Customer Reviews

Downright Upright

5 star:		(9)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(3)

 

 

. . . is real.

And, although it is being broken down of late, with discs such as Findings by Benny Reid, Departure by Dan Siegel, With All My Heart by Harvey Mason, and Straight Up and Take It From the Top by Bob James (from the jazz lite side), and Blue Horizon by Vic Juris and Department of Good and Evil (as well as similar discs by Rachael Z) from the jazz side, the divide remains, even though it might be lessening with works such as these.

Several factors tend to separate real jazz and jazz lite. The former generally features genuinely creative improvisation, while the latter seldom does. The former seeks to operate within a tradition stretching back to the beginning of the 20th century even as it expands those frontiers, while the latter seems to be an offshoot of late-20th century (instrumental) pop music. The former appeals to a somewhat elite audience generally steeped in its history and developments, while the latter tends to attract a younger audience looking for romantically inclined, easily accessible instrumental music.

The truth is that a quite different (and, one might even say, mutually alien) aesthetic generally operates in the two genres. How and why the two are coming together in the nascent 21st century, I simple don't know. But they are. And, I think, that's generally a good thing. So what if the diehard jazzheads don't like it: I say, deal with it! So what if the jazz lite freaks inch their way into Real Jazz: Again, deal with it!

Coming mainly from the Real Jazz position (although my introduction to creative improvised music was through the door of jazz lite), I sometimes weary of the plodding, clichéd approach of the Jazz Liters, but I'm more and more coming to appreciate the authentic and even hard-won aesthetic that the very best of them have achieved.

Still . . .

I believe the absolute best music on this disc derives from the authentic jazz side, that is, the standards, "Cantaloupe Island" and "Chameleon" by the inimitable Herbie Hancock, and "Mercy Mercy Mercy" by Joe Zawinal and "Cold Duck Time" by Les McCann: That's probably why the disc starts out with three of these standards. The tunes by Bromberg just don't have the requisite res, at least to my ears. Thus, things seem to sag slightly after the three standards, the disc tending to devolve into fairly standard smooth jazz precincts.

Of the three saxophone players--Kirk Whalum, Boney James, and Gary Meek--I prefer the latter. He plays on half the numbers, and he really lights things up whenever he solos. I particularly like his very sly quote of "Naima"--so stealthy as to slip by all but the most careful listener--on "Chameleon." Fusion stalwarts George Duke and Jeff Lorber man the piano chair (no cheesy keyboards here) with casual grace, and even some pretty killer chops (check out Lorber's solo on "Leisure Suit"). But it's when Bromberg solos on piccolo bass that things really catch fire. He seems to have figured out how to get the absolute most from that somewhat awkward instrument, and, thankfully (at least to these ears), he limits his acoustic bass solos to a minimum (although he manages a quite lovely one on "Slow Burn"). It's not that he lacks chops on this balky instrument; it's just that his solo concept on it seems rather too virtuoso for it to properly be in conversation with the rest of the band. Vinnie Colaiuta in the drum chair is a marvel of drive, taste, and coloration.

All in all, a very enjoyable disc which is growing on me.

****1/2.

The CD earns only four stars, but I gave them a five because I was blown away by the live performance.
I generally shy away from smooth jazz artists for the same reason I avoid N'Sync and the Cartoon Channel. I'm an adult. But I know what Brian Bromberg is capable of, and he hit the mark again.
Honestly, had I not heard about the line-up he was bringing to the Annapolis concert, I might not have purchased this CD. But we went to the concert, was mesmerized by the band and bought the CD that night. Gary Meeks, Jeff Lorber, Dave Weckl, Randy Brecker and Brian delivered a controlled tour-de-force that was way beyond what you'd expect from a "Smooth Jazz" unit. I guess Brian got tired of hearing some of us denegrate the SJ movement and decided to get back to his roots. He could not have picked finer pieces or band mates to re-establish his "sheet cred". They did justice to every number they played and that's no mean feat when you're talking about Hancock compositions and standards like "Mercy, Mercy, Mercy". Although the personnel on the CD varies somewhat from what you'll see at the live concert, the studio sessions are nonetheless true reproductions of the real thing.
If you like straight-ahead mainstream jazz you won't be disappointed with this CD. If your preference is SJ, you'll absolutely love the bridge these guys are building between the two forms. This effort is the perfect blending of smooth grooves, funky rhythms and an honest tribute to the heart, mind and soul of jazz.
P.S. Allow me to put in a shameless plug for two of my favorite venues. The Ram's Head Tavern in Annapolis, Maryland and The Birchmere in Alexandria, Virginia are near perfect venues for this type of concert where the band can be intimately close to the audience, giving the whole affair a very personal feel. If you're anywhere within striking distance to either of these places, I strongly recommend viewing and listening to your favorite acts there.

Very good CD overall. I liked all the tracks. The thing that makes this CD a winner is all the other top name talent that Bromberg has with him on the CD. Fabulous musicians in their own right. I saw the Downright Upright All-Stars in concert playing the songs on this project. It is even better in concert. Definite recommended buy.

Brian has created yet another mesmerizing album. He always amazes, not just with his incredible bass playing, but with the choices of fellow players, arrangements, and production quality. As long as he keeps making albums, we'll keep buying them.

Brian Bromberg is, in my opinion, THE best bassist - ever, and this album is one of his best yet. He is clearly the master of the upright. The combination of groups and music on this album makes it very fresh and shows off the versatility of his talent.

Brian is phenomenal on the upright bass. For connoiseurs of jazz standards and upright bassplaying with an all-star cast, i highly recommend this project.

Anything that a great bassplayer like Brian Bromberg doesn is a bonus.We people learn our trade by listehing to the greats.

Great song selection.
Great performance.
Great production.

This is a really excellent CD. Jazz classics revisited with great performance and great production.

This is a must have for those serious lovers of Jazz. The selections are great and the tempo of the music is upbeat. Excellent tool to shorten that long evening commutes or just relaxing at home. Here is one that will not disappoint you.

This Grammy-nominated album features a fabulous group of musicians, provides solid jazz over infectious grooves and deserves the attention of fans of soulful jazz. I'm a longtime fan of mainstream, straight-ahead jazz. Straight-ahead jazz is over the heads of the mass audience and smooth jazz is generally too lite and repetitious for serious jazz fans. The genious of this album is that it discovers and mines a rich vein of material where serious musicians can blow real jazz over soulful grooves that are accessible to a wider audience. Back around 1970, there were interesting experiments combining jazz and R&B, by people like Eddie Harris and Les McCann, Ramsey Lewis, Donny Hathaway and Marvin Gaye. A number of their recordings became radio hits and added quality to the mix of that era's popular music. Brian Bromberg and this wonderful all-star group have picked up where that movement left off and infused a higher level of musical virtuosity and an up-to-the-minute contemporary sensibility. I love it.