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Brian Bromberg: Downright Upright

 A l b u m   D e t a i l s


Label: Artistry Music
Released: 2006.03.26
Time:
 69:56
Category: Smooth Jazz
Producer(s): Brian Bromberg
Rating:
Media type: CD
Web address: www.brianbromberg.net
Appears with:
Purchase date: 2020
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Cantaloupe Island (H.Hancock) - 7:32
[2] Mercy Mercy Mercy (J.Zawinul) - 6:58
[3] Cold Duck Time (E.Harris/L.McCann) - 6:21
[4] Sunday Mornin' (B.Bromberg) - 6:40
[5] The Hacha Cha Cha (B.Bromberg) - 6:33
[6] Chameleon (H.Hancock) - 8:51
[7] Serengeti Walk (D.Grusin) - 4:42
[8] Leisure Suit (B.Bromberg) - 7:44
[9] Slow Burn (B.Bromberg) - 6:07
[10] Shag Carpet (B.Bromberg) - 8:28

 A r t i s t s ,   P e r s o n n e l


Brian Bromberg - Bass, Upright Bass, Piccolo Bass, Arrangements, Executive Producer, Mixing, Producer
Vinnie Colaiuta - Drums
George Duke - Piano
Lee Ritenour - Guitar
Kirk Whalum - Tenor Saxophone

Gannin Arnold - Guitar
Boney James - Tenor Saxophone
Rick Braun - Trumpet
Jeff Lorber - Piano
Gary Meek - Tenor Saxophone

Denny Stilwell - Executive Producer
Tom McCauley - Engineer, Mixing

 C o m m e n t s ,   N o t e s


2006 CD Artistry Music – ART 7012

Recorded at B2 Studios, Los Angeles, California November, 2005.



One glance at the personnel, which includes such popular "smooth" players as tenors Kirk Whalum and Boney James, trumpeter Rick Braun, and pianists George Duke and Jeff Lorber, could easily lead one to believe that this CD is filled with vacuous and mildly soulful background music. Actually, the playing on Downright Upright is a surprise, for most of the selections are reasonably creative renditions of soul-jazz. Four songs ("Cantaloupe Island," "Mercy Mercy Mercy," "Cold Duck Time" and "Chameleon") are standards given rightfully soulful treatments, and most of Bromberg's originals are worthwhile although a couple veer close to smooth. Most listeners knew that Kirk Whalum could play worthwhile jazz if placed in that context but the fine solos of Boney James and particularly Jeff Lorber will surprise many.

Less of a surprise is the virtuosic bass solos of Brian Bromberg, a master at tapping. None of the music on Downright Upright would be considered innovative and the style itself is more than 30 years old, but to hear these pop/jazz musicians challenging each other a bit is fun. One wishes that they did it more often. This CD was nominated for a Grammy award in 2007 for Best Contemporary Jazz Album.

Scott Yanow - All Music Guide



On both acoustic and electric bass, Bromberg has demonstrated prodigious facility on a series of impressive offerings over the past 20 years. He goes it strictly acoustic here in a program of accessible covers (Herbie Hancock’s “Cantaloupe Island” and “Chameleon,” Joe Zawinul’s “Mercy, Mercy, Mercy,” Les McCann/Eddie Harris’ “Cold Duck Time”) and engaging originals assisted by an all-star lineup of smooth-jazzers including saxophonists Kirk Whalum, Gary Meek and Boney James, trumpeter Rick Braun, guitarists Lee Ritenour and Gannin Arnold, and pianists Jeff Lorber and George Duke, all of whom stretch out more than you’d expect, with some surprising results. All-world drummer Vinnie Colaiuta does typically heroic duty in fueling the proceedings with crisp, supple backbeats.

Whalum’s tough Texas tenor fits perfectly into the fabric of Zawinul’s “Mercy, Mercy, Mercy” while Lorber cops an appropriately soulful vibe on “Cold Duck Time,” as tenor saxophonist Boney James and guitarist Ritenour double the earthy melody line. Whalum also testifies with his tenor on Bromberg’s gospel-flavored “Sunday Mornin'” while Meek delivers some urgent tenor work himself on “Chameleon” and Bromberg’s funky “Leisure Suit.” And Braun turns in some bold trumpet work alongside James’ tenor on Bromberg’s boogaloo-flavored closer, “Shag Carpet.”

While this was not intended as the kind of bass manifesto that Bromberg’s Wood and Wood II were, he takes his share of extended solos here, flashing mondo chops on several pieces, most stunningly on “Mercy, Mercy, Mercy,” “Cold Duck Time,” “The Hacha Chacha” and “Leisure Suit.”

Bybill Milkowski - April 1, 2007
JazzTimes — “America’s Jazz Magazine”



Retro-inspired grooves can mean a lot of things—it depends on how far back one wants to go. On Downright Upright, bassist Brian Bromberg takes a retro tour of the era when Freddie Hubbard and Herbie Hancock were reaching a peak. Joe Zawinul and Eddie Harris were changing the scope of jazz. Weather Report was in, and jazz was changing rapidly. The umbrella was opening up to include innovative ideas and comfortable melodies that lingered in the mind for a lifetime.

Working with a crew that normally reserves its studio and stage time for smooth jazz or a similar, pop-inspired, contemporary form, Bromberg brings his big bass and piccolo bass aboard for a veritable party. He and his sidemen inject plenty of life into the scene on Downright Upright, honoring the jazz legends who have paved the way. These are no mere sidemen with Bromberg, either. Each brings a veteran's feel for contemporary jazz to the session, giving the bassist a rich palette from which to select. George Duke's piano solo on "Chameleon, for example, provides one of the session's high points. The others join Bromberg in creating several more plateaus on a session that comes recommended for its broad appeal and for its unmistakable groove.

The bassist solos frequently on both his acoustic bass and his electric piccolo bass with an expressive nature that finds him tearin' up the strings passionately. The sound of the smaller instrument resembles that of a bass guitar as Bromberg applies it to "Chameleon, "Leisure Suit, "Slow Burn and "Cold Duck Time. His five original compositions maintain the momentum found in the album's first three tracks, while his covers of older familiar tunes prove satisfying.

Bromberg's "Sunday Mornin' and "Shag Carpet capture a pure gospel mood that rocks the roof beams, while Dave Grusin's "Serengeti Walk, a smooth jazz outing that features guitarist Lee Ritenour, simmers in the afternoon sun. As evidenced by Downright Upright, retro grooves from a lyrical bassist like Brian Bromberg can seem as natural as sunshine on Hollywood Boulevard at noon. The mood that he creates, however, could steal the hearts of millions.

Jim Santella - February 21, 2007
All About Jazz



"...a funky, swinging affair with plenty of edge..." - The Boston Globe



"...impeccably recorded and impressively played." - L.A. Daily News



"An unbelievably good time...pure perfection." - Philadelphia Daily News



Long before the coining of "smooth jazz," catchy numbers like Herbie Hancock's "Cantaloupe Island," Joe Zawinul's "Mercy Mercy Mercy," and the Les McCann-Eddie Harris tune "Cold Duck Soup" enticed pop fans to cross over, however casually or tentatively, into jazz. Now, on veteran bassist Brian Bromberg's Downright Upright, those three songs are vehicles for name-brand smooth jazz players including saxophonists Kirk Whalum, Boney James and Gary Meek, keyboardists George Duke and Jeff Lorber, guitarist Lee Ritenour and trumpeter Rick Braun to do a little crossing back of sorts to show off their mainstream chops. Nobody will confuse the facility of their straightahead solos with real depth, however much emotion they pour into them. But it's an agreeable excursion for all concerned, with Bromberg making the most of his opportunities to lay down melodic lines. Even after the cover versions give way to originals in the same vein, the music stays lively.

Lloyd Sachs - Amazon.com
 

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