its unforgettably catchy main riff; "Mi Amor," a ballad of remarkable melodic beauty and poise; and the hard-charging, bebop-inspired "Look Ma No Hands."

ASCAP's Playback Magazine - From The Big Easy To The Big Time
- Jon Bahr

At just 23 years old, Maurice Brown has quickly made a name for himself in Chicago, New Orleans and beyond. Growing up in Chicago, Brown began playing the trumpet and started to take music seriously when Wynton Marsalis singled him out at an eighth grade workshop. Wynton told him he had 'it' and he should "never stop playing." Brown, in turn, started practicing as much as possible - up to 16 hours a day! In his teenage years, he won NARAS' all state high school talent competition, which resulted in a performance with the National Grammy Band. Brown later went on to Southern University in Baton Rouge, LA to study with clarinetist Alvin Batiste.

A move to New Orleans allowed Brown to progress to the next level. In addition to gigs as a sideman working with Ramsey Lewis, Ellis Marsalis and Jeff "Tain" Watts, Brown leads a quintet, which recently released an inspired danceable modern jazz album called Hip to Bop. He also heads a hip-hop/funk band called Soul'd U Out. Every Tuesday, Brown's quintet plays at New Orleans premiere jazz club Snug Harbor, which is no small feat considering that the only names that appear weekly at the club are Marsalis and Neville. Last year, Brown received an ASCAP Foundation Young Jazz Composer Award and was selected to perform his winning piece at the ASCAP Jazz Wall of Fame reception ceremony.

Maurice Brown recently spoke with Playback about bop, the Big Easy and writing music.

Tell me a little bit about your songwriting process.
I try to stay true to the melody in everything that I do. When I hear something, I'll stop and write it down. If I'm not in a position where I can write it down, I'll call my voicemail and leave the melody there. I don't sit down and try to compose tunes. I just let them come to me from inspiration. A lot of the tunes on the record, I wrote for the players that are in my quintet - to showcase their strong points and to cover up their weaknesses.
How much has New Orleans rubbed off on you in comparison to Chicago?
About even in my head because they both have qualities that rub off on me in both culture and environment. The Chicago sound is more avant-garde jazz, but also more straight-ahead. New Orleans has more traditional jazz with a brass band kind of feel. With the combination of those two, you can't really go wrong.

Brown with Ellis Marsalis at New Orleans Jazz Fest 2004
Your album is called Hip to Bop. Does the title reflect this album or more so your music in general?
I think the title reflects both the CD and my music in general. We're talking about hip-hop and bebop. When I say hip-hop, I'm not necessarily talking about rap. We have a little motto that we go by: In order to be hip, you must bop. We're all focused on trying to make sure everything is swinging and you can really move to everything you hear. That hip-hop groove feel.
Your album is all original material that you solely wrote. Is that a statement about your music, to not include a cover or standard?
The one thing that I'm really into is writing original compositions and a lot of people are playing a lot of standards these days. I play a lot of standards too, but when you write original compositions, you get to find your voice quicker than if you're just playing standards all the time. Something that Elvin Jones told me once will stick with me forever, he said, "Be true to the music, and the music will be true to you." That is essentially what I am trying to do.
Where do see yourself fitting into jazz?
I don't know. I guess we just have to wait and see where everyone else wants to put me! All I'm concerned about is making good music, and affecting people in a positive way by giving people inspiration and giving hope to music. As far as the Soul'd U Out band, that's been really helping the Quintet because all the fans we get from the Soul'd U Out band come to the jazz quintet concerts, and they love that too. So we're mixing the audience that way and blurring the lines. People know the difference between good music and bad music; they just need to be exposed to it.
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proper photo please credit photographer Zach Gross.