One of the latest members of the drummer's A-list, Brown has more than proved his worth as a sideman (Lovano, Blanchard, Spalding), and this debut as leader shows that he has ideas as well as rhythmic finesse to go. In many ways the music fits into a lineage of newish American jazz artists who are drawing equally on old and new forms of populism, from the blues and gospel to hip hop, all the while keeping their arrangements intricate and expansive. That means that a subtle use of Wayne-Miles Second Great Quintet elasticity is discernible at times, but Brown keeps his creative radar very much locked on soulfulness, certainly melodically speaking, and loosely recalls the aesthetics of co-producer Derrick Hodge and guest pianist Robert Glasper. And Brown does have a pleasingly hard edge in his playing. When he breaks a tune down to a heavy ‘boombap’ backbeat he practically treats the kick drum as a snare, creating thrillingly percussive lines that most rap producers can't nail. There is an urgent energy in Brown's tripping rimshots and tom rolls that reinforces his use of the kit as an orchestral palette, yet by the same token he plays with enough finesse to serve singers like Bilal and Gretchen Parlato, who both have very delicate tones. The result is a smart opening salvo from a drummer who is also a composer with a strong character.