Once a drummer following the footsteps of his brother and father, a cellist until convinced to take up the bass during junior high orchestra practice, Brian Bromberg has become one of the most well-respected virtuoso bass players in jazz, thanks to his A-list studio and touring status as sideman, producer and leader of such diverse stylistic range. This year marks the American release of “Downright Upright” album, a compelling addition to his acclaimed and popular catalog that he expects will please both the casual smooth jazz fans and the jazz purists.
Already released in Japan, Downright Upright is a return to the acoustic upright bass Bromberg recently spent time with on 2006’s Wood II. But this record represents a unique progression from that lauded cd, which was laced with Bromberg’s innocent humor and embellished with solo Paul McCartney and Earth, Wind and Fire covers. Far less intimate than Wood II, Downright Upright abandons the traditional trio format and takes on new collaborative touches, including those from pianists George Duke and Jeff Lorber, trumpeter Rick Braun, saxophonists Gary Meek, Boney James, and Kirk Whalum, drummer Vinnie Colaiuta, and perhaps most noticeably, guitarists Gannin Arnold and Lee Ritenour. Having contributed to Rit’s recent album Smoke ‘N Mirrors, Brian just returned from live dates with the legendary guitarist. Ritenour’s contribution to Downright Upright underscores their complimentary, collaborative simpatico.

• 1. Cantaloupe Island
• 2. Mercy Mercy mercy
• 3. Cold Duck Time
• 4. Sunday Mornin’
• 5. The hacha Cha Cha
• 6. Chameleon
• 7. Serengeti Walk
• 8. Leisure Suit
• 9. Slow Burn
• 10. Shag Carpet

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

Personnel:
Brian Bromberg: upright bass, piccolo bass;
Rick Braun: trumpet, flugelhorn;
Boney James, Gary Meek, Kirk Whalum: tenor saxophone;
Lee Ritenour, Gannin Arnold: guitar;
George Duke: piano;
Jeff Lorber: piano, organ;
Vinnie Colaiuta: drums.

Brian Bromberg born in Tucson and now based in Los Angeles, Bromberg tested out of high school early to dedicate his life to music. The decision would pay off shortly thereafter when he met Marc Johnson, bass player to famed pianist Bill Evans. Sensing a rare opportunity, Johnson kept Bromberg in mind upon learning that sax great Stan Getz needed a bass player to join his quintet. After a successful audition, the freshly nineteen-year old Bromberg joined Getz in December of 1979.

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

As an in-demand producer, bassist and studio designer Brian’s myriad talents have placed him in the forefront of the West Coast musical community. Co-partner in the Artistry Music Group, whose label has seen multiple Grammy nominations in their short existence, as well as owner of his own popular recording studio in L.A.’s San Fernando Valley, Bromberg brings his knowledge of an artist’s perspective to a forward thinking, musically exciting new highpoint in a career filled with tremendous accomplishments.

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

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