Showing posts with label Brian Bromberg. Show all posts
Showing posts with label Brian Bromberg. 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 BrombergA Little Driving Music
Artistry Music • Release Date: May 21, 2021

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

Friday, August 13, 2021

Contemporary Jazz Pianist/Keyboardist Dan Siegel Returns with New Album “Faraway Place” on Aug. 13th, 2021

Dan Siegel Returns on His Twenty-Second Recording
as a Bandleader with Faraway Place

Album Features Eric Marienthal,
Lee Thornburg, Allen Hinds, Brian Bromberg,
Abraham Laboriel, Dwyane “Smitty” Smith,
Lenny Castro, and Rogerio Jardim

While the coronavirus wreaked havoc to a deadly extreme, the pandemic era with its heightened quarantine measures proved to swing a double-edge sword for musicians. Many were silenced, suffering the liability of limited-to-no opportunities to perform. But on the other hand, the disease aroused many to be creative in their artistic expression. Veteran contemporary jazz pianist/keyboardist Dan Siegel took that difficult challenge during the social distancing desert to remotely assemble a group to deliver his eclectic album Faraway Place on his DSM label. It’s comprised of 11 originals that range from straight-up lyrical beauties to accordion-tinged grooves, to a baroque-like number with strings and horns. Remarkably, this is Siegel’s 22nd recording as a leader.

“This is a different kind of album because of the pandemic,” says the Irvine, California-based composer and bandleader. “After writing the music in isolation, everything, with a few exceptions, was recorded separately by musicians in their home studios.” says Siegel. All of the tracks were demoed and developed rhythmically by drummers Vinnie Colaiuta, Steve Gadd at East West Studios in LA. “Those were the only sessions that I was present at,” Siegel says. “They set the music into motion with their drums. Then I sent what they did to the musicians I wanted to use and asked them to lay their parts down. What they sent back was so musical and really well-played. It only required a few modifications. I also went into the studio to record piano, and I rented an accordion for four tunes. I used contrast on the arrangements. They started sparse but then built with layers in the mix, always keeping in mind the song underneath it all. The way I see it is that I’m a composer first and I perform piano second” says Siegel.

Also joining Siegel on the album are saxophonist Eric Marienthal, trumpeter/trombonist Lee Thornburg, guitarist Allen Hinds, acoustic bassist Brian Bromberg, electric bassists Abraham Laboriel and Dwyane “Smitty” Smith, percussionist Lenny Castro, and on two tracks Brazilian vocalist Rogerio Jardim.
The recording of Faraway Place was arduous at stretches. The genesis of the title track speaks volumes on the omnipresent ordeal. “It was all about being in a faraway place removed from reality,” Siegel says. “It’s been a pretty tough year and a half. There were times when I thought about leaving planet earth to escape all the nonsense and craziness and then to top it off, the pandemic” says Siegel. The tune started out as an improvisation that he played into his recorder as he was walking. It opens on a reflective note then moves into a swing. He transcribed it and handed it off to Colaiuta. “Vinnie got the essence of the song on the first take. How did he know where this song was going? I was so moved. It was as if he knew this tune his entire life. I asked him about the details he played into the song and he said, ‘Sometimes the music tells me what to play.’ This is my favorite tune on the album. It’s so spontaneous” Siegel says.

Faraway Place is something of a trilogy. There are songs that are more accessible, Siegel says. The lead-off tune “Old School,” started out with a soulful Ramsey Lewis vibe twisted together with Lee Morgan’s “Sidewinder” hit that he made into a lyrical tune with his piano bathed in a horn wash. ”I went for a retro sound that takes left turns harmonically,” he says. His original concept for the catchy number “Tried and True” came from his love for Steely Dan. “I’d had been walking a lot and was listening to Steely Dan on Spotify,” he says noting that’s not recognizable in the tune that has its own beat and hooks. The grooved “Curves Ahead” speeds with a backbeat dance-floor spin that is nonetheless “a classic example of high-calories harmony.” He adds that Lenny Castro improvised a cowbell stroke on every quarter note to fully color the piece. “Looking Up” has an indelible melody that accentuates a degree of happiness in life.

The second part of the album has a more straight-ahead jazz tone, similar to his past recordings. “These tunes started out ECM-like with more of a groove,” he says, then cites four songs: the organ-fueled “Tried and True,” the accordion-tinted “Something You Said,” the sweet “Bluebird” with Jardim taking a soaring flight of wordless vocals, and the end song, “Once Again,” that moves from relaxed percussion to playful piano runs.
The third tier of the trilogy features two songs that bring a unique vitality to Faraway Place—something that Siegel admits won’t be commercial radio-friendly but certainly may turn heads and opens ears. “Some Time Ago” is supported by Hinds’ strummed guitar and Siegel’s accordion flavors that fully opens with a hymn choir (Siegel, Hinds and Tom McCauley). “It certainly is an out-there tune like a chapter in a book of poetry,” Siegel says. “Your Smile” was an unnamed composition that Siegel was struggling to complete. “Originally it sounded like Vivaldi,” he says. “It was piano, guitar and bass with every bar and every beat different. It was hard to play with its shifting tonalities. But then my engineer reminded me that I had been thinking of orchestrating the tune.” Siegel wrote parts for strings (violin and cello) and horns (English horn and bassoon). Then Jardim added in wordless vocals. The baroque quality of the performance makes it a wonderful standout. “I titled it ‘Your Smile’ based on Rogerio’s voice reminding me of someone smiling when the sun comes out.” Siegel says.

With all the distractions and isolation, Dan Siegel acknowledges that Faraway Place was difficult to finish. “I questioned myself, yet I felt a burden of the times. I kept writing, working on music from different angles, creating what I didn’t even know what it was. But I knew I needed to get this music out, even with those tunes that come from left field. I got through it all, even though it wasn’t easy, and I’m pleased with what we came up with.” Siegel says.

1. "Old School"
2. "Sentimental Story"
3. "Tried and True"
4. "Something You Said"
5. "Curves Ahead"
6. "Faraway Place"
7. "Some Time Ago"
8. "Bluebird"
9. "Your Smile"
10. "Looking Up" 
11. "Once Again"

Dan Siegel | Piano, Keyboards, Accordion
Allen Hinds | Guitar 
Brian Bromberg| | Acoustic Bass
Abraham Laboriel | Electric Bass (3, 7, 10), Dwayne “Smitty” Smith | Electric Bass (5)
Vinnie Colaiuta | Drums
Steve Gadd | Drums (2, 9)
Omari Williams | Drums (5)
Lenny Castro | Percussion
Lee Thornburg | Trumpet, Trombone
Eric Marienthal | Saxophone
Rogerio Jardim | Vocal (8, 9)
Charlie Bisharat | Violin
Jacob Braun | Cello
Chris Bieth | English Horn
Damian Montano | Bassoon
Tom McCauley | Hymn Choir
Allen Hinds | Hymn Choir
Dan Siegel | Hymn Choir (7)

For more information on Dan Siegel, please visit:

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 BrombergA Little Driving Music
Artistry Music • Release Date: May 21, 2021

Saturday, January 20, 2018

Dan Siegel - Origins (DSM 2018)


A highly respected pianist and composer, Dan Siegel has 21 solo albums, and hundreds of other producing, arranging, composing and performing credits in his extensive recording career. Born in Seattle, Washington, and raised in Eugene, Oregon, Dan began piano lessons at age eight, and started performing professionally as lead singer and guitarist in a rock band at the age of 12. He holds a BS in Music Composition and a MM in Jazz Studies, and studied piano in Boston with the legendary Madam Chaloff.

After graduating from the University of Oregon, Dan began recording his own compositions with his band. In 1979 he was signed to Inner City Records, a New York based independent jazz label. His second album, The Hot Shot (1981), reached No.1 on the Radio & Records Jazz Chart and remained in Billboard’s Top 10 selling Jazz albums for 10 weeks. In 1983 he moved to Los Angeles to pursue film and television work as well as a more active recording career. Since then, he has traveled and performed around the world in support of his numerous Top 10 recordings, and maintains a global audience.

Over the years, Dan’s albums have provided an abundance of diverse material, from the electronic oriented Another Time, Another Place (1984), (with Patrick O’Hearn and Alex Acuna) which Keyboard Magazine called the best keyboard oriented fusion LP of the year, to the exotic world music direction of Hemispheres (1995), which features an ensemble of eclectic musicians including; Bela Fleck, Ottmar Liebert, Andy Narell, Osamu Kitajima, and Dori Caymmi, playing in unique and unlikely combinations. He has produced several other projects, one of which is the group Birds of a Feather, a gathering of world-renown musicians that has included Larry Carlton, Boney James and Ernie Watts. Dan is a frequent traveler to Asia and in 1995 went to Beijing, to record and produce China’s first jazz band, Tien Square.

Siegel’s work as a TV and film composer has included the score for the cult film, Reform School Girls (1986), and Universal Studios dramatic TV series, Hard Copy (1987). He has worked as musical director/ conductor on the late night CBS TV show, Overtime with Pat O’Brien (1990). Dan has played on numerous TV and film projects as a session player, including the Oscar winning film, The Usual Suspects. Siegel has recorded and performed with a variety of artists including: Glenn Frey (The Eagles), Chaka Khan, Berlin, Philip Bailey (Earth Wind & Fire), Kenny Rankin, Hugh Masekela, Joe Sample, Herbie Hancock and the London Symphony Orchestra.


01. Rite of Passage 05:00
02. When One Door Closes 03:43
03. After All 04:44
04. Lost and Found 03:50
05. Arabesque 05:13
06. Moon and Stars 04:56
07. Strange Sky 05:13
08. Under the Sun 04:51
09. Crossing 05:04
10. Origins 04:04

Allen Hinds: electric guitar
Ramon Stagnaro: acoustic guitar
Craig Fundyga: vibraphone
Rogerio Jardim: voice
Brian Bromberg: acoustic bass
Vinnie Colaiuta: drums
Lenny Castro: percussion

Tuesday, October 3, 2017

Gary Meek - Originals (feat. Randy Brecker, Brian Bromberg, Terri Lyne Carrington & Mitchel Forman) 2017


Saxophonist Gary Meek is set to perform at Los Angeles‘ Catalina Jazz Club on Thursday, October 5 at 8:30PM in support of his new album, Originals (available September 29). Meek will be joined by trumpeter Walt Fowler, guitarist Bruce Forman, pianist Mitchell Forman, bassist Brian Bromberg and drummer Terri Lyne Carrington for the engagement. 

With six recordings as a leader since 1991 as well as being a widely sought after sideman, Gary Meek has carved out a unique position for himself as a virtuosic saxophonist. Meek has contributed to over 150 recordings and has performed and/or recorded with artists such as Dave Weckl, Airto Moreira, Jeff Lorber and Green Day. His newest release, Originals, reclaims his passion for creating his own works and writing personal journeys through music. His first as a leader since 2002, this album demonstrates not only his mastery of the saxophone, but a beauty and joyfulness of expression that is apparent in both his playing and in his compositions.



For this recording, Meek has assembled an extraordinary cast. GRAMMY® Award-winning drummer, composer, and bandleader Terri Lyne Carrington, bassist and producer Brian Bromberg, and pianist Mitchel Forman as the nucleus of the group. Originals also features trumpet/flugelhorn player and quadruple GRAMMY® Award-winner Randy Brecker, guitarist and jazz educator Bruce Forman and two additional world class musicians–Airto Moreira and Michael Lent add their talents.

Even though this is Meek’s first project in 15 years, he clearly has not lost the art of storytelling and his ability to conjure intense feelings through his compositions. Originals not only showcases his ability as a dominant front man but also his ability to let this brilliant group of musicians experiment and push the limits of these compositions.



Tuesday, April 12, 2016

Brian Bromberg - Full Circle (2016)


Label: Mack Avenue


World-renowned acoustic and electric bassist Brian Bromberg hasn’t released an album in the U.S. since 2012, a fact that might not have been cause for concern if you know that at one point he released three albums in one year. Every man deserves a break. However, once you realize that this chameleon with over 20 projects in his catalog recently had reason to believe that he might never play music again, you understand the gravity of his latest acoustic jazz project, Full Circle – one he says may well be “the most important record of my career.”
Like all of his work, Bromberg’s latest features a stellar cast that includes trumpeter Arturo Sandoval, saxophonists Bob Sheppard, Kirk Whalum and Doug Webb, pianists Randy Waldman, Mitch Forman and Otmaro Ruiz, and percussionist Alex Acuña. The project also finds ‘the man that refuses to sit still’ mixing styles from New Orleans funk and a legit jazz cover of Michael Jackson’s “Don’t Stop `Til You Get Enough” to Cubop – with a sizzling relentless swing throughout. But the aspects that make this project resonate deeper than anything Bromberg’s done prior boils down to a series of life changing events, career firsts and the magic of today’s technology meeting mediums of old.
A freak accident that Bromberg had at his home a couple years ago resulted in him breaking his back in two places with severe trauma. The fall nearly debilitated him requiring extensive rehabilitation to stand and walk, let alone cradle an upright bass properly or strap an electric bass on his back. Through sheer intestinal fortitude, exhaustive work, and the love and support of the woman in his life, Bromberg made an amazing recovery. When he did, a familial spirit guided him to make an album that returned him to his roots in acoustic jazz. That spirit is that of his father, Howard Bromberg, a once-busy drummer in Tucson, Arizona (where Bromberg was born) who inspired both his sons to play drums as well.
Full Circle opens and closes with the tunes “Jazz Me Blues” and “Washington & Lee Swing” that were originally recorded by the senior Bromberg with a band of friends onto a one off acetate. Spiritually moved by a desire to play with his late father – something he never got to do when he was alive due to a stroke he suffered just when Bromberg became proficient on bass – he copied the platter with a USB turntable, had the file cleaned up at Oasis Mastering then overdubbed himself in his home studio playing bass in his dad’s old quintet.
“A few really amazing things happened to me when I was recording those tracks with my father; those tracks originally were recorded before I was born, so it was such a trip playing with my Dad before I was even on this planet! When I was playing with him I realized at that moment where I got my time feel and swing from, it was effortless to play with him, mind blowing actually. I guess the experience that inspired the whole concept of this album was feeling his time feel and swing inspired me to start playing drums again, because it felt so good.”
That sentimental journey inspired Full Circle. Bromberg seamlessly laid down rhythm tracks for bass, drums and “guitar” (the latter facilitated by playing melodies and solos on the higher pitched piccolo bass) on every song. As a bassist, Bromberg playing the piccolo bass with his fingers affords him a unique sound (much like guitarist Stanley Jordan ) from the majority of guitarists that play using picks.
“That’s where the ‘Full Circle’ concept came around. I didn’t know if I was ready to do it but, spiritually, I felt that my father wanted me to do it and to do it now.”
Brian Bromberg
Photo Credit: Raj Naik

Breaking down his methodology, Bromberg shares, “When I wrote the tunes, I made demos with swinging drum samples that I programmed just to hold down time, and then I played reference piccolo bass parts and regular bass parts to make a musical foundation. Then I had the piano players come over and I’d play drums live with them for interaction. The point is, by the time I played drums to it, I had good swinging bass parts to lock my drum parts to or vice versa. I added all my piccolo bass (and the horn players’ solos) last. I’m proud that I don’t sound like ‘a good drummer for a bass player.’ It doesn’t sound overdubbed and the feel of the pocket is righteous. Because I don’t have the facility of a drummer that’s played for 45 years, there’s more space than a normal drummer would leave which gives it a unique sound.”
“This album is just a swinging, in your face traditional jazz album with simple tunes that are easy to sing along with and remember, but have a foundation in hardcore “real” jazz.” Bromberg concludes. “I hope people enjoy this album for what it is and what it means to me vs. judging it for what it’s not.”


1  Jazz Me Blues
2  Full Circle    
3  Sneaky Pete    
4  Saturday Night in the Village
5  Boomerang    
6  Havana Nights (aka Havana Nagila)
7  Bernie's Bop    
8  Don't Stop 'Til You Get Enough
9  Naw'lins!
10 Susumu's Blues
11 Washington and Lee Swing

Brian Brombergg: acoustic & electric bass, piccolo bass, drums
Arturo Sandoval: trumpet
Bob Sheppard, Kirk Whalum and Doug Webb: saxophone
Randy Waldman, Mitch Forman and Otmaro Ruiz: piano
Alex Acuña: percussions