Showing posts with label Artistry Music. Show all posts
Showing posts with label Artistry Music. Show all posts

Wednesday, February 23, 2022

VIDEO AVAILABLE NOW: Brian Bromberg | "Baton Rouge" | Artistry Music

Brian Bromberg Releases New Video
Featuring the Late Nick Colionne
"Baton Rouge (Live from Berks Jazz Fest)"

A Little Driving Music Available Now via
Artistry Music/Mack Avenue Music Group

"When I was writing the music for my album A Little Driving Music, this song just showed up and essentially just kinda wrote itself. Same with the name, Baton Rouge. It just came to me. I was thinking of Baton Rouge in the summer, hot, humid, sticky, and bluesy. A great vibe! The first musician I thought of to play on the song was guitarist Nick Colionne. We have been friends for years and played together a number of times, but never recorded together. I thought this song would be perfect for him and for the two of us to do together.

This video is from the 2021 Berks Jazz Festival where Nick sat in with my band and we got to perform it live together for the first time. Sadly, I had no idea that it would be the last and only time we would play it together. I am heartbroken that we lost Nico way too soon, but I am so happy that we have this performance of us playing Baton Rouge together. I will cherish this performance and the wonderful smiles we both have playing together."
— Brian Bromberg
After nearly a year of being cooped up within the same four walls, it’s only natural that one’s thoughts might turn to the freedom of the open road. That’s certainly true of virtuoso jazz bassist and world-renowned producer Brian Bromberg, whose third pandemic-era release shrugs off the prevailing mood of COVID-era claustrophobia and political strife for A Little Driving Music, a fun, funky paean to cruising with the top down and leaving your troubles behind.

While countless musicians have spent the quarantine months in a state of limbo, the always-prolific Bromberg quickly figured out a way to continue making music while remaining socially distanced. Out now on Artistry Music/Mack Avenue Music Group, A Little Driving Music follows the bassist’s wide-ranging holiday album, Celebrate Me Home, and the remixed and remastered digital release of his stunning tribute album Bromberg Plays Hendrix. 

“In one aspect it's been a weird, heartbreaking time to be a musician who just wants to play music with human beings, for human beings,” Bromberg laments. “On the flip side, I've been really fortunate. It's been a really positive, productive period because I've had nothing but time to sit in front of a computer or pluck my strings.”

A Little Driving Music features a dozen brand-new Bromberg compositions as well as a surprising 80s cover song, the joyful Katrina and the Waves hit “Walking on Sunshine.” Despite recording each musician in isolation and at a distance, the bassist managed to (virtually) assemble an elite roster of longtime collaborators and all-star special guests including saxophonists Dave Koz, Everette Harp, Gary Meek, Elan Trotman, Darren Rahn and Marion Meadows; keyboardist Tom Zink; guitarists Jerry Cortez, Nick Colionne and Ray Fuller; drummers Joel Taylor and Tony Moore; vibraphonist Craig Fundiga; and percussionist Lenny Castro. There’s even a string orchestra featuring members of the National Symphony Orchestra of the Dominican Republic, conducted by arranger/producer Corey Allen (again, with COVID safety protocols in place).

“This is the hand you're dealt, so you make the most of it,” Bromberg says of the unusual circumstances under which the album was recorded. “Everything about how we do things has changed, but when you come to terms with that and accept it for what is, you can enjoy the process. Especially when you're dealing with a lot of talented people and state-of-the-art technology – it's amazing what you can do despite not being in a prime situation.”

No trace of that adverse situation can be heard as the album kicks off with “Froggy’s,” a carefree, high-spirited funk tune highlighted by a lively horn section emulating the chorus of frogs that often greets the composer at his Southern California home. Bromberg takes a blistering solo on piccolo bass, which could easily be mistaken for a shredding electric guitar. The baton is then picked up by Everette Harp’s vibrant turn on sax. 

A diary entry for these strange times, “Quarantine” was the first track penned by Bromberg after lockdown commenced. The rest of the album was also composed in quarantine, with the sole exception of the title track – fittingly enough, as the freewheeling “A Little Driving Music” fills the listener with a sense of movement and freedom much missed over these solitary months. “That Cool Groovy Beatnik Jazz” is another self-explanatory title, conjuring the laid-back, finger-snapping groove of a classic BYOB hipster café (meaning Bring Your Own Bongos).
Both “Bado Boy!” and “Lullaby for Bado” are dedicated to a cat that Bromberg and his fiancée rescued from Barbados, a complicated tale that eventually involved the island’s Minister of Agriculture. (“It would be as if you wanted to rescue a cat and had to talk to the Vice President of the United States to do it,” Bromberg says incredulously.) The former tune, which features Barbados-born saxophonist Elan Trotman, reflects the feline’s playful spirit; the latter, pairing Bromberg’s emotional acoustic bass with the Dominican Republic strings, is an elegy for the lost cat.

“We knew he was sick, but we hoped he'd live a long time,” Bromberg recalls. “Unfortunately, he only lived a year, but he had a hell of a year living with us instead of being alone as a stray cat sick in the Caribbean.”

With an assist from Dave Koz, “Walking on Sunshine” reimagines the 80s classic in a jazz context, slower and funkier than the incessantly upbeat original. “After the year we've had – and, sadly, the year we're likely going to have – a little positive energy goes a long way,” Bromberg explains. “So, I wanted to record something with positive energy and uplift that also had that twist, that most recording artists might not have thought of doing.”

Short for Sagittarius, “Sag 5” is named for the December 5 birthday that Bromberg shares with saxophonist Darren Rahn, who guests on the track, melding sounds so harmoniously with the bassist that it lends a bit of credence to astrological synergy. Adding Andrew Neu on clarinet and Mitch Forman on accordion, “A Rainy Day in Paris” transports the listener to a café in the City of Lights as the weather turns gray outside. “If that song doesn't make you want to have a glass of wine and some cheese, I don't know what will,” insists Bromberg. “The only thing missing is a red and white checkered tablecloth.”

With Marion Meadows extolling the hopeful melody on soprano sax, “Peace” is Bromberg’s offering to the search for sanity in a contentious world. As he describes it, the tune is “the equivalent of a musical time out, suggesting that everybody just take a deep breath while the world and this country, in particular, is pretty upside down.” 

The country-accented “Jedediah’s Gold” paints a sepia-tinged portrait of a Gold Rush miner and his stake in the Old West, while “The Sitting Room” luxuriates in the feeling of relaxing in a favorite, comfy spot at home. The greasy, slinky “Baton Rouge” detours down south for a bit of hot, sweaty, fun-in-the-sun funk with Nick Colionne laying down some down-home guitar licks.

“There's some heavier music on A Little Driving Music,” Bromberg concludes, “but for the most part it's a fun, positive energy record. There's nothing better than that Zen moment of listening to great tunes on the road, looking out the window at life. That's the vibe of it to me: I hope people just want to put it on in the car and crank it up.” 


Brian Bromberg • A Little Driving Music
Artistry Music • Release Date: May 21, 2021

For more information on Brian Bromberg, please visit: BrianBromberg.net

Tuesday, January 18, 2022

Tower of Power Announces Nationwide Spring Tour

Legendary Soul-Funk-R&B Band Tower of Power Celebrates
50th Anniversary Release, 50 Years of Funk & Soul:
Live at the Fox Theater – Oakland, CA – June 2018,
with Nationwide Spring Tour

First Major Tour Since Onset of Covid-19 Pandemic

Upcoming Tower of Power U.S. Tour Dates

February 11 & 12 | Montbleu Resort Casino and Spa | Stateline, NV
February 15 | Ponte Vedra Concert Call | Ponte Vedra, FL
February 17 | Nancy and David Bilheimer Capitol Theatre | Clearwater, FL
February 19 | Parker Playhouse | Ft. Lauderdale, FL
February 20 | The Plaza Live | Orlando, FL
February 22 | Variety Playhouse | Atlanta, GA
March 3 | Tupelo Music Hall | Derry, NH
March 4 | Plymouth Memorial Hall | Plymouth, MA
March 5 | Chevalier Theater | Medford, MA
March 7 | Whitaker Center for Science and the Arts | Harrisburg, PA
March 9 | Community Arts Center | Williamsport, PA
March 10 | The Ridgefield Playhouse | Ridgefield, CT
March 11 | The Warehouse at FTC | Fairfield, CT
March 14 & 15 | Sony Hall | New York, NY
March 17 | MGM Northfield Park | Northfield, OH
March 19 | Lindenwood Theater | Saint Charles, MO
April 23 | Soundstage at Graceland | Memphis, TN
Tower of Power (photo courtesy Mack Avenue Records)

Tower of Power, legendary Bay Area funk band, announces today their initial details surrounding a late winter / early spring 2022 tour; one that will dip them down into Florida and select Northeastern markets for the first time since the onset of Covid in 2020. The band was last on the road in the fall of 2021 but hasn’t paid a true visit to Florida or the Northeast since before 2020. With this tour, spanning over 15 cities, Tower of Power returns to some of their favorite markets to bring their much needed inimitable blend of soul, funk, rock, R&B, and jazz to rejuvenate fans both old and new. 
 
The band, whose timeless classics such as “What Is Hip?” “So Very Hard to Go,” “You’re Still A Young Man,” and many more, have truly withstood the test of time. In 2018, Tower of Power got together for two memorable evenings in Oakland, the city that started it all, to celebrate its landmark 50th anniversary with a few thousand friends, family and fans. The window-rattling grooves and raucous party spirit of ToP has been a balm for the soul throughout the band’s half-century existence, but the release of 50 Years of Funk & Soul: Live at the Fox Theater – Oakland, CA – June 2018 couldn’t have come at a better time.  
 
Now, the legendary soul-funk-R&B group is set to return to the road with the first major tour since the onset of the Covid-19 pandemic. Beginning in February, they'll visit over 20 markets in nearly a dozen states to celebrate the release of their recent album in commemoration of their 50th anniversary.
Available now from Artistry Music/Mack Avenue Music Group, the high-spirited live album and video offers a reminder of the communal joys of the live music experience, something that’s been sorely missed over this staggering pandemic year. Released as a 3-LP set, a 2-CD/DVD combo, a standalone DVD, as well as digitally, 50 Years of Funk & Soul is the next best thing to hearing these brilliant musicians in person. Fittingly for such a special occasion, Tower of Power went all out for these hometown shows, supplementing the core 10-piece band and its iconic horn section with additional horns and a string section.  
 
Bandleader and saxophonist Emilio Castillo also invited back a few elite ToP alumni, including saxophonist Lenny Pickett (musical director of the Saturday Night Live band); keyboardist Chester Thompson (Santana); guitarist Bruce Conte and former vocalist Ray Greene, who shows off his trombone prowess. They join the renowned modern line-up of the band, featuring co-founder Stephen “Doc” Kupka on baritone sax, longtime drummer David Garibaldi, and lead vocalist Marcus Scott. Adding a bittersweet tinge is the presence of founding bassist Francis “Rocco” Prestia, who passed away in September 2020. 
 
“People come up to me all the time and say, ‘Wow man, 50 years! We can't believe it,’” laughs Castillo. “You can't believe it? I'm the one that can't believe it. We've been through a lot of ups and downs and learned a lot along the way. We've affected a lot of people's lives and done a lot of work that we're very proud of. The band has a real family atmosphere. It's been very rewarding.”
 
Castillo was only 17 years old when he met Kupka and started to assemble the band that would become Tower of Power. “I had no vision at all,” he recalls now. “I just loved playing soul music. My idols were a local band called The Spyders and they had gigged in Sacramento. I thought, ‘Man, if I could just get to Sacramento that would be it.’ That's literally how small my vision was.”
 
The band has long since surpassed Castillo’s admittedly modest aspirations, traveling the world, enjoying hit singles on their own and backing some of the most legendary artists of the last 50 years – a list that includes Otis Redding, Elton John, Santana, the Grateful Dead, John Lee Hooker, Aerosmith, Bonnie Raitt, and countless others. In the process they’ve defined an “Oakland soul” sound as instantly recognizable as those from Castillo’s hometown, Detroit, as well as inspirations like Memphis and Philadelphia. 

Artistry Music · Release Date: March 26, 2021 

For more information on Tower of Power, please visit: towerofpower.com

Thursday, September 23, 2021

Kirk Whalum | "How Does Christmas Sound?" | Artistry Music


GRAMMY® Award-Winning Saxophonist
Kirk Whalum Asks, How Does Christmas Sound?
with Second Holiday-Themed Release

Album Explores More Spiritual and
Introspective Sound for Christmas,
Welcoming Peace and Celebration

When we think of Christmas, sometimes it’s the sights that come to mind: the multi-colored lights framing the windows of neighbors’ houses, the line of eager children waiting to sit on Santa’s lap, the Nativity scene on the lawn at the local church. Or maybe it’s the smells that arise first: fresh-baked gingerbread, pine needles, a turkey dinner in the oven.
 
On his new album for Artistry Music/Mack Avenue Music Group, GRAMMY® Award-winning saxophonist Kirk Whalum asks How Does Christmas Sound? On his second holiday-themed album, Whalum doesn’t answer that question in the expected way – revisiting the most familiar carols, the ones that have already worn out their welcome most years by the time Thanksgiving rolls around. Instead, he finds a more spiritual, introspective sound for Christmas, one that acknowledges the melancholy that often accompanies the Yuletide and the faith that is so central to his own celebrations.
 
“You can talk about the sights and the smells, but to me it's always a sound that takes me to the true meaning of Christmas,” Whalum explains. “Even in April, I will put on Nat King Cole’s Christmas record and it brings me peace.”
 
How Does Christmas Sound? follows Whalum’s previous holiday album, 2001’s GRAMMY® Award-nominated The Christmas Message. Over the last decade he’s regularly celebrated the season with his annual “A Gospel According to Jazz Christmas” Tour. So, it only made sense to revisit the Christmas canon with a renewed perspective, especially following a season when many families spent the holiday apart during the pandemic.
 
“We had to sit out a Christmas,” Whalum says. “I realized during the pandemic that Christmas means more to me now than it ever did. Like my faith, Christmas is axiomatic to my life, and I have evolved spiritually in so many ways.”
 
To reflect that profound evolution, Whalum reconvened with producer/trumpeter James McMillan, with whom he also worked on his monumental 2019 album Humanité, also on Artistry Music. The two share a friendship dating back much further, however, to their days touring in the horn section for the British pop duo Everything but the Girl. Their close relationship, as well as their experiences conceiving the globe-spanning Humanité, made McMillan the ideal collaborator for this latest endeavor, so Whalum returned to the producer’s studio in the seaside English hamlet of Hastings.
 
“One of the main points we made with Humanité was the fact that there's so much life and culture and beauty that exists outside of your world. I'd like to say that life can be about getting to know some of it. So, James had the idea to bring to light all of these more obscure Christmas songs. It gave us a great opportunity to unearth these jewels of Christmas songs that exist outside of the American mainstream.”
 
Those unexpected selections include the hymns “A Babe is Born” and “Es Ist Ein Ros Gesprungen” and the Contemporary Christian song “Thorns in the Straw.” Originally written and recorded by British singer-songwriter Graham Kendrick, the latter is here reimagined with a bright jazz feel and vocals by the saxophonist’s brother, singer Kevin Whalum.
Family is central to the album as a whole, as it always has been throughout Whalum’s career. On the album’s title track, one of two new songs penned by Whalum for the occasion, the saxophonist’s nephew, actor/singer Kortland Whalum, is the featured vocalist, while his son Kyle Whalum handles bass duties.
 
“My discography is always about family, and this record is no different,” Whalum says. “Whenever I record music, I'd be crazy not to use my son who plays with Kelly Clarkson, my nephew who is out doing Broadway shows and my other nephew who plays with Bruno Mars.” (Whalum’s nephew, trombonist Kameron Whalum, is in fact so busy with his Bruno Mars duties that he was unable to participate in How Does Christmas Sound? but he’s a frequent guest on his uncle’s projects.)
 
Not all of the songs that make up How Does Christmas Sound? are quite so arcane. The second track is perhaps the album’s most unexpected, a forlorn treatment of Mariah Carey’s “All I Want for Christmas,” which has become the iconic Christmas song of its generation. Whalum’s reverently slow version becomes a song of faith, directed to the saxophonist’s savior rather than a Yuletide lover.
 
“I probably would never have recorded that song, though it’s apparently the most popular Christmas song since ‘Joy to the World,’” Whalum admits. “My daughter convinced me, and James agreed that there was gold to be found in the song. When you slow it down it makes one consider the materialism and expectations around Christmastime that end up leaving people feeling empty and disappointed sometimes. So, in essence I'm saying to Christ, ‘You do the things that I need and fulfill my greatest dreams, so that as a gift is more than sufficient.’ It just so happens that because of that great gift, I also have these other gifts, like my wife and my family.”
 
Whalum’s crooning tenor finds an intimate moment amidst all the year-end festivities on a wistful “What Are You Doing New Year’s Eve?” aided by Mark Edwards’ sensitive piano and Marcus Finnie’s whispering brushwork on the drums. He switches to flute for an updated “God Rest Ye Merry Gentlemen” and is joined by rising R&B star Chantae Cann on the Contemporary Christian favorite “Mary Did You Know?” which has been recorded by everyone from Kenny Rogers and Wynonna Judd to Cee-Lo Green, Pentatonix to Dolly Parton.
 
Whalum’s second original, with lyrics by Nashville singer-songwriter Benita Hill, is the romantic ode “Seven,” with lead vocals by Kevin Whalum backed by the rich harmonies of Take 6. “What guy or girl wouldn't want to have someone write a song about them as the seventh wonder of the world?” Whalum muses. “It’s the perfect Christmas present.”
 
Conceived in Whalum’s home studio, his unique take on “Angels We Have Heard on High” is a solo tour-de-force layering soprano, tenor and baritone saxophones with percussion generated by the hammering of saxophone keys, all deftly performed by Whalum himself with accompaniments by Edwards and McMillan. The album concludes with an impassioned rendering of “In the Bleak Midwinter” given silken texture by the guitar playing of Mark Jaimes.
 
More than just another merry round of caroling, How Does Christmas Sound? is Whalum’s attempt at offering a moment of soul-searching for Christmas revelers and a balm for those whose holidays don’t shine as brightly. 
 
“In Christendom we have this beautiful hymn, ‘There's a Balm in Gilead,’ which says, ‘to heal the sin-sick soul, to make the wounded whole,’” Whalum shares. “I wanted to make it a point to ask how does Christmas sound when your heart is sad, when you feel anything but joy? I'm hoping that it impacts people in that way, that it reminds listeners that God is thinking about them.”

Kirk Whalum · How Does Christmas Sound?
Artistry Music (Mack Avenue Music Group) · Release Date: September 2021

For more information on Kirk Whalum, please visit: KirkWhalum.com

Friday, June 18, 2021

Steve Cole | "Smoke and Mirrors" | June 18 via Artistry Music (Mack Avenue Music Group)

Steve Cole Reflects on Turbulent Societal Themes
in Smoke and Mirrors

Album features David Mann, Bernd Schoenhart,
Trevor Neumann, Ricky Peterson, Mel Brown,
Mark Egan, Brian Dunne and Todd Sucherman

Smoke and mirrors” refer to the trickery used by magicians to fool an audience – but don’t we all indulge in a bit of hocus-pocus to represent ourselves to the world? On his new album, Smoke and Mirrors, Steve Cole offers up an intimately personal reflection of his own true self, free of trickery or sleight of hand.

Created entirely in pandemic-necessitated isolation, Smoke and Mirrors (due out June 18, 2021 via Artistry Music/Mack Avenue Music Group) brings together an all-star band with Cole’s longtime producer, co-writer and multi-instrumentalist David Mann. The far-flung ensemble includes guitarist Bernd Schoenhart (Cher, Marc Anthony); trumpet and flugelhorn player Trevor Neumann (The Eagles, Jeff Lorber); organist Ricky Peterson (David Sanborn, Prince); bassists Mel Brown (Stevie Wonder, The Temptations) and Mark Egan (Pat Metheny Group, Sting); drummers Brian Dunne (Hall and Oates, Ariana Grande) and Todd Sucherman (Styx, Brian Wilson).

While there were certainly challenges to corralling this stellar roster of musicians remotely from home recordings or socially distanced studio settings, quarantine did prove an equalizer in another sense. “Everybody’s stuck at home,” Cole points out with a laugh. “There are a lot of musicians that I would love to work with, but it’s impossible because they're always on the road. So there was a little silver lining in the fact that I could call old friends like Todd Sucherman and Brian Dunne, or amazing artists like Mark Egan, and they’re actually available.”

The unusual situation we’ve all found ourselves living in also changed the way that Cole and Mann composed the music for Smoke and Mirrors. In the past, the two collaborators would traditionally meet in a room and write together, trading ideas in the moment. The same creative back and forth happened this time, but long distance, with the two sending audio files between New York and Cole’s home studio in Minneapolis. The result offered the best of both worlds, allowing for a fruitful exchange of ideas with time for reflection.
“The energy of writing together can be really amazing and inspiring,” Cole says. “But you always tend to land on the first right answer and then move on. Having the time and space to contemplate and try things gives you the opportunity to discover a better right answer.”

The answers that Cole and Mann found throughout the writing of Smoke and Mirrors yield a wide spectrum of emotion, from quiet contemplation to funky celebration. The societal turbulence in which the album was crafted couldn’t help but pervade the music, Cole explains. “We're sitting with this stuff in our lives every single day: the pandemic, the political and social climate. How does that not find its way into your creative output, whether deliberately or subconsciously?”

On an even more personal note, Smoke and Mirrors marks Cole’s first outing since the untimely passing of his usual drummer, the great Khari Parker. “I didn't realize how much I thought about Khari when I was writing music,” Cole says. “I remember looking forward to what a tune would end up sounding like, knowing that Khari would be playing it. I have this idea of this groove in my mind that is so informed by how I’m expecting Khari to interpret it. Being cut off from that creativity and from that personality is really rough.”

In many ways, being “cut off” is a theme that weaves through the album. Another loss to the music is represented by “Wayman,” written for the late NBA player-turned bassist Wayman Tisdale, with whom Cole recorded on the bassist’s 2001 tune “Loveplay.” Tisdale was also an inspiration behind the album’s joyous opener, “Living Out Loud,” which took a convoluted route to its eventual shape, with Cole conceiving the melodies on bass a la Tisdale.

Travel has been an indirect casualty of the pandemic, which Cole references on the wistfully buoyant “Covent Garden.” The title is a reference to the area of London where the saxophonist and his wife stay during their yearly sojourns to England, a tradition sorely missed. 
The issues dominating the headlines this past year are more directly confronted on two pieces: “Justice,” which closes the album on a somber note, was written in reaction to the killing of George Floyd, mere miles from Cole’s home in Minneapolis, and the ensuing protest movement. “At a Distance” directly address life during Covid with both longing and optimism, while the soulful “Trust” – which Cole describes as a cross between Van Morrison and Babyface – conveys the composer’s gratitude for those closest to him, whether physically or spiritually.

Not every moment can be spent dwelling on such heavy themes even in such unprecedented times, and Cole does cut loose with some classic funk. “It’s a House Party” is a feel-food slab of Bootsy Collins-inspired funk, while “On the Money” reconnects the saxophonist with his Chicago roots with a song sure to thrill audiences once they can safely reconvene. 

Finally, the title track sums up the themes of the album and the notion of identity that prompted the name. Throughout Smoke and Mirrors, Cole reveals himself in both intimate, personal reflections and the extroverted thrill of his groove-loving spirit. No smoke, no mirrors – just heartfelt, inspiring music for the soul.

Sunday, April 18, 2021

Brian Bromberg | "A Little Driving Music" | May 21 via Artistry Music (Mack Avenue Music Group)

World-Renowned Bassist and Producer
Brian Bromberg Escapes the Pandemic Blues
with a Vibrant, Funky New Album That
Conjures the Spirit of the Open Road
with A Little Driving Music

Due Out May 21, 2021 on
Artistry Music/Mack Avenue Music Group

Bromberg’s Third Album Created in Quarantine,
Features All-Star, Socially-Distanced Cast of Musicians Including Dave Koz, Marion Meadows, Elan Trotman,
Everette Harp, Gary Meek and Nick Colionne

After nearly a year of being cooped up within the same four walls, it’s only natural that one’s thoughts might turn to the freedom of the open road. That’s certainly true of virtuoso jazz bassist and world-renowned producer Brian Bromberg, whose third pandemic-era release shrugs off the prevailing mood of COVID-era claustrophobia and political strife for A Little Driving Music, a fun, funky paean to cruising with the top down and leaving your troubles behind.

While countless musicians have spent the quarantine months in a state of limbo, the always-prolific Bromberg quickly figured out a way to continue making music while remaining socially distanced. Due out May 21, 2021 via Artistry Music/Mack Avenue Music Group, A Little Driving Music follows the bassist’s wide-ranging holiday album, Celebrate Me Home, and the remixed and remastered digital release of his stunning tribute album Bromberg Plays Hendrix. 

“In one aspect it's been a weird, heartbreaking time to be a musician who just wants to play music with human beings, for human beings,” Bromberg laments. “On the flip side, I've been really fortunate. It's been a really positive, productive period because I've had nothing but time to sit in front of a computer or pluck my strings.”

A Little Driving Music features a dozen brand-new Bromberg compositions as well as a surprising 80s cover song, the joyful Katrina and the Waves hit “Walking on Sunshine.” Despite recording each musician in isolation and at a distance, the bassist managed to (virtually) assemble an elite roster of longtime collaborators and all-star special guests including saxophonists Dave Koz, Everette Harp, Gary Meek, Elan Trotman, Darren Rahn and Marion Meadows; keyboardist Tom Zink; guitarists Jerry Cortez, Nick Colionne and Ray Fuller; drummers Joel Taylor and Tony Moore; vibraphonist Craig Fundiga; and percussionist Lenny Castro. There’s even a string orchestra featuring members of the National Symphony Orchestra of the Dominican Republic, conducted by arranger/producer Corey Allen (again, with COVID safety protocols in place).
“This is the hand you're dealt, so you make the most of it,” Bromberg says of the unusual circumstances under which the album was recorded. “Everything about how we do things has changed, but when you come to terms with that and accept it for what is, you can enjoy the process. Especially when you're dealing with a lot of talented people and state-of-the-art technology – it's amazing what you can do despite not being in a prime situation.”

No trace of that adverse situation can be heard as the album kicks off with “Froggy’s,” a carefree, high-spirited funk tune highlighted by a lively horn section emulating the chorus of frogs that often greets the composer at his Southern California home. Bromberg takes a blistering solo on piccolo bass, which could easily be mistaken for a shredding electric guitar. The baton is then picked up by Everette Harp’s vibrant turn on sax. 

A diary entry for these strange times, “Quarantine” was the first track penned by Bromberg after lockdown commenced. The rest of the album was also composed in quarantine, with the sole exception of the title track – fittingly enough, as the freewheeling “A Little Driving Music” fills the listener with a sense of movement and freedom much missed over these solitary months. “That Cool Groovy Beatnik Jazz” is another self-explanatory title, conjuring the laid-back, finger-snapping groove of a classic BYOB hipster café (meaning Bring Your Own Bongos).

Both “Bado Boy!” and “Lullaby for Bado” are dedicated to a cat that Bromberg and his fiancée rescued from Barbados, a complicated tale that eventually involved the island’s Minister of Agriculture. (“It would be as if you wanted to rescue a cat and had to talk to the Vice President of the United States to do it,” Bromberg says incredulously.) The former tune, which features Barbados-born saxophonist Elan Trotman, reflects the feline’s playful spirit; the latter, pairing Bromberg’s emotional acoustic bass with the Dominican Republic strings, is an elegy for the lost cat.

“We knew he was sick, but we hoped he'd live a long time,” Bromberg recalls. “Unfortunately, he only lived a year, but he had a hell of a year living with us instead of being alone as a stray cat sick in the Caribbean.”
With an assist from Dave Koz, “Walking on Sunshine” reimagines the 80s classic in a jazz context, slower and funkier than the incessantly upbeat original. “After the year we've had – and, sadly, the year we're likely going to have – a little positive energy goes a long way,” Bromberg explains. “So, I wanted to record something with positive energy and uplift that also had that twist, that most recording artists might not have thought of doing.”

Short for Sagittarius, “Sag 5” is named for the December 5 birthday that Bromberg shares with saxophonist Darren Rahn, who guests on the track, melding sounds so harmoniously with the bassist that it lends a bit of credence to astrological synergy. Adding Andrew Neu on clarinet and Mitch Forman on accordion, “A Rainy Day in Paris” transports the listener to a café in the City of Lights as the weather turns gray outside. “If that song doesn't make you want to have a glass of wine and some cheese, I don't know what will,” insists Bromberg. “The only thing missing is a red and white checkered tablecloth.”

With Marion Meadows extolling the hopeful melody on soprano sax, “Peace” is Bromberg’s offering to the search for sanity in a contentious world. As he describes it, the tune is “the equivalent of a musical time out, suggesting that everybody just take a deep breath while the world and this country, in particular, is pretty upside down.” 

The country-accented “Jedediah’s Gold” paints a sepia-tinged portrait of a Gold Rush miner and his stake in the Old West, while “The Sitting Room” luxuriates in the feeling of relaxing in a favorite, comfy spot at home. The greasy, slinky “Baton Rouge” detours down south for a bit of hot, sweaty, fun-in-the-sun funk with Nick Colionne laying down some down-home guitar licks.

“There's some heavier music on A Little Driving Music,” Bromberg concludes, “but for the most part it's a fun, positive energy record. There's nothing better than that Zen moment of listening to great tunes on the road, looking out the window at life. That's the vibe of it to me: I hope people just want to put it on in the car and crank it up.”

 Brian Bromberg • A Little Driving Music
Artistry Music • Release Date: May 21, 2021