Customer Reviews

Round Midnight

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

 

 

. . . falling perhaps just short of You and the Night and the Music on account of producer and double bassist Brian Bromberg's histrionics. As much as I liked him on that previous disc, I believe he's gone just a little over the top on this one. This may merely be a case of de gustibus non disputandum est, but I don't think so.

Don't get me wrong; the man is a killer player; it's just that he seems more concerned with displaying his chops (not inconsiderable, it must be admitted) than fitting into a cohesive and dialogic group concept. Not that he can't do the latter; it just seems as if he gets bored or something and is always looking for an excuse to cut loose with some technically brilliant if not entirely apposite bass blasts. Moreover, he evidences a (not nowadays uncommon) propensity for his instrument's upper register when soloing, which will undoubtedly earn him accolades from either the uninformed or those mesmerized by such grandstanding, again emphasizing his chops and dexterity at the expense of spinning out lines that advance conversation. That said, it must be admitted that he is actually a very gifted musician, often supplying brilliantly imaginative statements and compelling conversation in a group setting. Still, if one encountered this session in a blindfold test, one might easily mistakenly think the disc is Bromberg's, not Broadbent's

Drummer Joe Labarbera, on the other hand, operates out of an almost opposite approach to Bromberg's: he's positively restrained on his instrument, and his solo statements are exercises in taste without sacrificing innovation. Where one might wish Bromberg to back off slightly, one might like to see a little more expressivism from Labarbera.

How such a pair can operate successfully, even brilliantly, as a rhythm section is a mystery, solved, perhaps, because the leader splits the difference between the two: He's got the chops of Bromberg and the taste of Labarbera, bringing these together so that the whole is infinitely greater than the sum of its parts. And that is the real genius of Alan Broadbent. He can be tasteful and expressivistic, restrained and loquacious, always displaying his ridiculous chops appositely, sans unnecessary and unseemly virtuosity. There may be more dexterous players (Jean-Michel Pilc) more tasteful players (Kenny Barron?) more chops-heavy players (Vijay Iyer, Eldar) more purely virtuoso players (Jacky Terrasson) more inventive players (Brad Mehldau) more idiosyncratically brilliant players (Frank Kimbrough, Omar Sosa) more percussive players (Iyer again, McCoy Tyner) more ravishingly romantic players (Keith Jarrett) but no one who combines elements of all these approaches as profoundly and effectively. Besides, I'm not sure if there's a better interpreter of standards alive, pace Keith Jarrett and Bill Charlap.

So even if there's perhaps a little too much of Bromberg on this disc, it nevertheless contains a very high level of conversation, entirely worth hearing and certainly worth acquiring by anyone who loves modern jazz piano of the first water. Warmly recommended.

This CD put out by the great Artistry Records is fabulous. The title number is just one of several standouts, including an unusually snappy version of "The Man I Love." I have given this as a gift to friends who know more than I do about jazz and they have loved it.

i n t h e p o c k e t

Heard the title track on the car radio and was hooked. Most of the time I can not hear bass solos in my car, but this one comes thru. I must admit that I am writing mostly in reaction to the other Amazon customer reviews. Histrionics?! Moldy figs! Too much bass?! Yes, compared to our old Prestige recordings. BAH! Great job guys, keep them coming. PS Now that I have my own copy, I think it plays very nicely at home too.

The late Bill Evans had a few bass players in his various groups who pushed back so loud they sounded like they were the soloist, sometimes trying to have virtuouso shootouts with the pianist. distracting. From what other reviewers have said, I expected this here.

This is a fine album, but I agree that there is too much bass here. Brian Bromberg, (whose "Wood" album is a new jazz classic not to be missed), isn't so much histrionic and show-offy as the bass is just mixed poorly. The bass is too loud in the mix, often louder than the piano and this distracts the listener from Boardbents lyrical piano. (maybe the producer could remix, just turn Broadbent up and Bromberg down!)

As in his previous album Alan Broadbent rolls out the fastest most articulate arpeggios, trills and grace notes since Jazz master Al Haig. And like Haig, they are at blazing speeds but in perfect meter. Great versions of the old standards.

If your stereo has a tone control (mine doesn't) maybe you can make a better album by turning down the bass! All is pleasant listenable swing. Approaches the level set by Broadbent's last, "You and the Night and the Music", I think, but it grows on you with repeated listening. All in all it's one of the better Jazz album's in a meagre year. I especially like the variations on the often done title track, the perky take on Charlie Parker's "High Groovin'" and his rhapsodic version of Leroy Anderson's "Serenade" .

Three to four stars in my tough grading system = B- for an album great when Broadbent is playing, graded down for Bromberg's distractions.