Brian Bromberg
Jaco

The Chinese copy: everything! The Japanese? Let's not even talk about it.

However, in their millenary philosophy, for the almond-eyed people copying someone means showing great respect, it means recognizing a leader, a master.

From this perspective, seeing a great musician like Brian Bromberg openly declare his love for Jaco with a beautiful tribute CD refreshes the soul for a moment. Elegant packaging with an accompanying booklet; declarations of respect, admiration, and memories: autobiographical notes and explanation of the tracks.

However, these are only the second thing that strikes: the first is the cover, a clear homage to Jaco's first album, complete with a black turtleneck and "Mona Lisa" expression! Starting with 1) "Come on come over" it is rendered with the inclusion of a 5-string bass, not present in the original edition, slightly freeing the overall interpretation but always remaining faithful to the r&b intentions that animated Jaco's album version.
2) "Continuum" already takes us into extreme melody territory, with a version featuring a Brian Culbertson, Spyro Gyra, Earl Klugh sound carpet, and various smooth jazz elements. This area has been (call it silly!) Brian's "money field" for years; but nevertheless, it doesn't prevent him from showing an enviable technique on the instrument here, without occupying the entire scene. Essentially, the fretless bass is very present but never intrusive; it engages in a tight melodic dialogue with the acoustic sound of... an "acoustic piccolo bass" played by Brian himself. What new can you invent with
3) "Teen Town"? Well, you could start by halving the time and then play it with the double bass; then you could think of intelligently developing it, including later on in the background, phrases that repeat the theme at "normal" speed played with the electric bass, like sudden and lightning lateral darts, in contrast; then you could add an expressive double bass solo, with a slap bass in the background, both accompanying you trotting to the end. A moment of respectful awe for
4) "A remark you made" rendered essentially with acoustic instruments and little electronic keyboard. Always the double bass prominently and (deliberately) extending a measure compared to the original theme. Beautiful version. Dave Kochansky's piano solo and Bob Mintzer's sax are in the spotlight, both in presenting the theme and interpreting the solo.
5) "Portrait of Tracy" is a piece performed by the double bass with an orchestra background. A very original interpretation by Bromberg for a piece built on nothing, on a splash of electric bass harmonics.
6) "Three views of a secret" is elaborated and rendered using elements and progressions dear to Jaco; steel drums and percussions. Here too, it goes on r&b and the desire for fresh air, brought by the high-class fretless of the title holder.
7) "The chicken" makes you move your hips and the old orchestral-choral standard is respected. Intense dialogue between the orchestra and the double bass that pumps greatly below. Bob Mintzer goes at it, and Jeff Lorber's Fender piano fills any gaps with great funk sense. The more attentive will not miss the fleeting citation at the beginning of the double bass solo: whoever recognizes it first will get a cold Budweiser from yours truly. But don't look at the cover notes, please! Beautiful and exhilarating. Too bad it lasts too short.
8) "Tears" was composed for the occasion by BB and is in the most blatant smooth tradition. But listenable, without the usual urge that grabs you to take an ax to the device that reproduces, be it radio or stereo (has it ever happened to you?).
9) "Slang(ish)" is a smart Ovomaltine version of Jaco's solo rendered by Brian Bromberg with muscles, technique, and heart. For bassists or the bravest. A great technician of the instrument. Undoubtedly. Nice tribute from a militant and successful but humble bassist with feet firmly on the ground.
10) "Come on come over" is now in the instrumental version, this time with Eric Marienthal's sax in the spotlight, pulling the cart and an inescapable Wilson Pickett-like base.
11) "Teen Town" in the version with Piccolo bass solo. Too bad this instrument doesn't have the role and possibilities it deserves. The courageous musicians who also play "piccolo" can be counted on the fingers of half a hand.

Beautiful smooth jazz album. Made with heart and head; and moreover, you can really find it for a pittance on E-bay!!! Highly recommended to bassists. Regarding the difference between the Orientals and us, I once read somewhere about this exchange between a Chinese and an Italian:

(Chinese) "Italians are a people of individualists"
(Italian) "And who cares, their own damn business!"