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(JazzPlanet) Brian Bromberg - Downright Upright (Eac Flac Cue)(UF)

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Description

Brian Bromberg - Downright Upright 











Title:Downright Upright



Label 	Artistry



Genre: Bass/Fusion/Jazz



Orig Year 2007



Source: Original CD 



Extractor: EAC 0.99 prebeta 3 



Read Mode: Secure with NO C2, accurate stream, disable cache. 



Codec: Flac 1.2.0;  Level 6 



Flac Single Track 



Size Torrent: 404 Mb 



Cover Included 







Tracks list 

    

01. Cantaloupe Island

02. Mercy, Mercy, Mercy

03. Cold Duck Time

04. Sunday Mornin'

05. The Hacha Cha Cha

06. Chameleon

07. Serengeti Walk

08. Leisure Suit

09. Slow Burn

10. Shag Carpet



Listen to sample



http://www.goear.com/listenwin.php?v=f6a270c





http://www.youtube.com/watch?v=-Uwt_65N7HQ&feature=related 

http://www.youtube.com/watch?v=rLkeNag07UQ&feature=related 

http://www.youtube.com/watch?v=JqEUOnBd3rI&feature=related 

http://www.youtube.com/watch?v=j_oijnLVSaA&feature=related 



Personnel



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.





review



One glance at the personnel, which includes such popular "smooth" players as tenors Kirk Whalum and Boney
James, trumpeter Rick Braun, and pianists George Duke and Jeff Lorber, could easily lead one to believe that this CD is
filled with vacuous and mildly soulful background music. Actually, the playing on Downright Upright is a surprise, for
most of the selections are reasonably creative renditions of soul-jazz. Four songs ("Cantaloupe Island,"
"Mercy Mercy Mercy," "Cold Duck Time" and "Chameleon") are standards given rightfully
soulful treatments, and most of Bromberg's originals are worthwhile although a couple veer close to smooth. Most
listeners knew that Kirk Whalum could play worthwhile jazz if placed in that context but the fine solos of Boney James
and particularly Jeff Lorber will surprise many. Less of a surprise is the virtuosic bass solos of Brian Bromberg, a
master at tapping. None of the music on Downright Upright would be considered innovative and the style itself is more
than 30 years old, but to hear these pop/jazz musicians challenging each other a bit is fun. One wishes that they did it
more often. Review by Scott Yanow



__________________________________________________________________________________________________



And, although it is being broken down of late, with discs such as Findings by Benny Reid, Departure by Dan Siegel, With
All My Heart by Harvey Mason, and Straight Up and Take It From the Top by Bob James (from the jazz lite side), and Blue
Horizon by Vic Juris and Department of Good and Evil (as well as similar discs by Rachael Z) from the jazz side, the
divide remains, even though it might be lessening with works such as these.



Several factors tend to separate real jazz and jazz lite. The former generally features genuinely creative
improvisation, while the latter seldom does. The former seeks to operate within a tradition stretching back to the
beginning of the 20th century even as it expands those frontiers, while the latter seems to be an offshoot of late-20th
century (instrumental) pop music. The former appeals to a somewhat elite audience generally steeped in its history and
developments, while the latter tends to attract a younger audience looking for romantically inclined, easily accessible
instrumental music.



The truth is that a quite different (and, one might even say, mutually alien) aesthetic generally operates in the two
genres. How and why the two are coming together in the nascent 21st century, I simple don't know. But they are. And, I
think, that's generally a good thing. So what if the diehard jazzheads don't like it: I say, deal with it! So what if
the jazz lite freaks inch their way into Real Jazz: Again, deal with it!



Coming mainly from the Real Jazz position (although my introduction to creative improvised music was through the door of
jazz lite), I sometimes weary of the plodding, clichéd approach of the Jazz Liters, but I'm more and more coming
to appreciate the authentic and even hard-won aesthetic that the very best of them have achieved.



Still . . .



I believe the absolute best music on this disc derives from the authentic jazz side, that is, the standards,
"Cantaloupe Island" and "Chameleon" by the inimitable Herbie Hancock, and "Mercy Mercy
Mercy" by Joe Zawinal and "Cold Duck Time" by Les McCann: That's probably why the disc starts out with
three of these standards. The tunes by Bromberg just don't have the requisite res, at least to my ears. Thus, things
seem to sag slightly after the three standards, the disc tending to devolve into fairly standard smooth jazz
precincts.



Of the three saxophone players--Kirk Whalum, Boney James, and Gary Meek--I prefer the latter. He plays on half the
numbers, and he really lights things up whenever he solos. I particularly like his very sly quote of
"Naima"--so stealthy as to slip by all but the most careful listener--on "Chameleon." Fusion
stalwarts George Duke and Jeff Lorber man the piano chair (no cheesy keyboards here) with casual grace, and even some
pretty killer chops (check out Lorber's solo on "Leisure Suit"). But it's when Bromberg solos on piccolo bass
that things really catch fire. He seems to have figured out how to get the absolute most from that somewhat awkward
instrument, and, thankfully (at least to these ears), he limits his acoustic bass solos to a minimum (although he
manages a quite lovely one on "Slow Burn"). It's not that he lacks chops on this balky instrument; it's just
that his solo concept on it seems rather too virtuoso for it to properly be in conversation with the rest of the band.
Vinnie Colaiuta in the drum chair is a marvel of drive, taste, and coloration.



All in all, a very enjoyable disc which is growing on me.

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