Brian Bromberg: Compared to That (2012)

Brian Bromberg is one of the top five bassists worldwide. The GRAMMY nominated bass player grew up in a world of jazz. He already performed in early years with area jazz bands and symphonies. Although some of his twenty solo albums are settled in the smooth jazz realm, his musical love was always devoted to straight ahead jazz. "I still love playing with straight-ahead jazz artists and I want to do more acoustic, mainstream jazz albums myself.”

Brian's new album Compared To That is such a mainstream jazz album, which also respects the desire for smooth jazz elements. The album was recorded live in between two days. Recording artists were beside Brian Alex Acuna, Gannin Arnold, Charlie Bisharat, Randy Brecker, Vinnie Colaiuta, George Duke, Bela Fleck, Mitch Forman, Larry Goldings, Jeff Lorber, Gary Meek and Tom Zink.

Fast paced, horn driven, bass loaded, that is the introducing Compared To That. Bromberg excels on Upright bass with impressive dexterity. Jeff Lorber brings with his signature piano virtuosity the piece to breathtaking highs.

With Rory Lowery, Private Eye Brian leans more to straight ahead jazz with a big dose of velocity. Swiftness is always a part of artistry and has its effect on the audience. If Ray Brown Was A Cowboy? is dedicated to the late Ray Brown, an outstanding bassist and recipient of innumerable awards. Brian performed this piece on acoustic bass at the Inn at Reading as part of the Berks Jazz Fest.

On Hayride Bromberg meets banjo great Bela Fleck and violin legend Charlie Bisharat. With all three the tune catches fire and the string arrangement delivers a tight emotional atmosphere. A Little New Old School presents the complete palette of sexy horns including Randy Brecker on trumpet and Gary Meek on tenor sax powered by a mighty horn section of five further prolific brass players. Jeff Lorber adds some dirty gritty atonal tones on keys, while Brian plays various infectious grooves on slap bass with greetings to Victor Wooten and Stanley Clarke.

Forgiveness is a well-respected social and religious behavior. Bromberg elected this great word for a melodic and melancholic acoustic piece with a high emotional aspect. Chicago's Does Anybody Really Know What Time It Is? gets a new swing with a excellent balance of pop and jazz. I'm Just Sayin' loves it straight and jazzy featuring Randy Brecker on muted trumpet. The tune has enough length to allow all musicians to expand on various soli.

The jazz fusion piece Eclipse showcases George Duke on piano and Brecker on flugelhorn. Bromberg describes the song as the darkest tune spiritually and stylistically as a New York jazz sound. Rick James' R&B song Give It To Me Baby finds a jazzy finish by mastermind Bromberg. Finally to mention is Gannin Arnold's superb guitar performance on those part of the album, which aren't played by Brian on piccolo bass.

With Compared to That Bromberg succeeds in recording an evenhanded mixture of pop and jazz, that will actually excite jazz purists.

Tracklist:

01. Compared To That [8:26]
02. Rory Lowery, Private Eye [9:54]
03. If Ray Brown Was A Cowboy? [6:36]
04. Hayride [7:30]
05. A Little New Old School [7:19]
06. Forgiveness [5:19]
07. Does Anybody Really Know What Time It Is? [4:52]
08. I'm Just Sayin' [7:42]
09. The Eclipse [8:59]
10. Give It To Me Baby [4:19]

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[By Request] Joe Plass: After Hours (2012)

Growing up in Portland Oregon, music has always been my passion. My professional playing career started at a very young age playing R & B Funk and Soul in clubs around the Northwest. Although I always loved those funky bass lines from the likes of Louis Johnson and Larry Graham, I also had great respect and admiration for Jazz music. So with such early influences as Stanley Clark, Alphonso Johnson and Joco Pastorius, I crafted a tight blend of funky jazz-fusion bass playing.
In the late 70’s I joined Fantasy recording artist Shock, a 10-piece funk band which produced a hit single Let’s Get Crackin’. After three albums with Fantasy, the opportunity presented itself to join solo artist Kenny G’s band from 1984-1986. I both toured and recorded on Kenny’s platinum selling albums Duotones and Silhouette. In 1993 I also had the pleasure of recording on former Kenny G band mate Tony Gable’s debut CD entitled Tony Gable and 206. In 2000 I recorded on childhood friend and Shock band founder Roger Sause’s solo album Retroman and again in 2003 on his Smooth Jazz/Funk CD Freestyle Funk. Those musical journeys and many others motivated me to express myself in the form of a solo project which led to the creation of my debut CD After Hours.
My self-produced debut CD After Hours is a blend of smooth-jazz, funk and fusion. From the title track After Hours to the last track Loco Mojo you can definitely hear my varying musical influences. The CD also features top shelf jazz-fusion artists such as Jeff Lorber, Gerald Albright, Dean Brown, Paulette McWilliams, John Raymond, Roger Sause and Marlon McClain. So together with my combination of composing/playing and their amazing contributions After Hours is definitely a CD you will want to listen to from start to finish and add to your music collection!
“Music makes people happy, and I’m just glad I could put together a project that everyone will enjoy!” - - Joe Plass

Tracklist:

1. After Hours 5:08
2. Beach Trip 4:24
3. Tribeca 5:04
4. Fresh Garbage 4:46
5. Lies 5:25
6. Skyline 4:57
7. Bumpin' 4:14
8. Good Thing 5:25
9. Cup-O-Joe 4:43
10. Moth Balls 3:06
11. Loco Mojo 3:41

12. After Hours (Radio Mix) 4:14
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[By Request] Dreaming in Colour: The Dream Merchant (2012)

With a hip cutting edge vibe that may well blow you away, contemporary, instrumental jazz group Dreaming In Colour has just released its debut CD, ‘The Dream Merchant’. Constructed around the band’s core members of Kevin Ellis, Chris Noonan and Joe Calandrino, the line-up has often, over the years, been complemented by some of the genre’s top artists and this is particularly so with ‘The Dream Merchant’ for which Ellis, Noonan and Calandrino are joined by Jeff Lorber, Eric Marienthal and Nelson Rangell.

In fact Lorber features on all ten tracks with Marienthal contributing to seven of them. He is in stupendously high-octane form for the fusion filled ‘Crosswinds’ and later the free flowing, sax driven ‘Waiting In Texas’ serves as another opportunity for his playing to really sizzle. The interplay between Calandrino on guitar and Lorber on keys is a focal point of the retro tinged ‘Chromatic’ while ‘Keepsakes’ proves to be a jazzy yet velvety number where the combined talents of Ellis, Noonan, Calandrino, Lorber and Marienthal are found to be at their impeccable best.

‘Davy’s Byrne’ is another lively foot stomper where the lead is generously shared amongst the combined gathering. Notable here is Lorber on keys and he again cuts sensationally loose on ‘Percolator’ which has a groove reminiscent of that often generated by his own band The Jeff Lorber Fusion.

Calandrino takes center stage for the ultra catchy ‘No More Goodbyes’ and although the commercially appealing ‘Twilight Drive’ is the product of a three-way collaboration between Lorber, Kevin Ellis on bass and Marienthal on alto, when the tune is reprised as a sub two-minute closer, Marienthal’s switch to soprano takes away none of the magic.

Despite ‘The Dream Merchant’ being a CD where the tempo remains relatively high throughout, ‘Yearbook’ provides a delicious contrast that adds to the richness of the entire collection. Also relaxed in style, and arguably the best track on the album, is the title song where Smooth Jazz Therapy favorite Nelson Rangell is wonderful on soprano sax.

It is one reason of many why you should make ‘The Dream Merchant’ part of your listening pleasure.

Tracklist:

01. Chromatic [04:53]
02. Yearbook [05:22]
03. Twilight Drive [05:31]
04. The Dream Merchant [05:14]
05. Crosswinds [05:05]
06. Keepsakes [04:49]
07. Percolator [05:05]
08. Waiting In Texas [05:07]
09. Davy's Byrne [04:32]
10. No More Goodbyes [04:00]
11. Twilight Drive (Soprano Reprise) [01:51]

Personnel:

Piano/Keyboards - Jeff Lorber and Tim Pascoal
Saxes - Nelson Rangell and Eric Marienthal
Guitars - Joe Calandrino
Bass - Kevin Ellis
Drums - Chris Noonan

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Richard Elliot: In the Zone (2011)

Richard Elliot's In the Zone picks up where 2009's Rock Steady left off. Where that album paid tribute to the saxophonist's R&B heroes, In the Zone, which marks Elliot's 25th anniversary as a recording artist, offers a thank-you to the influences of his predecessors in the smooth jazz genre: namely Grover Washington Jr., David Sanborn, and Bob James. Co-produced with Jeff Lorber, with horn charts -- and horns -- by David Mann, Elliot composed eight of the ten tracks on the set, co-wrote one with Lorber (who appears on keyboards and guitar), and offers a fine cover of Marvin Gaye's "Inner City Blues (Makes Me Wanna Holler)" as a nod to Washington's stellar version in the early '70s. Things kick off breezily enough with "Island Style"; its Caribbean groove recalls Creed Taylor's production of Washington's Kudu Records output. That said, the phrasing is pure Elliot. "Boom Town," the single, is funkier, and features fine guitar work by Dwight Sills and Lorber. Elliot's sense of time when soloing is deadly. The melody is as infectious and celebratory as it is sexy. "Metropolis" almost cops a "Mister Magic" vibe when it commences, but it's more songlike than vamp-oriented. It's possessed of a delightful lyricism. "The Lower Road" is almost a country melody played contemporary jazz style. It too is comprised of a gorgeous melody played on and around by Elliot with fine guitar work by Michael Thompson and Lorber -- this is a clear nod to James and his gift for elegant melodies. "Bring It!" is deeply funky and inspired by R&B, and its emotive blowing recalls Sanborn. While "Just a Taste" is simply pleasant and lithe, it contrasts sharply with the title track, a hard, funky strutter with excellent guitar interplay and additional layers of horns by Mann. "Panamera" is slick dancefloor glide but the rhythmic palette shifts in interesting ways. The set closes with the graceful lyricism of "Golden Triangle," another songlike piece that reflects Elliot's love of compact harmonies. Lil' John Roberts is exceptional on the drum kit, using brushes to provide unexpected breaks as Thompson and Tony Maiden exchange open, nearly jangly guitar interplay. In the Zone is a fine companion to Rock Steady, but perhaps even more to Metro Blue. Ultimately, it proves beyond doubt that there is plenty of life and possibility in the contemporary jazz genre. ~ Thom Jurek

Tracklist:

01. Island Style (5:19)
02. Boom Town (4:17)
03. Metropolis (4:11)
04. Inner City Blues [Makes Me Want To Holler] (5:02)
05. The Lower Road (4:22)
06. Bring It! (4:36)
07. Just A Taste (4:18)
08. In The Zone (4:35)
09. Panamera (4:23)
10. Golden Triangle (4:58)
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Michael Lington: Everything Must Change (2002)

Some bop snobs would have listeners believe that smooth jazz is inherently evil because it is designed to attract R&B and pop audiences -- that commercialism is a place where only infidels, heretics, and blasphemers dwell. But truth be told, smooth jazz is what the artist chooses to make it; some pop-friendly jazz (Grover Washington, Jr., David Sanborn, Pat Metheny) has been quite creative. Unfortunately, a lot of radio-oriented smooth jazz tends to be contrived and formulaic, and more often than not, Michael Lington's Everything Must Change is a perfect example of an artist modeling himself after what NAC radio is playing instead of gambling with inspiration. The problem with much of this CD isn't the fact that Lington has been influenced by urban contemporary, funk, and pop -- contrary to the assertions of bop snobs, there is no reason why jazz shouldn't be combined with a variety of different things. Nor is Lington's problem a lack of chops; he's a capable saxophonist who knows his way around both the alto and the soprano. The problem with most of Everything Must Change is a lack of spontaneity and a refusal to break free of the dictates of smooth jazz/NAC radio; all too often, the Danish saxman is more than happy to emulate Dave Koz, Warren Hill, or Kenny G. if it will make program directors happy. Nonetheless, this CD does have a few memorable tracks -- most notably, the Spanish-tinged, somewhat Gato Barbieri-ish "Mallorca" and a soulful interpretation of "Everything Must Change." Lington really digs into Bernard Ighner's standard, and he demonstrates that he is quite capable of being warm and personal instead of formulaic. But those tracks are the exception instead of the rule; most of the time Lington sells himself short on this 2002 release. - AMG

Tracklist:
01. Off The Hook [3:57]
02. In The Shade [4:26]
03. Through The Fire [4:44]
04. The Moment [4:02]
05. For You [3:48]
06. Larger Than Life [3:50]
07. Still Thinking Of You [3:58]
08. 3 A.M. [4:39]
09. Mallorca [3:34]
10. Everything Must Change [06:51]
Personnel:
Michael Lington (soprano & alto saxophone);
Lee Thornburg (trumpet);
Ricky Peterson (hammond B-3 organ);
Gregg Karukas (keyboards, Mini-Moog synthesizer);
Jeff Lorber (keyboards, guitar, programming);
Julian Bunetta, Sam Purkin, Brian Culbertson (keyboards, programming);
Tony Maiden, Paul Jackson, Jr. (guitar);
Paul Viapiano (spanish guitar);
Alex Al, Roberto Vally, Nathan East (bass);
Ricky Lawson (drums);
Leslie Smith (percussion)
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Jeff Lorber Fusion: Galaxy (2012)

It was in 2010, with the CD ‘Now Is The Time’, that Jeff Lorber revisited the sound that he had helped to pioneer. This return to jazz fusion was heralded with critical acclaim and now, for part two, he is back with ‘Galaxy’. Full of the same funk driven energy that was a feature of ‘Now Is The Time’, and with the likes of Eric Marienthal, Jimmy Haslip and Lenny Castro all involved, ‘Galaxy’ is a wonderful throwback to the halcyon days of jazz fusion. Not only that, this 21st century version of the Jeff Lorber Fusion includes contributions from trumpeter Randy Brecker, guitarists Paul Jackson Jr. and Larry Koonse plus drummers Vinnie Colaiuta and Dave Weckl. With eleven original compositions, including four tracks from the Jeff Lorber Fusion’s early catalogue, ‘Galaxy’ really is something to savor.

Lorber make an early statement of his funky intent with the zesty ‘Live Wire’ which not only provides a fine showcase for the percussive power of Vinnie Colaiuta but also runs to an intoxicating seven minutes in length. That said, there is magic in every second of it and much the same can be said of the intense title cut which is a perfect example of the tight, high octane performances that can be found throughout.

In similar vein is the all consuming ‘Rapids’ and, although the swaggering ‘Big Brother’ serves to recapture some of the buzz that one associates with the best examples of early contemporary jazz, ‘The Underground’ proves to be an invigorating extravaganza of the highest order.

The Latin influenced ‘The Samba’ first appeared on the 1987 album ‘Soft Space’ while ‘City’ is a reworking of the track that originally appeared on the JLF 1980 long player ‘Wizard Island’. When Lorber returns to this same collection for the velvety title tune he contrives to make it sound brand new and elsewhere Lorber uses the jazzy ‘Horace’ to a tip a hat to the legendary Horace Silver.

When, occasionally, Lorber notches down the tempo, the result is as pleasing as it is surprising and this is particularly so with the edgily mellifluous ‘Singaraja’ which is right up there with the album’s best. Yet, in the final analysis, ‘Galaxy’ is all about the funk and with ‘Monserrat’ Lorber delivers a number that, courtesy of a tasty brass infusion, sizzles from beginning to end.

‘Galaxy’ is due for release January 31, 2012, on Heads Up International, a division of Concord Music Group and looks set to cement Lorber’s legendary status within the genre of contemporary jazz.

Tracklist:

1. Live Wire
2. Big Brother
3. Montserrat
4. Singaraja
5. Galaxy
6. City
7. Horace
8. The Samba
9. Rapids
10. Wizard Island
11. The Underground

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