It’s easy to undervalue Norman Brown. The guitarist’s frictionless music seems effortless. Prioritizing sumptuous grooves rather than showy soloing has kept the Kansas City-raised Brown in the upper tier of smooth jazz musicians for two decades. His sound is the logical extension of the crossover innovations of jazz guitar icons Wes Montgomery and George Benson. Brown continues to refine the melodic flourishes and elaborate production of landmark recordings like Montgomery’s A Day in the Life (1967) and Benson’s Breezin’ (1976) on his 13th album Let’s Get Away. Brown’s consummate craftsmanship makes indulging in Let’s Get Away a gloriously escapist experience.