Brian Bromberg: Plays Jimi Hendrix (2010)

As one of the most prolific and commercially successful solo bassists for over the past two decades, Brian Bromberg has released a diverse collection of recordings spanning straight-ahead and contemporary jazz, rock, fusion, and funk genres. Following tributes to bass icon Jaco Pastorius and Antonio Carlos Jobim, Brian Bromberg returns with his latest dedication, Plays Jimi Hendrix. Backed by the legendary Vinnie Colaiuta on drums and utilizing conventional bass playing techniques on standard 34-inch scale basses tuned to the register of an electric guitar, the Grammy-nominated bass virtuoso has issued an astounding compilation of Hendrix's greatest hits. Bromberg's performance as a guitar player is so convincing that if you weren't aware the guitar parts were actually recorded by a bassist on piccolo basses, you would never be able to distinguish the difference. Because Bromberg is employing basses tuned like a guitar and articulating all of the phrases with his fingers rather than a pick, he is able to deliver a much warmer and deeper sound than what his guitar-playing counterparts can produce. While the bass is featured prominently in each of these selections, you don't have to be a bass enthusiast to enjoy the spirit and depth of these arrangements because the musicality of these compositions extends beyond an audience of only bass aficionados. This production is much more than just a tribute to the music of Jimi Hendrix. It captures the same level of raw energy and emotion that has characterized all of Bromberg's recordings ever since his debut as a solo artist. On Plays Jimi Hendrix, Bromberg continues to redefine the role of the bass and broaden its dimensions. Currently available only in Japan, this project contains 11 brilliant arrangements of classic tracks including "Fire," "Spanish Castle Magic," "Purple Haze," "Manic Depression," "The Wind Cries Mary," "Voodoo Child," "Freedom," "All Along The Watchtower," "Foxey Lady," "Hey Joe," and "Crosstown Traffic."

Plays Jimi Hendrix

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Alan Broadbent: Every Time I Think Of You (2005)

On Every Time I Think of You, two-time Grammy nominee Alan Broadbent delivers a 10-song collection of both standards and originals steeped in emotion and a romanticism that's infused with an underlying drama. Backed by master acoustic bassist Brian Bromberg, drummer Kendall Kay and a full string section, Every Time I think of You is a heartfelt mission statement from this acclaimed pianist, composer and arranger.

Tracklist:

1. Autumn Variations 6:25

2. Bess, Oh Where's My Bess 5:13

3. Blue in Green 7:49
4. E.32nd Elegy 7:19
5. Last Night When We Were Young 5:56
6. Everytime I Think Of You 7:14
7. Lover Man 6:29
8. Nirvana Blues 5:50
9. Spring Is Here 5:40
10. Woody 'n' Me 4:54
Every Time I Think of You
Part 1 - Part 2 (RS) / Part 1 - Part 2 (HF)

Alan Broadbent: 'Round Midnight (2005)

Long considered a very valuable pianist, arranger, and conductor behind the scenes, whether accompanying singers (including his classic recordings with Irene Kral) or as part of bands (most notably Charlie Haden's Quartet West), Alan Broadbent tends to be underrated as a pianist/leader. In the Los Angeles area he occasionally performs in clubs where his trio work is quite spontaneous. For 'Round Midnight, he simply gathered together two of his favorite players (bassist Brian Bromberg and drummer Joe LaBarbera), decided on a list of tunes (including two of his originals), and played. Although the results are quite logical, nothing was arranged in advance. It just worked out this perfectly on a moment's notice. Whether swinging on bebop standards, digging into J.J. Johnson's "Lament," or transforming "Serenata" into jazz, everything works well on this easily recommended trio outing.

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Part 1 - Part 2 (HF) / Part 1 - Part 2 (RS) flac

Gonzalo Rubalcaba: The Trio (2005)

One of the most important figures to emerge from Afro-Cuban jazz in the '90s, Gonzalo Rubalcaba is an extrordinaily versatile pianist able to blend disparate strands of Cuban and American jazz tradition into a flesh, modern whole. Born into a musical family in Navana on May 27, 1963, Rubalcaba began studying classical piano at age eight, honing his technique in that area for the next 12 years while playing aroung Havana by night. In 1983, he toured France and Africa with Cuba's long standing Orquestra Aragon, and formed his own band, Grupo Proyecto, in 1985, the same year he was discovered by Dizzy Gillespie. In 1986, Rubalcaba played the Havana Jazz Festival with the American rhythm section of Charlie Haden and Paul Motian, and with Haden's support soon appeared at major international fetivals like Montreal and Monreux.

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The Trio

Jeff Kashiwa: Another Door Open (2000)

Whenever Jeff Kashiwa gets fed up with the day-to-day grind of being one of smooth jazz's most popular saxmen, all he has to do is recall the late '80s. He was working an unspectacular day job and playing too many weekend weddings when his friend, bassist Steve Bailey, helped get him an audition to replace saxophonist Brandon Fields in the Rippingtons. Kashiwa landed the gig. During the next ten years Kashiwa became one of the focal points of the Ripps' classic sound. In the mid '90s he took some rare downtime to produce two well-received solo efforts, Remember Catalina and Walkamile. Kashiwa quit the Ripps in early 1999 to focus fully on his own career. Consequently, his Native Language debut Another Door Opens is a true sink-or-swim proposition.

Kashiwa brings two crucial legacies from his tenure with the Ripps - the tutelage of Russ Freeman and the forging of an amazing creative partnership with Ripps' keyboardist Dave Kochanski, who co-produced Another Door Opens and wrote four of its songs, including the first single, a brassy, swaying, retro-funk-flavored number called "Hyde Park (The 'Ah, Oooh' Song)."

While he's becoming a better all-around sax player, the real litmus test of Kashiwa's solo future lies in his ability to compose strong melodies over today's popular urban-shuffle grooves. On "Power of Midnight," he floats a wistful soprano melody over the thick, throbbing bass of Melvin Davis and the clicking drums of Ricky Lawson. While most of his and Kochanski's writing here is pop-oriented and in-the-pocket, the simmering, ominous blues vamp of Kashiwa's "Dream Within a Dream" makes a perfect launch pad for his soaring tenor. More impressively, the gently percussive soprano melody of the title track - while nothing groundbreaking - rings with the kind of beauty Freeman brought to the Ripps' best ballads.

--- Jonathan Widran, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.

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Another Door Open

Andrew Neu: Try Something Neu (2009) mp3 @ 320K

Essayez quelque chose de Neu est le troisième album Andrew Neu et il est certainement quelque chose de Neu. De la première à la dernière piste, il va falloir vous Groovin 'dans votre chaise, si pas sur vos pieds danser sur les rythmes. La chose qui définit ce cd en dehors de sa dernière sortie, «In Clear View», est le régime de la Corne. Les travaux klaxon a la vieille école se sentent de la Tour de cornes de puissance et pourtant capable de livrer un orchestrational de sauvegarde en cas de besoin ou de produire un sentiment de jazz big band. Une chose est certaine ...... n'importe quel mode ils sont acceptés, ils ne perdent jamais le projet groove.This vient avec des invités de certains des plus beaux noms du jazz en douceur aujourd'hui. Le coup d'envoi du CD est Chuck Loeb, à la guitare, partageant la vedette avec Andrew sur un air appelé Chez Cool. Ce morceau donne le ton à la perfection. Il existe certains échanges fine entre Loeb et Neu et un grand travail de soutien de Demetrios Pappas sur le organ.Next up est Libra Rising, une chanson écrite par Brian Bromberg, dans lequel Bromberg gère les droits d'extrémité inférieure avec le travail bass solide. Il s'agit davantage d'une mise tempo mélodique titre smooth jazz, avec Neu livrer la mélodie et les cornes, avec Bromberg, fournissant groove et support.South By Southwest est d'autant Neu Andrew. Il a le calendrier accrocheur et une coupure très cool au milieu où Neu affiche un certain travail en solo amende. Puis c'est le retour à la mélodie et le back-end. De là, nous allons à une belle piste prévue de retour avec Dan Siegel sur les touches intitulé Open Mind. Andrew fixe les mélodies et les parts d'un échange ou deux avec Siegel. Ce morceau suivant, The Way Forward, a été écrit par Chuck Loeb et est seul Neu et les cornes. Andrew escalier extérieur sur celui-ci et affiche un très beau solo d'improvisation, alors que les cornes de fournir un appui et à maintenir la circulation douce smooth jazz de cette tune.This reprise de la chanson 1987 Bobby Caldwell "Next Time I Fall In Love" est interprété par Bobby Caldwell et ressemble beaucoup à l'original. Travaux sax Andrew's est une addition très gentille à l'arrangement. Il existe également une version instrumentale sur la cd.No Hang Ce soir, c'est un de mes morceaux préférés. Il démarre avec un Billy Preston évangile saveur style et va dans une grande jazz Horn Section sentir. Il garde encore le groove avec quelques travaux clavier fin, un solo très cool trompette, saxophone et d'Andrew à cravate together.Wanderlust tout est une chanson écrite par Neu et est une autre piste mélodique smooth jazz avec une flow.Back très agréable au funk avec l'écrou. Voici les cornes, avec quelques sons magnifique école ancienne. Ils ne perdent les rênes à André pour certains travaux sax funky, mais ils poussent cette piste, du début à la fin. Qu'est-ce qu'un groove!! Immédiat pour la grande finale, essayez quelque chose Neu. À mon avis, ce devrait être la tête d'affiche pour l'album. Elle est l'aboutissement de tout ce dont il dispose, en ce sens qu'il a un débit accrocheur, le travail en solo fine, un accord de grande corne et il donne un sentiment de satisfaction que vous vouliez seulement ressentir après avoir mangé quelque chose de très bien. Toutefois, elle pourrait très bien être le début de quelque chose de très good.To résumer ..... c'est de loin l'un des meilleurs CD contemporaine out à l'heure actuelle, mais c'est un album très difficile d'examiner en ce qu'elle peut 't être placés dans n'importe quel moule emporte-pièce. La dimension à la musique dans ce projet est incroyable, comme une seule piste peut sonner funky, ont alors un sentiment smooth jazz et même de passer à un big band tout droit groove jazz. Je garantis ce CD peut contenir votre intérêt et va certainement vous inspirer d'essayer quelque chose Neu.

Examen par Dick Fairchild: citysoundsradio.com

Emiel Van Egdom: Hybrid Groove (1996) mp3 @ 320K

When Emiel Van Egdom plugs in his guitar, the riffs, runs and scales that he will play
will reflect the influences of his European heritage
and the stylings of America's be-bop and swing greats
Brian Arrington, reporter, NY.

Hybrid Groove: "4 stars! Emiel Jams! The tunes lay down some serious guitar jamming over a propulsive groove.
NPR, JAZZ, 52nd Street.

"A highly talented guitarist who has demonstratedthe highest levels of musical achievement"
Alma Berk, Jim Hall Jazz Award, USA

Hybrid Groove: "There's spirit in spades throughout the album"
52nd Street Jazz

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Emiel Van Egdom - electric & classical quitars and vocal

Bob Sheppard - tenorsax, egg & "the Moan"

Bob Militello - altosax & flute

Joel Taylor - drums

Bill Cantos - keyboards

Brian Bromberg - bass

Eric Gale - guitar

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Highly recommended!!!

(104MB)