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Round Midnight

4.7 out of 5 stars 10 customer reviews

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Audio CD, September 29, 2009
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Editorial Reviews

Two-time Grammy winner Alan Broadbent continues to display his melodic touch on the beautifully recorded Round Midnight. Known for his legendary playing with Woody Herman, Irene Kral, Chet Baker, Charlie Haden and countless others, Broadbent has recently been called upon by Linda Ronstadt, Diana Krall, Natalie Cole, and Michael Feinstein for his piano, arranging and conducting skills. Round Midnight is the perfect follow-up to Broadbent's Grammy nominated 2004 release You and the Night and the Music. Produced by Brian Bromberg, who plays bass on the recording, Round Midnight also features Joe LaBarbera, who rounds out the trio on drums. Ryko. 2005.
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Product Details

  • Audio CD (September 29, 2009)
  • Original Release Date: September 29, 2009
  • Number of Discs: 1
  • Label: Artistry Music
  • ASIN: B000AY9OJ4
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Best Sellers Rank: #231,394 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By Jan P. Dennis on November 5, 2005
Format: Audio CD
. . . 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.
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Format: Audio CD Verified Purchase
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.
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As consumers we are always looking to be surprised with music. If you use classic scores for your purpose, you always run the risk of being repetitive, or as we say in Brazil,"doing more of the same". in favour of this CD, I may say the arrangements are good enough to keep your interest throughout its execution, and after its completion you may state, you will listen to it several times without being bored
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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.
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Format: Audio CD
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.
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