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.

From official Hanckock site:

“On ‘River: The Joni Letters’ (September 25th, Verve), the always progressive pianist/composer Herbie Hancock aimed to dissect the lyrics of some of Joni Mitchell’s most famous songs. Instead of the instruments accompanying the lyrics, Hancock and producer Larry Klein arranged the music to interpret or express the emotions of the lyrics, all while keeping the melodies Mitchell fans know and love. This goal is most evident on “Both Sides Now,” one of four instrumental tracks on the record, which also features vocals by Norah Jones, Tina Turner, Corinne Bailey Rae, Luciana Souza, Leonard Cohen, and Mitchell.”

1. “Court and Spark” – (with Norah Jones)
2. “Edith and the Kingpin” – (with Tina Turner)
3. “Both Sides Now”
4. “River” – (with Corinne Bailey Rae)
5. “Sweet Bird”
6. “The Tea Leaf Prophecy (Lay Down Your Arms)” – (with Joni Mitchell)
7. “Solitude” (Ellington)
8. “Amelia” – (with Luciana Souza)
9. “Nefertiti” (Shorter)
10. “The Jungle Line” – (with Leonard Cohen)

“Joni Mitchell and Herbie Hancock, along with Miles Davis, Wayne Shorter, Pablo Picasso, and other great artists of our time, share an incessant and profound creative restlessness. They each have always had the desire and need to break fresh ground with each note played or stroke of the brush. It was exactly this kind of curiosity which motivated Davis to hire Hancock in 1963 to be a part of, along with Wayne Shorter, Ron Carter, and Tony Williams, arguably one of the most important groups of musicians of the twentieth century. It was in fact Miles who told Hancock to ⌠never finish anything. Hancock, like Joni Mitchell, has gone on to explore many different genres and mediums to express his incessant curiosity, working in the context of jazz, electronic music, funk, orchestral, and film music.”

Wayne Shorter – Tenor Saxophone
Lionel Loueke – Guitar
Vinnie Colaiuta – Drums
Norah Jones – Background Vocals, Piano
Tina Turner – Vocal
Corinne Bailey Rae – Vocal
Joni Mitchell – Vocal
Luciana Souza – Vocal
Leonard Cohen – Vocal

My opinion will be such: ceativity of Herbie Hancock the period (“Maiden Voyage”) i like some more.
So i like his modal jazz songs with Ron Carter, Freddie Hubbard and Tony Williams.

Artist – Marcus Miller
Title – Marcus
Lable – Concord Jazz
Style – Jazz-Funk | Jazz | Smooth Jazz
Date Released – 04.03.2008

Miller is a talented multi-instrumentalist who is not only skilled on electric bass, but also keyboards, clarinet, sax, sitar and probably a few more besides. Just about everything shows up on his seventh solo album, a 13-track collection that’s top-heavy with his own compositions — not that there’s anything wrong with that.

Miller boarded the fusion train in the 1970s, a few years after it left the station through his work with David Sanborn. In the 1980s, Miller worked with Davis. Davis didn’t create jazz, rock, funk fusion, but the fact that the legendary jazz innovator embraced the genre gave it credibility. Miller has also collaborated with artists such as Mariah Carey, Jay-Z, Michael Franks, ZZ-Hill and Billy Idol.

Working with artists representing a wide variety of genres is a major theme on this latest work. One highlight is Corinne Bailey Rae, wrapping her sultry vocals around rendition of Denise Williams’ 1976 classic “Free.” Miller plays it pretty straight on this rendition that holds pretty close musically to Williams original. The main difference is Miller’s bass playing, in which he employs his signature thumping and plucking funky style. The version also includes some definite jazz influenced improvising by Miller, as well as a saxophone solo.

“He’s joined by some talented friends too. It’s an outstanding group that includes vocalists the caliber of Keb’ Mo’, Corinne Bailey Rae and Lalah Hathaway. Other performers include Shihan the Poet, jazz icon David Sanborn, and actress Taraji Henson (who made her singing debut in the movie Hustle and Flow).

Henson’s vocalizing on the bonus track, “Lost Without U [Spoken Word],” backed by Hathaway and the Ivey Sisters, is surprisingly enjoyable, and is a different take on Hathaway’s earlier version of the same tune. Hathaway is at her best with “Ooh,” a piece she co-wrote with Miller, and according to the album notes he backs her delicious singing with no less than seven different instruments.

There’s lots more to be found here – even Shihan the Poet, if that’s your thing – but the bottom line is simply that the album is a good collection of R&B flavored jazz that should be well worth a listen for any fans of good music — and isn’t that why we’re all here? “
Geezer Music Club

“Many so-called “straight ahead jazz” artists clearly don’t have the comfort or interest in commenting musically on the contemporary music genres, such as R&B and rock, that have supplanted jazz in terms of popularity. A major reason for their reluctance has to do with the fact that many jazz artists don’t believe R&B and rock music compares on a qualitative level to the music from the Great American Songbook. Even those who might want to try don’t feel they have the understanding of contemporary music. That leaves the task of translating the contemporary musical canon in the hands of so-called “smooth jazz” artists, and those results are often uninspiring.”
Howard Dukes

Trio:
Lee Konitz – alt sax
Refus Reid – bass,
Matt Wilson – drums

There were full of surprises performance of a trio of one of the most known cool-jazz saxophonist Lee Konitz. Unexpectedly arrived remarkable contrabass player Refus Reid whose game (including a bow that is more characteristic for the European jazz, than American) the ensemble has been obliged by especial depth and emocial. Lee Konitz, whose musical career has begun in the middle of the last century, has surprised with the present and vivacity of musical thinking and special freedom of a statement of a material of jazz standards. He was 80 years old last autumn! Drummer of trio – Matt Wilson. Delicacy – the virtuozzo on percussion instruments. And on this performance, in a translucent acoustic trio, he was as it is impossible more by the way.

Label: Blue Note
Release: 2008
Time: 65:19
Personnel:
Gonzalo Rubalcaba: piano, keyboards;
Yosvany Terry: alto, soprano & tenor saxophones, percussion;
Mike Rodriguez: trumpet, flugelhorn;
Matt Brewer: acoustic bass;
Marcus Gilmore: drums.

Great openning 2008 year.

All the players on this CD are a pleasant to hear. I’m listening these performances several times.

He present his album on “The International Festival “Triumph of Jazz-2008″ in Russia.
It’s the trademarks of the Moscow winter!

Find out more information about Gonzalo Rubalcaba on his official web-site : http://www.g-rubalcaba.com/

“Of course, Gonzalo is great contemporary jazz , as usual. He is clearly one of the leading pianists in the world – in any style of music. His touch and his ability to shape dynamics on the instrument are inimitable – even uncanny at times. And his time? The best. Just great.”
Review by Paul S. Brewer

Tracklist:

01 – Looking in Retrospective (9:43)
02 – This Is It (12:32)
03 – Aspiring to Normalcy (13:07)
04 – Peace (4:09)
05 – Hip Side (8:34)
06 – Infantil (7:07)
07 – Preludio Corto No.2 For Piano (Tu Amor Era Falso) (10:07)

Legrand funny told about this work: One year prior to death Miles has called to me to Paris and has told – ” The Frog! “, (it always so named me) ” drag the ass in LA! We should write down music to film! “. It wrote music to the Australian film “Dingo” in which was removed. If Miles called – it is necessary not deliberating to sit down on the first flight up to LA! And so we have lead one, two, three days – it with the pipe and I for the piano. But instead of work we drank, many fur-trees much, communicated much and listened to music. At last I have told ” Miles, we should lead four days to studios, we are waited with an orchestra for record, and at us nothing is ready! “. It has told ” Yes all right, forget! Give still we shall be delayed! “.

Eventually I have told – ” At me idea. Remain here, I shall write all, I shall make preliminary record with an orchestra, and then we shall impose your party “. “Michel! You are a genius! ” . It was so lazy, that all of that it wished – to have a maximum of a free time at the order. I worked three days and three nights, and it has then come and has played as an angel. It has never played as I conceived – never. It even began with such notes about which I and could not dream. In it was its genius. My God, as I loved it! It is interesting, that I have written down my first jazz album with it, and with it we have written down its last album.

Tracks:
1 Kimberley Trumpet 2:15
2 The Arrival 2:05
3 Concert on the Runway 3:50
4 The Departure 1:05
5 Dingo Howl :08
6 Letter as Hero 1:22
7 Trumpet Cleaning 3:56
8 The Dream 3:45
9 Paris Walking I 1:58
10 Paris Walking II 3:17
11 Kimberley Trumpet in Paris 2:05
12 The Music Room 2:50
13 Club Entrance 4:12
14 The Jam Session 6:00
15 Going Home 2:05
16 Surprise! 4:52

Musicians:

Miles Davis Trumpet
Michel Legrand Arranger, Conductor, Keyboards
Kei Akagi Keyboards
John Bigham Percussion, Drums
George Bohannon Trombone
Oscar Brashear Trumpet
Ray Brown Trumpet
Jimmy Cleveland Trombone
Buddy Collette Woodwind
Vincent DeRosa French Horn
David Duke French Horn
Chuck Findley Trumpet
Foley Bass
Kenny Garrett Saxophone, Sax (Alto)
George Graham Trumpet
Bill Green Woodwind
Thurman Green Trombone
Marni Johnson French Horn
Jackie Kelso Woodwind
Marty Krystall Woodwind
Abraham Laboriel Bass
Harvey Mason, Sr. Percussion, Drums
Lew McCreary Trombone
Lew McGreery Trombone
Gordon Meltzer Producer
Alphonse Mouzon Percussion, Drums
Dick Nash Trombone
Alan Oldfield Keyboards
Charles Owens Woodwind
Benny Rietveld Bass
Mark Rivett Guitar
Nolan Andrew Smith Trumpet
John Stephens Woodwind
Richard Todd French Horn
Ricky Wellman Percussion, Drums

Soon – new cd review Mustafa Milton
and this is photo from one last jam in Russia:

Hugh Masekela with Kalahari

WB 25566 Recorded in London between January and September 1986.

1 Bring Him Back Home (Nelson Mandela) (Became prophetic in the next decade with the release of Nelson Mandela from prison)
2 Mayibuye
3 Ke Bale
4 London Fog – (About human homesickness)
5 Everybody’s Standing Up (This song celebrates the imminent fall of several of the world’s petty dictators)
6 Bird on the Wing
7 Something for Nothing
8 Serengeti

Masekela often performs sophisticated takes on three-chord township jive, leading the massed vocals with his own coarse yet evocatively blunt voice, while leaving himself just enough room to peel off a few patented, repeated-note trumpet licks and double-tracked flugelhorn statements.

from wiki:
“Hugh Ramopolo Masekela (b. Witbank, South Africa, April 4, 1939) is an South African trumpeter, flugelhornist, cornetist, composer, and singer. Masekela is an acknowledged master of African music.”

(Cont. on Special Page)

Later on the record, the keys turn minor but the high-tech verve is still there. His backup band, Kalahari, and a quartet of vocalists share Masekela’s passion — and the outcome of this chemistry is one of Masekela’s best albums of the last 20 years.

A Tribute To Billy Holiday

The late Billie Holiday left behind, as a reminder of her greatness, a huge body of recordings. Her singing was only a part of the legacy, however. Billie’s introduction of many new songs, and what she did with the old songs, helped to swell the storehouse of the jazz repertoire for all the singers and players who grew up with her, as well as those who came after.

From Wiki: 

“Chesney Henry “Chet” Baker Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter and singer.
Specializing in relaxed, even melancholy music, Baker rose to prominence as a leading name in cool jazz in the 1950s. Baker’s good looks and delicate singing established him as a promising name in pop music as well. But his success was badly hampered by drug addiction, particularly in the 1960s, when he was imprisoned.
He mounted a successful comeback in the ’70s, but died after falling from a hotel window.”

This is a tribute to Lady Day from one who is both a singer and a player – fluegelhornist Chet Baker. “Her style was so unique – so different,” he says of Billie. “She had a way of combining singing and talking a tune that was very intimate. One thing I really liked about her was that she never raised her voice. At least I never heard her shout. Her way of singing really reflected a lot of soul. Billie Holiday was Billie Holiday – that’s all. She was great. She always did the best tunes, tunes that really lent themselves to her style of singing. She really didn’t have a great voice, but what she did with it…”

Chet, another vocalist who doesn’t shout, began singing long before he took up the trumpet. “When I was 11 or 12, my mother used to drag me around to the amateur contests that they had in Los Angeles on Sunday afternoons. I never won but I was second once. Even at that time, I was singing the current ballads. I sang in a church choir at the same time – 1941 and 1942.

From Wiki: 

Billie Holiday (April 7, 1915 – July 17, 1959), born Eleanora Fagan and later nicknamed Lady Day (see “Jazz royalty” regarding similar nicknames), was an American jazz singer, a seminal influence on jazz and pop singers, and generally regarded as one of the greatest female jazz vocalists. 

On May 31, 1959, she was taken to Metropolitan Hospital in New York suffering from liver and heart disease. On July 12, she was placed under house arrest at the hospital for possession, despite evidence suggesting the drugs may have been planted on her. Holiday remained under police guard at the hospital until she died from cirrhosis of the liver on July 17 1959 at the age of 44. In the final years of her life, she had been progressively swindled out of her earnings, and she died with only $0.70 in the bank and $750 (a tabloid fee) on her person.
Billie Holiday is interred in Saint Raymond’s Cemetery, Bronx, New York.

“My phrasing as a singer,” continues Baker, “has been influenced a lot by my playing. If I hadn’t been a trumpet player, I don’t know if I would have arrived at singing that way eventually. I probably wouldn’t have.

“The things I’m really conscious of when I sing are intonation, good diction without over-enunciating, a casual, relaxed way of phrasing, and singing in tune.”

Produced by Luchi DeJesus. Prepared for reissue by Richard Seidel and Seth Rothstein.

Chet Baker Flugelhorn
Leon Cohen Reeds
Henry Freeman Reeds
Wilford Holcombe Reeds
Seldon Powell Reeds
Alan Ross Reeds
Hank Jones Piano
Everett Barksdale Guitar
Richard Davis Bass
Connie Kay Drums

CD Track List Follows:

1. Black Diamond

2. Deep Powder

3. Seven Nights In Rome

4. Soul Seeker

5. In Another Life

6. Big Sky

7. If I Owned The World

8. North Peak

9. Angel Fire

10. Jewel Thieves

11. Black Diamond – (acoustic version)

Personnel: Russ Freeman (acoustic, electric, classical, slide, baritone & 12-string guitars, mandolin, keyboards, bass, percussion, loops, drum programming); Mark Williamson (vocals, acoustic guitar, percussion); Jeff Kashiwa (soprano & tenor saxophones, EWI); Nelson Rangell (alto & tenor saxophones, flute); Arturo Sandoval, Mark Ledford (trumpet); David Kochanski (piano, organ, keyboards, drum programming); Brian Moore (guitar, 12-string guitar); Kim Stone (bass, fretless bass); Steve Reid, Pete Escovedo (percussion).

This one grabs your attention right from the very beginning with Black Diamond and won’t let go until the very last note of the very last song Jewel Thieves, which by the way is another great track.

From wiki:
“The Rippingtons are a contemporary or fusion jazz group that are often considered smooth jazz. Formed in 1986 by guitarist and band leader Russ Freeman (not to be confused with the jazz pianist of the same name), their career has spanned two decades. In the early to mid 90s they were more of a jazz/rock instrumental band, but since 1999 they have developed more into the Smooth Jazz genre. Many of their songs have also been played during The Weather Channel’s local on the 8’s forecast segments.”

Black Diamond has a pleasantly varied, mix of 11 tracks that are very well written and brilliantly performed songs by these clearly outstanding musicians. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are their own real life experiences. At different points touching on the most real emotions of love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

One of the nicer things about a CD like this is when the talent is this rich even if Smooth Jazz isn’t your favorite style you still can’t help but appreciate the greatness of the musicians.

I’m of the opinion that Black Diamond is certainly some of this groups best work in a few years. A totally enjoyable CD and an outstanding release. What I call must have music. I give it two thumbs up because it’s a collection that even the casual Smooth Jazz fan can appreciate and enjoy.