Leader Artist: Brian Bromberg
Genre: Smooth Jazz
Instrument: Tenor Saxophone
Label: A440 Music Group
Recorded Date: 2002
Format: Single Track Mp3 Vbr
Size Torrent: 87,3 Mb
1.Come On, Come Over
4.Remark You Made, A
5.Portrait of Tracy
6.Three Views of a Secret
10.Come On, Come Over - (TRUE instrumental)
11.Teen Town - (piccolo bass version)
Brian Bromberg (arranger, acoustic & electric basses, programming)
Bill Champlain (vocals)
Dan Higgins, Larry Williams, Bob Mintzer, Eric Marienthal (saxophone)
Gary Grant, Jerry Hey (trumpet)
Andy Martin (trombone)
Tom Zink (piano, keyboards, programming)
Jeff Lorber (electric piano, keyboards, programming)
Gregg Mathison (Hammond B-3 organ)
Gannin Arnold (guitar)
Derrick "D Lok" Walker, Joel Taylor (drums)
Chris Wabich (steel drums)
Alex Acuna (percussion),
USC Symphony Orchestra (strings)
Following 2000’s all-acoustic Wood, and 2002’s tribute album, Jaco, Brian Bromberg returns to the
smooth jazz territory of his 1998 release, You Know That Feeling. Easy-going and radio-friendly,
what sets Choices apart from so many other smooth jazz releases is the virtuosity of bassist
Bromberg who, for all his capabilities, never overplays; he always serves the song, delivering
memorable melodies and sing-able solos that are both appealing and well constructed.
With an arsenal of basses at his disposal, including a number of piccolo basses that allow him to
play in the range of a guitar, Bromberg is almost a one-man band. While there are guest soloists, in
particular reedmen Gary Meek and Eric Marienthal who both deliver tasteful work, this is really
Bromberg’s show; from delivering fat grooves to rhythmic comping to stating the themes to extended
solos, Bromberg does it all, and with a flair that continues to assert his position as an
instrumentalist of significance.
From the relaxed funk of “Never Give Up” to the slightly Latin feel of the Metheny esque title
track; from the soulful “Snuggle Up” to the uptempo B2, which features Brian Culbertson on piano;
from the ballad “Why?”, which has as its source the Columbine Tragedy, to the African Highlife
closer, “Hear Our Cry,” Bromberg delivers a varied programme with enough different grooves to keep
things interesting; and enough textures from his different basses to create a broad sonic palette.
One of the purposes behind the recording was to work again, and in a different context, with three
well-known keyboard players: Jeff Lorber, David Kochanski and Tom Zink, all three having worked with
Bromberg on Jaco. Bromberg, in fact, brings back other players from that session, Alex Acuna on
percussion and Joel Taylor on drums, showing how versatile each of these players can be, given that
the material on Choices is as different as can be from Jaco. Joel Taylor, in particular, is a
versatile drummer who can play anything from the smooth grooves on this disk to hard-hitting fusion
with guitarist Alan Holdsworth, and everything in between. Along with Bromberg he is the only other
constant on all tracks, and is as good a rhythm section partner as one could ask for.
One of the most appealing aspects about Bromberg is his complete unpredictability; from album to
album one is never quite sure where he’s going to go. The one thing that can be counted on, however,
is that whatever he chooses to do it will be well-conceived and executed. Whether on acoustic bass,
piccolo bass, fretted or fretless electric basses, Bromberg demonstrates an almost encyclopedic
knowledge of both his instrument and the genres he approaches; Choice is another in a string of
successful albums, with a light and easy feel that will have a broad appeal. One can only wonder
what he will do next.
~ review reposted courtesy of Jazz Review.com and John Kelman
1. Portrait Of Tracy
This is the bass solo song that Jaco played as his debut piece. Bassists all over the world have
admired this song that is full of revolutional ideas, and in which harmonic playing is used to
entirely. With the new movement that this kind of song can be composed for the bass, the degree of
its playing highly sofisticated has become a point of discussion. Brian's idea to try this song with
a wood bass was great. The harmonics in the introduction also work well. There is a strong sense
that the solo song has been made attractive with harmonics, percussion and live strings.
This is also from the debut album. Jaco often used to play this song at his live shows throughout
his lifetime. The original version starts with the theme from the beginning, but Jaco also often
inserted the introduction at live shows. Brian has also composed an emotional introduction and then
moved on to the theme. Creating the melodies using a fretless bass, the background music with a wood
bass and the melodies and adiibs by piccolo bass is a cool fusion of the three basses. A phrase from
"The Sound Of Musio" that Jaco loved, makes me grin.
3. Teen Town (bass version)
This is one of the popular songs that Jaco composed that became a classic for Weather Report on
"Heavy Weather" (1977). Many bassists have played this song but Brian's approach here is really
fresh. Playing back and forth between the wood and electric basses, and particularly the touch of
the differences in tempo, fuses with the space, including the timbre, and the result is marvelous.
The way the horn section joins in is also very attractive as all the sounds interweave.
4. A Remark You Made
This is a ballad song included in the previously mentioned, "Heavy Weather". Joe Zawinul (kyd)
composed it with Jaco's bass solo in mind, and it has become very popular as one of Jaco's
outstanding performances. The solo by a wood bass really makes us feel the sound that Jaco was
aiming at, and it gives the melodies life and lyricism. The participation of Jaco's friends Bob
Mintzer (sax) and Alex Acuna (perc) who played in the original version of this song is also
5. Three Views Of A Secret
This is a famous Jaco song that was released on, "Night Passage" by Weather Report (1980) and on
Jaco's second album, "Word Of Mouth" (1981). Jaco often performed this song in live shows, and many
musicians also cover it. Joe Zawinul also gives it high praise when he says that it is a famous song
that will become a classic. The fusion of wood and fretless basses is also interesting here, and Bob
Mintzer's solo is also excellent in a way that only mature players can perform.
This is a beautiful, original song that Brian has offered to Jaco. Using wood, fretless, acoustic
and piccolo basses and nylon strings, digesting Jaco and various influences, and doing his own work,
blending his original approach with his personal sense of beauty, this lets us feel what Brian
likes. This is a positive song that turns the inspiration received from Jaco into a real tribute.
This is Jaco's bass solo that was in Weather Report's live album, "8:30" (1979). Jaco liked the rock
guitar revolutionary, Jimi Hendrix, and he often inserted part of Hendrix's, "Third Stone From The
Sun" in his bass solos. Jaco's bass solos using delay machines are legendary, and Brian also
performs here using one. His electric bass playing on this song is really great. Everything is just
amazing! It has everything about basses.
8. Come On, Come Over
This is a unique vocal song that was on the debut album. It is like Jaco, who was an R&B freak, and
the original was sung by the popular R&B duo, Sam & Dave. In this song, Bill Champlin (formerly in
Chicago) and Bobby Kimball (formerly in TOTO) let us hear some groovy vocals. R&B type bass like
this was also one of Jaco's favorites, and Brian makes this song funky in a cool way using a five
9. The Chicken
The original song is by sax player A.J. Ellis, from The James Brown (soul singer) Band. Jaco had
liked this song since his boyhood, and he always played it in his live shows. Without our realizing
it, this has become one of Jaco's classics, and the groovy bass line has become famous. Brian
challenges this funky song using a wood bass. This song also holds deep memories for Bob Mintzer,
who was a regular in Jaco's band.
10. Teen Town (piccolo bass version)
The third track, for the piccolo bass version, the sound like a guitar in the last half of this
track is the sound of a piccolo bass. When I listened to the piccolo bass in Brian's old piece, "You
Know That Feeling" (1998) I was surprised. It is important to remember the way Brian searches for
unique bass sounds when we talk about his music.
This Jaco tribute by Brian is a soulful piece through which a new spirit has been blown into the
wonderful inheritance that Jaco left. Jaco created many wonderful melodies like these, and the
harmonies supporting the melodies are not ordinary at all, just like his bass playing. They were
completely different from anything else! To say it in a single word, that was "Jaco".