Picked up this CD today, and all I can say is WOW. I knew Bromberg's work from his previous acoustic CD "It's About Time: The Acoustic Project", and spent many an hour with it transcribing three of the tunes, one of the piano solos, and one of the bass solos, which I played on fretless plank at the time. I wouldn't have thought it possible, but this one is even BETTER. The sound - both of the recording in general and of his bass in particular - is nothing short of spectacular. As is the playing:
Imagine a fat, melodic sound with a huge robust presence that sings with a lyricism and fluidity that most mortal humans can only dream of, and you begin to get the idea. But you've got to hear it to believe it....

Stylistically, the disc will probably have some detractors, principally among them those who prefer an "old-school" gut-like sound. Also likely to be put off are those who dislike players with absolutely monstrous chops. But the ideas on this record are always supported by the chops, not muddied by them, and even when playing some of the most virtuostic stuff even imaginable, he never once loses the focus on the sound. Unbelievable.

Anyway, enough raving. As if you can't tell, I'm absolutely blown away by this disc. He's joined on the recording by his brother David Bromberg (drums), and Randy Waldman (piano), both of whom sparkle as well. Just wanted to give a very honest thumbs up to the recording, and a heads up those those who might not have heard of it.

Chris,

I'll second this. I'm a big fan of the old school sound for myself, but Bromberg is awesome on this. I have it in my player here at work.

Monte

Monte,

Good to hear that the "Old School" doesn't disapprove in your neck of the woods. I hope that trend continues.

Ed,

Not yet - as I think I mentioned, the only way I can play a cassette anymore is in my wife's car. BUT...I'm going to be building some new monitor stands in the garage this evening, and I'll make a point of firing up the old Blaupunkt then and report back afterwards.

Dude's got skills. One of the best pizzicato nontraditionalists this side of NHOP. He needs to increase his output.

I am very glad to see Brian Bromberg finally get some earplay and respect. I have been a huge fan of his for quite some time. He is equally adept on electric bass. Check out an early disc called basses loaded. I've bought it three times. I keep letting friends hear it and they don't give it back.

Just my opinion,
Tummage

Just got that album, and yes Brian got chops.
I heard before that his action is pretty low, like bass guitar, but the sound on the CD is very good, obviously very well recorded and isolated, in my opinion a more pleasent sound than on his previous album "Acoustic Project".

Thanks for the news on the Bromberg recording. At this point of time, I don't have it however, I'm a BIG fan of this master after my first introduction to him on "Hommage To Duke" Dave Grusin... Great playing and sound from Bromberg on that recording infact, I took this CD along when I purchased my recent home theatre. I got a bit of a weird look from the salesman however, put on "Satin Doll" and when we got to Bromberg's solo....wound the sucker RIGHT UP.
I went through 4 different brand systems before I found one that wouldn't break-up during Bromberg's solo.... I bought that one!
On the comments stated above, I 'll place an order with Border's tomorrow!

Cheers,

powermans

Just picked up this CD myself.

The tone on all the tracks is amazing, but I love how it digs in on The Saga of Harrison Crabfeathers and creates this amazing groove. It really reminds of Charles Mingus' playing on Money Jungle.

Something about Star Spangled Banner leaves me feeling weird. He has this wonderful use of harmonics on Come Together that would have gone beautifully in Star Spangled Banner, but instead he keeps accenting the tune with lower notes, which for some weird reason, just doesn't do it to me.

Overall, his tone is superlative. I love that dweep mwah and the slapping of the string against the wood.

Bump. Durrll, thanks so much for recommending this.

Virtuosity embodied. It's impossible to imagine listening this album and not learning something.

Remind me not to play bass on the same planet as Brian Bromberg, will ya?

Originally posted by Samuel

Virtuosity embodied. It's impossible to imagine listening this album and not learning something.

Remind me not to play bass on the same planet as Brian Bromberg, will ya?

Heck, I'd love nothing more that to play bass in the same room as the guy....er, uh, as long as it was in the context of a lesson. I wonder if he ever tours, and if so, who with?

www.brianbromberg.net contains some info, along with much "soft jazz" and keening of smooth saxophones. Checking it out makes me glad that Wood is my first exposure to Mr. Bromberg. If I'd scoped the site I might well not have bought the album, which would have been my loss.

The site also has a tease of Bromberg playing "Woody & You" with Gonzalo Rubalcalba and Dennis Chambers. Bromberg slaps the pants off his DB while the others stand by. The slapping is jaw-dropping, although not my cup of tea. (If you're looking for "unamplified sound" don't bother with this clip.) Anyway, hearing a few seconds of BB and Chambers walking and driving like monsters is right up my alley. David Bromberg plays fine on Wood but Chambers takes no prisoners.

got this record last week and i'm damn impressed too. brian's got really spectacular ideas and the chops to play 'em. i knew he was a chopsy player, but i didn't expect it to come out so musical. also, i am really impressed with his time. whether playing solo or with the trio, walking or wanking, the time feel is there, which is more than i can say for other 'pyrotechnical' bassists.

let's face it, though - the liner notes must be downright embarassing. :) his instrument is noted as 'wood bass.'

and "...his reputation as the most innovative and prolific bassist in contemporary jazz."

and "although he recorded [the star spangled banner] for this album long before tragedy struck our nation on september 11th, 2001, his presentation is genuine and passionate, as if chiming with the voices of unity echoing across america today."

brother. :) helluva record, though.

sean p

I've heard stuff from Bromberg's Acoustic Project and listened to some teasers from Wood. You've got to respect this guy's chops, but it's mostly not my cup. I consider much of the stuff a curiosity by a 'freak of nature' playing much too self indulgently for my tastes. Bass geeks and cognoscenti should appreciate it.
I thought my jaw dropped from his slapping on Woodyn' You, but it turned out to be a yawn.

The guitarist Joe Morris was recently in JazzTimes to the effect that, "You can either be an innovator or you can be a virtuoso."

I'm not sure I agree. There are some times in jazz when innovation and virtuosity go hand-in-hand -- Bird, Trane, Dizzy, Chick. On the other hand, there are certainly jazz innovators whose music did not focus on virtuosoity -- Miles, Wes, Louis, Coleman Hawkins. (Somebody's gonna chop my head of for that. Oh well -- it's not much use anyway.)

A steady diet of virtuosity makes me numb. A dose does me good once in a while. Wood is not in heavy rotation around here but it has not been banished to the bunch under the printer-stand either.

Originally posted by Samuel
The guitarist Joe Morris was recently in JazzTimes to the effect that, "You can either be an innovator or you can be a virtuoso."

I'm not sure I agree. There are some times in jazz when innovation and virtuosity go hand-in-hand -- Bird, Trane, Dizzy, Chick. On the other hand, there are certainly jazz innovators whose music did not focus on virtuosoity -- Miles, Wes, Louis, Coleman Hawkins. (Somebody's gonna chop my head of for that. Oh well -- it's not much use anyway.)

I'm not touching this one except to say that, if anything, I'd better plan on being an innovator. :)

A steady diet of virtuosity makes me numb. A dose does me good once in a while. Wood is not in heavy rotation around here but it has not been banished to the bunch under the printer-stand either.


Word. I bring it out every once in awhile when I want to hear THAT SOUND, and I may transcribe one or two things off of the disc. This is off topic, but there are many SOUNDS that I'd like to be able to get on THE BASS. Something akin to Bromberg's sound is one of them. Something akin to McBride's is another. Something akin to Charlie Haden's is yet another. It's really fun trying to figure out how to mimic these (and other) various tones and articulation habits while playing the same bass with the same fingers.

If you transcribe his solo "All Blues", tell us about it. Listening to his do that makes my brain hurt...

Yeah, it's not on the daily playlist here either, but I play it for every bass player who passes through my house.

In regard to MJE addiction to "ALL BLUES" I totally agree with your comments. I have had the "WOOD" CD about a month now and, have it constantly going when I'm at home and in my Van going to Gigs and even play it in the breaks.
I also think his version of "Speak Low is GREAT and have great fun doing that track with my Trio.:p

I totally agree, Brian Bromberg is amazing, he makes me want to play upright again(I haven't seriously studied on upright for about a year)his playing is incredible and his sound is so rich and clean...good stuff.

How could I have waited this long to get this CD?!? SHeeeeeeeeeeeeeit! Amazing!

Of the many high point for me was his solo on "The Days of Wine and Roses", you can practically hear him singing the melody in his head! Totally musically relevant, regardless of the bass in his hands.

They happened to put this on the listening station at the local Tower Records right after Chris first posted this. I wasn't a big Bromberg fan (even though I knew he was a Monster) due to his recent "Smooth Jazz" output (although I thought he was amazing on my "Lee Ritenour & Friends: Live from Coconut Grove" DVD).

After listening for a couple of minutes I had to have it...but they were sold out. :bawl:
By the next time they had it in stock his "Jaco" CD had also come out so I bought them both.

His playing is both beautiful and stunning.

I just got "Wood" today. WOW! What a sound, what a player, what a CD. WOW!

Geez I dunno. I listened to the Woody N You solo on his web site and also listened to some of the "Wood" tracks. I guess it must just be me but yuck what a terrible sound and as for his playing, yep the guy has amazing chops but after a while I just which he would calm down and play less notes. He could do with studying some Miles Davis solos. I personally don't hear a lot of musical content coming through his playing. Yeah I can hear chord and non-chord tones and scales and arpeggios and whatever else but his solos to me are lifeless - no shape, no emotion. Chops alone unfortunately does not make a great player although it's impressive as hell for the first 60 seconds. For me personally it's all about sound and conveying musical ideas and I get neither from Bromberg's playing which does come across as being very self-indulgent.

However that's just my personal taste and if we all liked the same things it would be a boring world.

Adrian

Originally posted by adrian_cho
Geez I dunno. I listened to the Woody N You solo on his web site and also listened to some of the "Wood" tracks. I guess it must just be me but yuck what a terrible sound and as for his playing, yep the guy has amazing chops but after a while I just which he would calm down and play less notes. He could do with studying some Miles Davis solos. I personally don't hear a lot of musical content coming through his playing. Yeah I can hear chord and non-chord tones and scales and arpeggios and whatever else but his solos to me are lifeless - no shape, no emotion. Chops alone unfortunately does not make a great player although it's impressive as hell for the first 60 seconds. For me personally it's all about sound and conveying musical ideas and I get neither from Bromberg's playing which does come across as being very self-indulgent.

However that's just my personal taste and if we all liked the same things it would be a boring world.

Adrian
As far as his tone and the quality of his solos, that boils down to personal taste.

I think you've missed the point on the playing in general. Are there a lot of notes? Yes. Is it self indulgent? Maybe. If he was playing on someone else's project were he was expected to be a supportive, ensemble player, all the overplaying points might be valid, but this is supposed to be a Double Bass Feature recording. That's the point. There are plenty of other excellent "ensemble" records if that's what you'd rather hear.

Originally posted by That Bass turd
If he was playing on someone else's project were he was expected to be a supportive, ensemble player, all the overplaying points might be valid,
Even on your own recording, you are expected to be a supportive ensemble player in the 66% of the time that it's not your solo. I wonder, does Bromberg appear on many recordings as a sideman?
but this is supposed to be a Double Bass Feature recording. That's the point. There are plenty of other excellent "ensemble" records if that's what you'd rather hear.
And the point that you are missing is that there are also plenty of "Double Bass Feature" recordings on which the Featured Double Bassist does not play a zillion notes. The bass can be "featured" by playing the melody, arco or pizz, or even by being the lone accompanist, for example in a duo with sax or a vocalist.

And lets not equate chops with speed. It is possible to have great technique and not play fast, just as it is possible to play fast and not have great technique. Technique also includes the ability to play with dynamics, style, and nuance, and yes the ability to play slowly.

Now I love listening to guys that can rip, too, but it's got to be with all the right notes in the right sequence. Guys like Michael Brecker, where even the most blazing passages are comprised of sensible, well constructed melodic material. Not just playing fast for it's own sake.

In the end it boils down the "To each his own" cliche.

Originally posted by T-Bal
Even on your own recording, you are expected to be a supportive ensemble player in the 66% of the time that it's not your solo. I wonder, does Bromberg appear on many recordings as a sideman?

And the point that you are missing is that there are also plenty of "Double Bass Feature" recordings on which the Featured Double Bassist does not play a zillion notes. The bass can be "featured" by playing the melody, arco or pizz, or even by being the lone accompanist, for example in a duo with sax or a vocalist.

And lets not equate chops with speed. It is possible to have great technique and not play fast, just as it is possible to play fast and not have great technique. Technique also includes the ability to play with dynamics, style, and nuance, and yes the ability to play slowly.

Now I love listening to guys that can rip, too, but it's got to be with all the right notes in the right sequence. Guys like Michael Brecker, where even the most blazing passages are comprised of sensible, well constructed melodic material. Not just playing fast for it's own sake.

In the end it boils down the "To each his own" cliche.

Well, you seem to be addressing a lot of things I didn't say (i.e. "Speed", "Technique", etc.) as if to atribute them to me (agenda?:rolleyes: ).

He is very supportive when another instrument is featured, but like I said, this is his feature. Big difference. You don't seem to realize this is not a record to show off his compositional skills, it's to show off his Double Bass (and his skills on it). Whether you like it or don't it's foolish for you to not realize...it's ok.:rolleyes: If you don't like it, don't listen. Simple as that.

("Rant" edited by me. Was already in a bad mood when I signed on and jumped the gun at Hee-Haw;) . Sorry.)

Important bulletin to all TB members: PhatBassterd wants us to take his name seriously, and not make fun of it. I'm sorry, Phat. There was no need for that. Your name makes fun of itself, and you're absolutely right. Having only been around here for a few months, I just don't know when it's appropriate to Fuqua someone. Will someone fill me in on when it is and is not appropriate to Fuqua a name?
Originally posted by PhatBasstard
Well, you seem to be addressing a lot of things I didn't say (i.e. "Speed", "Technique", etc.) as if to atribute them to me (agenda?:rolleyes: ).I can read between the lines. My agenda is to point out to you or anyone else who might not realize it that 1. There is more to chops than playing fast, and 2. Playing fast in and of itself does not make for good music.
You don't seem to realize this is not a record to show off his compositional skills,I never said or implied anything about compositional skills. It would be tough for Brian to show off his compositional skills on a record where he didn't write any of the tunes, don't you think?Whether you like it or don't it's foolish for you to not realize...it's ok. If you don't like it, don't listen. We are all entitled to our opinions. Mine happens to be that Bromberg sometimes sounds like musical diahrrea. If that's what you like, then have at it.

P.S. I don't do Tabcrawler, and I definately don't do Tab.

P.P.S. If you don't want inflamatory responses, don't make inflamatory remarks. Let's keep this about the music.

Tom

Quote ( originally posted by TENNIS BALL ):
"I just don't know when it's appropriate to Fuqua someone. Will someone fill me in on when it is and is not appropriate to Fuqua a name?"

I guess you just have to leave that for
PhatBasstard to decide....obviously he seems to know best.

Durrl, where the hell are you?

Originally posted by Hee-Haw
Important bulletin to all TB members: PhatBassterd (Edit: PhatBasstard! Still not right. Damn! ;) ) wants us to take his name seriously, and not make fun of it. I'm sorry, Phat. There was no need for that. Your name makes fun of itself, and you're absolutely right. Having only been around here for a few months, I just don't know when it's appropriate to Fuqua someone. Will someone fill me in on when it is and is not appropriate to Fuqua a name?
I can read between the lines. My agenda is to point out to you or anyone else who might not realize it that 1. There is more to chops than playing fast, and 2. Playing fast in and of itself does not make for good music.
I never said or implied anything about compositional skills. It would be tough for Brian to show off his compositional skills on a record where he didn't write any of the tunes, don't you think?We are all entitled to our opinions. Mine happens to be that Bromberg sometimes sounds like musical diahrrea. If that's what you like, then have at it.

P.S. I don't do Tabcrawler, and I definately don't do Tab.

P.P.S. If you don't want inflamatory responses, don't make inflamatory remarks. Let's keep this about the music.

Tom

OK, I was a little harsh on the Fuqua thing. It seems to be something that is done between users that know each other and like to poke fun. Since I don't know you from Adam, and I don't think we've ever exchanged directly, I took it as more of an attack rather than fun. My apologies. :p

I didn't think my original response was "inflamatory". It was a long winded way of saying "it's all good" and if you like it or don't like it, it's OK. One man's pleasure...

What you said about him not composing any of the tunes made my exact point. Thank You.

Originally posted by T-Bal
Even on your own recording, you are expected to be a supportive ensemble player in the 66% of the time that it's not your solo. I wonder, does Bromberg appear on many recordings as a sideman?


With Stan Getz, Nancy Wilson, Toots Theilemans, Arturo Sandoval, Shirley Horn, Jeff Jarvis, Billy Cobham, Gonzalo Rubalcaba, DAve Benoit and Dave Grusin - to name but a few selected ones. And that's just some of his Double Bass dates.

I think Brian's playing on this is fantastic. As I said before, his ride on "Days of Wine and Roses" would be great no matter what instrument it was played on (a great place for an improviser to be). His tone is to die for, IMO - and apparently a lot of other musicians dig it,too. (see first paragraph).

Adrian, Phat - just so we get an idea of where you're coming from - who are the guys that do it for you?

Originally posted by DOONESBURY
I miss Ed. But I always thought that poking at folks' handles is like playing the dozens . . . it's only gonna lead to e-mayhem.

Agreed...on the other hand, that's half the fun. :D Seriously, I think everybody came to their senses this time. I get amused as hell when someone who doesn't usually Fuqua busts out a Fuqua, as SHO' LIKE T-BALL did this time. As with the original topic, I suppose it's all a matter of taste. :)

Gentlemen, howzabout you make an e-pact to edit your posts and then I can e-remove this e-request. And we can return to Mr. Bromberg.

Eeew!

For the record, I don't worship Brian's playing or anything, but I'd love to be able to pull a sound like that out of my bass, and I'd love to develop the ability to pull off some of the stuff he manages on this record. This record will probably never usurp the Fred Hersch trio (et. al) stuff as my prime example of musical interaction, but listening to it certainly does inspire me to become a better bassist, especially on the technical front. As said before, to each his own.

Originally posted by BARTOK WALLOW
Durrl, where the hell are you?

Just busy as hell with the new gig at the U. I miss you guys!

Adrian, Phat - just so we get an idea of where you're coming from - who are the guys that do it for you?

Sound wise I identify with lots of guys but certainly PC, Ray Brown and Christian McBride are right up there not just because of the actual tone but because of their articulation and the shading they can apply to their notes. As far as choice of notes go well there are so many but Wilbur Ware, PC and Ron Carter are the guys. They played simply but so effectively. There was never any self indulgency.

And by the way Phat, whether the recording is a feature for Bromberg is not part of the equation in my opinion. A solo is a solo and a solo with lots of words that makes no sense is still the same thing regardless. But hey maybe I just can't understand what the heck he is trying to say.

Just having a little fun, being the "devil's advocate", backing up Timothy O'Leary, Yo Adrian, and others who don't particularly care for this type of playing. Sorry if I got anyone into a lather...Bruce, thanks for the spellcheck.

Pac, your question wasn't for me, but I'll answer it anyway - in the interest of comparison and contrast. Guys that do it for me, among the "younger" players, include Scott Colley, Larry Grenadier, Patitucci (more recent acoustic stuff), Drew Gress, Peter Washington, among others.

Now to stir up more controversy. One thing I don't like about BB's sound is that he succeeds in making the acoustic bass sound like an electric instrument. One of the great characteristics of the DB, IMO, is the fact that it produces a palpable, real pulsating sound that can shake you to the core when it's done well. I do believe in amplification to augment that sound, if necessary. But when the amplification outweighs the acoustic sound, I feel you have lost the essence of the instrument. To paraphrase from the bio on his website, he has surpassed the preconception of what the bass is SUPPOSED to sound like.

My point exactly.

Originally posted by GOOD GOLLY, MISS MOLLY
Just having a little fun, being the "devil's advocate", backing up Timothy O'Leary, Yo Adrian, and others who don't particularly care for this type of playing. Sorry if I got anyone into a lather...Bruce, thanks for the spellcheck.

Pac, your question wasn't for me, but I'll answer it anyway - in the interest of comparison and contrast. Guys that do it for me, among the "younger" players, include Scott Colley, Larry Grenadier, Patitucci (more recent acoustic stuff), Drew Gress, Peter Washington, among others.

Agreed. All of these guys do it for me (albeit for different reasons) big time. Drew Gress is especially underrated as far as I'm concerned. Aside from his recorded playing, which is some of my favorite understated bass playing ever, I find his live presence to be in many ways exactly what I'm shooting for. His energy is fantastic, and every time I've seen him he's been ALL ABOUT doing what's right for the music at all times. His playing inspires the hell out of me.

Now to stir up more controversy. One thing I don't like about BB's sound is that he succeeds in making the acoustic bass sound like an electric instrument. One of the great characteristics of the DB, IMO, is the fact that it produces a palpable, real pulsating sound that can shake you to the core when it's done well. I do believe in amplification to augment that sound, if necessary. But when the amplification outweighs the acoustic sound, I feel you have lost the essence of the instrument. To paraphrase from the bio on his website, he has surpassed the preconception of what the bass is SUPPOSED to sound like.

My point exactly.

I emailed Brian after getting this recording to find out how it was recorded. He sent back a very polite response that the sound was a result of a mix of "a Neumann ______ through an old Neve console (95%) and a touch (5%) of direct." He said he was surprised how well his bass was behaving during the session, adding that it's often fairly fussy (as 200 year old instruments can be). Again, that sound is not for everyone, and certainly not for all situations, but I love the way it sings in the upper register. YMMV.

Bruce? What Bruce????

Originally posted by T-Bal
But when the amplification outweighs the acoustic sound, I feel you have lost the essence of the instrument. To paraphrase from the bio on his website, he has surpassed the preconception of what the bass is SUPPOSED to sound like.


To reiterate what Chris said, that is the acoustic sound of his instrument.

So we all obviously like different things, and that's cool. You hear no musical sense or ideas, I hear tons. To each his own, I guess.

Originally posted by Pacman

So we all obviously like different things, and that's cool. You hear no musical sense or ideas, I hear tons. To each his own, I guess.

That's the sensible approach, but likening his playing to "diahrrea" (sic) was unwarranted and unhelpful in my opinion! Does name-calling add anything to a debate like this - can we avoid this in future and start with the reasoned debate rather than finishing with it?

I dunno, I think, at least in my warped circle of family and friends, that to say something is verbal or in this case musical "diahrrea" is a pretty common way of saying alot's coming out but nothing is standing out as particularily meaningful - which is a valid comment/opinion. While it is a somewhat crude way of stating that, it is quite expressive, warranted, AND helpful to the discussion in my opinion.

I guess I should shut up now and actually go listen to the album. I wish itunes had it so I could preview it, because it sounds like it wouldn't be my cup of dia...er...tea.

Originally posted by Pacman
To reiterate what Chris said, that [i[is[/i] the acoustic sound of his instrument.

I stand corrected. However, I feel that despite the fact that it was mic'd, it still sounds electric-y (low action and light guage strings?) and in a live situation he'd have to rely heavily on the amp. You just can't dig in with a super low action.

In my opinion his sound is definitely very "electricky" and that's what I don't like about it and it is surprising to hear how it was recorded. I am guessing that that's the sound he likes and it's what he hears in his head and thus what he produces on the instrument and what one would hear if you were stand next to him and he played with no amplification. That said, I have no idea how gets such a tone especially given that he has a very nice old Italian bass.

Again though, it's just personal opinion. Some people like that kind of tone. I hate it and I think if you're going to sound like that you might as well just play electric bass anyway and gain some of the additional benefits of that instrument. I find it interesting that he is also an electric player.

Originally posted by Pacman
With Stan Getz, Nancy Wilson, Toots Theilemans, Arturo Sandoval, Shirley Horn, Jeff Jarvis, Billy Cobham, Gonzalo Rubalcaba, DAve Benoit and Dave Grusin - to name but a few selected ones. And that's just some of his Double Bass dates.

Adrian, Phat - just so we get an idea of where you're coming from - who are the guys that do it for you?

Thanks! (I'm too busy to do that much research:p ).

The Double Bass players I tend to like (besides Bromberg) are NHOP, Brown, Carter (most things), Hayden, JP (although I'm not crazy about his electric playing), Gomez, among others.

I'm not getting the "Bromberg sounds electric" argument. If you think he sounds electric, check out some of the old Joe Pass stuff with NHOP, Ray Brown & Ron Carter. I kept having to look at the credits to make sure it was uprights that they were playing. :hmm:

Originally posted by PhatBasstard
I'm not getting the "Bromberg sounds electric" argument. If you think he sounds electric, check out some of the old Joe Pass stuff with NHOP, Ray Brown & Ron Carter. I kept having to look at the credits to make sure it was uprights that they were playing. :hmm:
Well, I think his (Bromberg's) sound is electric-y compared to, say Mcbride, Gress, Washington, Ben Street, Grenadier, and a host of others.

Of course NHOP sounds that way, it's part of his thing. I'm not wild about him either. After a point Ron Carter's sound headed in that direction, although not to the same extent. But Ray Brown?? Which recording? I've got to hear it to believe it.

Don't get me wrong, I'll listen to guys who aren't my favorite. There are still aspects of NHOP and Bromberg that I can enjoy, learn about, and benefit from. I feel you can learn something from everyone, even your students. But on the whole, that sound and style of playing is not for me.

Originally posted by T-Bal
Of course NHOP sounds that way, it's part of his thing. I'm not wild about him either. After a point Ron Carter's sound headed in that direction, although not to the same extent. But Ray Brown?? Which recording? I've got to hear it to believe it.


Joe Pass w/Ray Brown & Bobby Duram (Drums)
Portraits of Duke Ellington

Joe Pass w/Ray Brown, Milt Jackson (Vibes) & Mickey Roker (Drums)
Quadrant

Joe Pass w/NHOP & Martin Drew (Drums)
Eximious

Kenny Burrell & Grover Washington Jr. w/Ron Carter, Jack Dejohnette & Grady Tate (Drums) & Reggie Workman (Bass-last 2 tracks)
Togethering

While I love all these albums, if you're not listening real closely, they sound like a Precision with the treble rolled off was played.

Originally posted by PhatBasstard


While I love all these albums, if you're not listening real closely, they sound like a Precision with the treble rolled off was played.

That is a function of the studios of the 70's rather than the individual players prefrence.

Guys a little older than me can assure you that even studios with great microphones still want to go direct due to that hideous time period.

I've nearly gotten in fights with lazy engineers over this. Now, I don't take a pickup at all, and bring my own AKG C3000 so there won't be anything to argue about. I had one guy dig around in a box and try to have me put on this piezo that looked like a medival torture device....

Ray never sounded like that live.

Monte

I drove past a Church on the way home and out front a sign read QUOTE ! " GET READY HE'S COMING BACK "

I'm curious are they talking about J.C. or Ed Fuqua !

Oh, by the way "Bromberg" is to die for!!!!
END OF GOD DAMN STORY!:D

Originally posted by Monte
Ray never sounded like that live.

Or recently in the studio. I have "Some of my best friends are...Guitarists", which is one of his final recordings and his sound is much better.

From what I remember from interviews with Bromberg about the recording of "Wood", there was no direct injection involved. Just his bass and some very expensive microphones (although his "5%" email to Chris would seem to say differently).

I don't hear anything electric like about it. Put on a nice set of cans and it sounds like you're right next to him while he's playing.

In contrast, Ron Carter's recent Bass Player interview quotes him as saying that he always records direct, and that every once in a blue moon he'll record with a mic too.

As for Bromberg and Wood, it sounds like there's a lot more than "just a smidgen" of piezo. I enjoy the record -- man, what cojones! -- but that's not the skill-set I'm focusing on developing right now.

It's interesting to note how much comment the record has generated here. Not that "here" is a big place in the universe, but assuming that this joint reflects Bass World as a whole, it's another measure of how successful the record is. Good for him!

I really like BB's sound. When I first posted about this I had just listened to it for the first time. After about 3 listenings I started to think about his sound, while it does have an eletric quality to it, it's also one of the clearist DB sounds I have heard. Personally, I'm really fond of the tone guys like JP and RC get on record, BB's sound is just a variation of that.
As for his chops, it's amazing to listen to but does leave me a bit cold at moments. I'm still in awe of it though.

I think Brian is a great player. The problem I have with his playing is that, to me, it sounds as if alot of it is "worked out" It's pretty impressive even so, but I prefer players that do a little more pure improvising. It's refrefshing to hear more and more of the "new" guys..Drew Gress, Scott Colley taking, what I truly believe to be, the double basses "next level" And that, to me is pure group improvising. This doesn't involve "licks" and grandstanding. It's playing off of each other in more of a conversational way. This, obviously, is where Bill Evans and Scott LaFaro were headed and I'm interested in continuing that tradition.
End of rant.....And I can't stand hearing the bass with any kind of direct link to the board!

Paul Warburton said:
"End of rant.....And I can't stand hearing the bass with any kind of direct link to the board!"
I couldnt agree more with you Paul, but of course , even im 31, i sometimes fell like an old geeser...
But if you look at my bass heroes in my profile, you will know just what i mean....
By the way , 8 years ago i lived in Denver for one year..
West colfax....good memories from that cool town

NUNO

Just got this after a few months of hearing about it, and all I have to say is "holy schmack!" This is the record I always wish John Patitucci would do. Trio format, popular tunes...but totally go for it. In alot of ways, it reminds me of the Chick Corea Acoustik stuff...but "Wood" is alot more charming and the sound is much better. I know the sound of his bass might not be for everybody, but I really dig how looooooong his low notes are. Really gorgeous. I'm into it.

Okay, that's it! I'm dropping my bridge spacers down and hitting the woodshed!

Will

If anyone likes a lot of bass, check out brian brombergs album 'wood'. You will full understand the meaning of wood after listening to it for awhile. Here is link for sampling...


http://www.amazon.com/exec/obidos/tg/detail/-/B000063IVK/qid=1106187990/sr=8-3/ref=pd_csp_3/103-0726771-5427860?v=glance&s=music&n=507846\
:bassist:

You guys should check out his playing with Alan Broadbent. Broadbent's current trio consists of himself, Brian Bromberg, and Joe LaBarbara. Their album "you and the Nigh and the Music" is awesome, especially the title track where Brian just tears it up.
Personally, I dig his sound and his ideas; maybe not wanting them for myself all the time, but I would love to have some of those tools "in the bag" so to say. His improvisational concepts are unique and much more like a horn player at times than a bassist. Anyways... you guys should check him out with Broadbent. It's great... He's coming to my school (Northern Arizona University) with the Alan Broadbent Trio to do a bunch of masterclasses and a guest artist concert, so it will be nice to hook up for a couple lessons with him. My teacher, Joel DiBartolo, says he's a great guy to be around too. Should be fun...
Chris

A bit late on this train, but I managed to pick this CD up at Goodwill a couple of weeks ago for a mere $3. I would have paid 5-6 times that! I enjoyed it throughly, albeit, Bromberg ≠ Ray Brown.

i must say, wood is the recording that got me off the drumskins after 15 years of jazz/brushwork and got me to get an upright. phenomenal (sp?)

could anyone tell me howhe gets that monster shufflescrape sound he does.


it's all over 'come together' ( which by the way is one of the only covers i have heard of this song that kills)


thanks, this site has been such a huge help to me from finding great info on technique to discovering rabbath and also learning about the new american basses,AMT35 option and finding new great music like savino's AMAZING band.

sorry, don't mean to spew

thanks all :hiding: