Duo Pianos: Jean-Michel Pilc and Kenny Werner John Daversa Small Band Groove: Blue George Brooks' ASPADA New Nordic Trio Brian Bromberg Steve Smith John Daversa Lenny White Jean-Michel Pilc Solo Piano, Duo, Trio Gerry Obeirne Steve Smith and Vital Information NYC Edition Leni Stern Dave Weckl Chris Minh Doky's Nomads Steve Gadd Band Mike Stern


The greatest bass player in the world. - Lionel Hampton

Brian certainly has evolved into a very respected voice in music industry. From smashing through the barriers of how the bass is SUPPOSED to be played, cutting edge bass design, to being recognized as a world-class producer, songwriter, and session musician. He keeps pushing the envelope to become the best that he can be and to keep pushing the boundaries. As Brian himself says, "There are no rules, just dreams.”

Grammy nominated bassist Brian Bromberg's first all acoustic straight ahead jazz CD in ten years "Full Circle” was released by Mack Avenue Jazz mid 2016. The album turned heads, spun hot on many radio stations and charted throughout the States and Canada.

Creating the new album, Full Circle, his first since 2012, has been a deeply meaningful experience for Brian Bromberg. The acclaimed bassist and composer had to recover from a traumatic accident that left his back broken in two places and Full Circle is guided by the spirit of his late father, Howard, a jazz drummer. While Bromberg often gravitates towards smooth jazz, this one—with his father’s memory serving as an inspiration—leans heavily towards traditional acoustic side of the genre. That said, the album still covers a lot of musical territory, including New Orleans funk, zydeco, Cuban bebop and a jazz cover of Michael Jackson’s “Don’t Stop ‘Til You Get Enough.” Bromberg handles the rhythm section on Full Circle himself, laying down the tracks for bass and drums, as well as a “guitar” sound that’s actually him playing a piccolo bass. Filling out the album is a talented crew of musicians that includes trumpeter Arturo Sandoval; saxophonists Bob Sheppard, Kirk Whalum and Doug Webb; pianists Randy Waldman, Mitch Forman and Otmaro Ruíz; and percussionist Alex Acuña.
For Bass Players Only

Bromberg and his band blow your mind with a swinging, horn-induced cover of Michael Jackson’s dance-pop thriller, “Don’t Stop ‘Til You Get Enough." Cutting through the familiar melody with a big brass band raises this pop cover into a jazz gem. AXS

Bromberg is among the proud few to have a solid foundation in traditional jazz yet enjoy success in smooth jazz. This explains the accessibility of the songs that comprise Full Circle. Bass Player Magazine

His performance is one step short of manic. At times he seems to be producing two melodies simultaneously, using three or four fingers of each hand-his solo foray is phenomenal. LA Times

Bromberg is a player with a phenomenal technique whose improvised lines, full of rapid fire triplets, are intelligently and melodically structured. JazzTimes

Brian Bromberg Full Circle ARTISTRY MUSIC 7047 +++++ Bassist Brian Bromberg’s first instrument was the drums. This album showcases a return to the traps, but—via overdubbing—doesn’t neglect his bass. And while the material may be close to something of a personal statement, he’s joined by some of the most gifted and hardcharging jazz players in Los Angeles for a galvanizing display of ensemble playing. The disc is replete with marvels of technical and musical engineering. Bromberg dubs his bass onto a 78-r.p.m. record of “Jazz Me Blues” and “Washington And Lee Swing” that his late father had recorded in Tucson, elevating the sides while staying in musical character. And on “Sneaky Pete,” what sounds like Wes Montgomery’s guitar is actually Bromberg’s piccolo bass—a neat trick. His original tunes are all attractive and swinging, so it’s no surprise that saxophonists Doug Webb and Bob Sheppard are brilliantly engaged throughout. Likewise, Arturo Sandoval’s sterling trumpet and Alex Acuña’s percussion make “Havana Nights” move along at a nice clip, while pianist Randy Waldman demonstrates a genre-
encompassing style. Bromberg’s triumph here is not that he makes a prodigious statement by himself, but that he excels among such righteous company.
Kirk Silsbee DOWNBEAT



Chris Minh Doky heads New Nordic Jazz as they explore the enigma of Nordic storytelling through the sounds of acoustic jazz. Together with Nordic jazz stars Jonas Johansen on drums and Peter Rosendal on piano, Chris Minh Doky’s world-acclaimed unique style of bass playing is the voice you’ll hear as the tales unfold in lush melodies and solos.

Chris Minh Doky's rare ability to perform with ample portions of creativity and dynamism--either as a solo artist or sideman--consistently place him in the top-5 lists of reader polls around the world. Carrying on the Danish tradition of spotlighting the bass as the lead instrument, his distinctive styling of each note reflects his roots in American East Coast grooves seasoned with the lyrical traditions of Scandinavia.

He earned the respect of the American jazz elite as member of Michael Brecker Quartet, David Sanborn, Mike Stern Band, Michele Camilo Trio, Ryuichi Sakamoto and many more. As a result, he is today the internationally most widely acclaimed jazz musician of his native Denmark. As a leader and recording artist, Chris Minh Doky has multiple gold and platinum awards, Grammy® nominations - and has been knighted by HM Queen Margrethe II for his contributions to the arts. In the world beyond jazz, Chris Minh Doky is also receiving wide acclaim, most recently in collaboration with famed choreographer Twyla Tharp in her hit production of Come Fly Away where Chris Minh Doky leads and conducts his orchestra for the Royal Danish Ballet.

He continues the Danish bass heritage founded by Niels Henning Ørsted Pedersen while exploring new musical paths to new levels. Whether caressing the strings in a seductive lull or taking his instrument to the edge, Chris Minh Doky is the bottom line.

DownBeat magazine: " ... there is a softness and crisp clarity that is very different from the sound others derive from the acoustic instrument."

The New York Times: "...a commanding presence…"


JOHN DAVERSA Kaleidoscope Eyes-Music of the Beatles

The John Daversa Big Band's current project, Kaleidoscope Eyes, explores the vast catalog of The Beatles through Daversa's imaginative, genre-fusing arrangements.
… the trumpeter takes it to the streets here as he brings his big band to a live setting to deliver another Beatles album that is anything but another Beatles album. Jazz and Beatles is nothing new to behold but the special sauce liberally slathered on here is what makes the difference. Not merely nu stuff for nu ears, Daversa almost single handedly brings a history of jazz to the modern era exploding and reassembling a handful of Fab Four classics. This is a major high point for sitting down jazz. Midwest Record

This is the definition of artistry and creativity. I love this recording. Terence Blanchard

“Daversa gets sounds to come out of his little red trumpet like you never heard. The band itself ditto, as if Duke Ellington and Béla Bartók had come down from on high and written some brilliant 21st century music for a big band of Berklee post-graduate superstars.” Los Angeles Times

Daversa’s celebrated and distinctive musical perspective has been a passport to performances on The Today Show, Late Nite with David Letterman, The Oprah Winfrey Show and he has performed with such artists as Michael Bublé, Andraé Crouch, Sheryl Crow, Bob Mintzer Big Band and The Yellowjackets. As an educator, Daversa has a Doctor of Musical Arts Degree in Jazz Studies from the USC and is currently Studio Music and Jazz Department Chair at the Frost School of Music, University of Miami.


GEORGE BROOKS ASPADA Music is power - power to inspire - power to transform. George Brooks – saxophone, Kai Eckhardt – bass, Osam Ezzeldin – keyboards, Selvaganesh Vinayakram - percussion
Drawing on the musical traditions of their homelands in Asia, Africa, Europe and America, four world renowned musicians weave a global tapestry for the new millennium.

Saxophonist and composer George Brooks is acclaimed for successfully bridging the worlds of jazz and Indian classical music.
He founded the seminal Indian fusion groups Summit with Zakir Hussain, Bombay Jazz with Ronu Majumdar and Larry Coryell, the Raga Bop Trio with Steve Smith and Prasanna and Elements with Gwyneth Wentink and Kala Ramnath.

Brooks has collaborated extensively with American composer Terry Riley and has performed and recorded with genre defining artists Etta James, Anthony Braxton, Jaki Byard, Talvin Singh, poet Michael McClure, and Ray Manzarek (of the Doors). He has performed throughout the US, Canada, Europe, Asia and the UK and was a featured soloist on John McLaughlin’s Grammy nominated “Floating Point” CD

Brooks studied with Count Basie saxophonist, Frank Foster and at the New England Conservatory of Music with George Russell, Joe Allard and Jaki Byard. He traveled to India for a year of study with classical Indian vocalist Pandit Pran Nath. In 1996 he recorded “Lasting Impression” and “Night Spinner,” for Zakir Hussain’s Moment Records. The success of these CDs led to performances and recordings with India’s leading artists; Hariprasad Chaurasia, Sultan Khan, VM Bhatt, U Srinivas, Vikku Vinayakram, Trilok Gurtu, Shujaat Khan, Shankar Mahadevan and many others.

Brooks is a recipient of the American Composer’s Forum “Global Harmony" Prize and has received grants and commissions from SFMOMA, New Music USA, USArtists International, MetLife Creative Connections and San Francisco Friends of Chamber Music. His compositions have appeared in films by Merchant/Ivory and have been performed by Yo Yo Ma and members of the Liverpool Philharmonic. His solo harp composition ‘The Alchemy of Happiness” premiered at the 2012 Gaudeamus Muziekweek.