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


BRIAN BROMBERG
The greatest bass player in the world. - Lionel Hampton

Downbeat's
Best Albums of 2016
Brian Bromberg's Full Circle: *****Masterpiece

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
 




 
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