Compiling the third and fourth solo albums by sideman-to-the-stars David Bromberg, Wanted Dead or Alive/Midnight on the Water includes Bromberg's virtuoso musicianship, eccentric songwriting, and endearingly off-key vocals, along with plenty of guest spots: Bonnie Raitt, Linda Ronstadt, Emmylou Harris, and on the first, most of the Grateful Dead.
Wood is Brian Bromberg's debut for the A440 Music Group, and it is a very strong example of his extraordinary straight-ahead jazz skills as presented in three exciting formats. In addition to the six tracks he performs in a trio setting with drummer David Bromberg and pianist Randy Waldman, Brian Bromberg duets with Waldman on the inimitable "Days of Wine and Roses" and the beautiful tribute "Goodbye (For My Father)," which was previously released on You Know That Feeling. Two amazing solo performances – "Come Together" and "Star Spangled Banner" – add further credence to Bromberg's technical and creative virtuosity as one of the premier jazz bassists of his generation.
Love for Levon was a concert that took place on October 3, 2012 at the Izod Center in East Rutherford, New Jersey as a tribute to the late drummer/singer Levon Helm of The Band. The concert featured a wide variety of musicians who had worked with Helm as well as musicians who were influenced by him. Proceeds from the concert went towards keeping Helm's Woodstock barn in his family's control as well as continuing his Midnight Ramble concert series in the barn. The concert's musical directors were Don Was and Levon Helm collaborator Larry Campbell.
You thought Marcus Miller and Jaco and Stanley Clark were funky? They are indeed but they don't play the double bass. Brian Bromberg displays absolute chops that Charles Mingus would have wanted. Akira Jimbo as usual with his unbelievable groove keeps the whole album going and Otomaro Ruiz is one hell of a pianist. With this CD you CAN'T go wrong.
This 2014 BGO two-fer pairs 1972's Blue River and Stages: The Lost Album, largely recorded in 1972 but released in 1991. It's a nice pairing, containing Andersen's acclaimed Columbia debut and the record he cut for the label immediately afterward, a record the label didn't release until two decades later. Andersen made good records before and good records after, but these two albums are arguably his peak and it's nice to have them together on a two-fer.