Bob Berg
Short Stories

He died prematurely in 2002 due to a car accident, this tenor saxophone ace who played such a significant role in contemporary jazz starting from the eighties. He passed away leaving us with a vast number of collaborations and a number of solo publications sufficient to earn him a place in the "Olympus" of great jazz names. His joining the band of Miles Davis in 1984 contributed to his growing notoriety and he was soon recognized as a versatile and expressive soloist, capable of having his instrument "draw" melodic lines of rare beauty through the excessive use of pentatonics combined with a warm and unmistakable timbre. His style is easily associable with saxophonists like Michael Brecker and Dave Sanborn, musicians with whom Berg maintained a continuous collaborative relationship throughout his career; in addition to them, the musician played with Chick Corea, Pino Daniele, and Mike Stern, to name a few. Of great importance was especially the partnership he forged with the guitarist who was omnipresent in his studio recordings, to whom Berg often gave ample space for the realization of compositions.

The album we are going to analyze, "Short stories" was released in 1987, and it is the first episode of a solo career that lasted ten years, and it is perhaps the best episode. The musician's stylistic choices, fusion-oriented, see him engage in the execution of pleasant and easily assimilable pieces, far from being banal or predictable, they benefit from the strong jazz component and the skill not only of Bob Berg and Mike Stern but also of the other musicians excellently inserted in a context where the tenor sax is, however, the absolute protagonist. "Friday night at the cadillac club" immediately exudes the scent of jazz standards: it is an irresistible and explosive blues with a damn catchy theme that risks getting into your head rather incisively; Peter Erskine (drums) and Will Lee (bass) support a deadly groove over which the saxophonist produces a lyrical frenzy immediately highlighting his exceptional soloist qualities. "Words" and "The search" are two pleasant ballads written by Mike Stern and magnificently interpreted by Bob Berg's tenor sax. "Kalimba" is instead a composition of great emotional depth that sees the protagonist of this musical adventure joined by the aforementioned alto sax master Dave Sanborn; Caribbean sounds blend with funk rhythms by Erskine supporting the beautiful and soothing melody interpreted by the two soloists, as the piece progresses it will lead to an exchange of solos of great intensity that will surely delight the ears of those looking for intimate and melancholic sounds. The funk "That's the ticket" is a piece that would not look out of place among the discography of the "Uzeb" by Michael Cusson and Alain Caron; supported by a compelling and robust drumming and bass accompaniment and by cold and intricate keyboard layers, the musician offers his usual impeccable performance. I finish by mentioning "Maya", undoubtedly among the best tracks on this album, it is another ballad with Caribbean flavors where Berg temporarily abandons the tenor sax for the soprano and splendidly interprets this theme written by bassist Jeff Andrews.

Bob Berg has traced a "little piece" of jazz history together with other extraordinary musicians of our time, it is worth remembering him at least once by listening to this wonderful record.