Track Listing

1. Cantaloupe Island
2. Mercy Mercy Mercy
3. Cold Duck Time
4. Sunday Mornin'
5. The Hacha Chacha
6. Chameleon
7. Serengeti Walk
8. Leisure Suit
9. Slow Burn
10. Shag Carpet

Product Details

• Amazon Sales Rank: #62919 in Music
• Released on: 2007-02-20
• Number of discs: 1

Album Description
On Downright Upright, acclaimed bassist BRIAN BROMBERG leads an all-star line-up to create a musical tour de force!

Playing both acoustic and piccolo bass, Downright Upright is a complete turnaround from 2006's Wood II. Instead of a traditional trio, this release shines with many new collaborative touches, including those from pianists GEORGE DUKE and JEFF LORBER, saxophonists GARY MEEK, BONEY JAMES, and KIRK WHALUM, drummer VINNIE COLAIUTA, trumpeter RICK BRAUN, and guitarists GANNIN ARNOLD and LEE RITENOUR.

Amazon.com
Long before the coining of "smooth jazz," catchy numbers like Herbie Hancock's "Cantaloupe Island," Joe Zawinul's "Mercy Mercy Mercy," and the Les McCann-Eddie Harris tune "Cold Duck Soup" enticed pop fans to cross over, however casually or tentatively, into jazz. Now, on veteran bassist Brian Bromberg's Downright Upright, those three songs are vehicles for name-brand smooth jazz players including saxophonists Kirk Whalum, Boney James and Gary Meek, keyboardists George Duke and Jeff Lorber, guitarist Lee Ritenour and trumpeter Rick Braun to do a little crossing back of sorts to show off their mainstream chops. Nobody will confuse the facility of their straightahead solos with real depth, however much emotion they pour into them. But it's an agreeable excursion for all concerned, with Bromberg making the most of his opportunities to lay down melodic lines. Even after the cover versions give way to originals in the same vein, the music stays lively. --Lloyd Sachs

Philadelphia Daily News
"An unbelievably good time...pure perfection."

Customer Reviews

The distinction between real jazz and jazz lite . . .
. . . is real.

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.

****1/2.

Great Album
This whole smooth jazz versus jazz war is retarded..
Good music is good music.

And this album is good, no great! music..

The band is great..
Bromberg is great..

And the guest stars he has on here..
Kirk Whalum kills it as always..
George Duke...
Destroys the track, lol

Overall I can't say enough about this disc..
It's tremendous..

And I don't care whether you file it under smooth jazz or jazz, it's good music.

Amazing
Brian has created yet another mesmerizing album. He always amazes, not just with his incredible bass playing, but with the choices of fellow players, arrangements, and production quality. As long as he keeps making albums, we'll keep buying them.