Bromberg Plays Hendrix (2020 Remix and Remastered) Brian Bromberg

• 1 Fire (2020 Remix and Remastered) 04:36
• 2 Manic Depression (2020 Remix and Remastered) 03:52
• 3 Freedom (2020 Remix and Remastered) 04:47
• 4 The Wind Cries Mary (2020 Remix and Remastered) 04:16
• 5 All Along the Watchtower (2020 Remix and Remastered) 04:41
• 6 Foxey Lady (2020 Remix and Remastered) 04:48
• 7 Hey Joe (2020 Remix and Remastered) 06:28
• 8 Crosstown Traffic (2020 Remix and Remastered) 03:43
• 9 Spanish Castle Magic (2020 Remix and Remastered) 05:39
• 10 Purple Haze (2020 Remix and Remastered) 06:58
• 11 Jimi (Bonus Track) 06:40
• Total Runtime 56:28

Info zu Bromberg Plays Hendrix (2020 Remix and Remastered)

Brian Bromberg decided to remix and remaster this record as the 50th anniversary of Jimi Hendrix's passing approaches in 2020. This version also includes an exclusive never before released original song by Bromberg, simply titled "Jimi."

“I’m one of the lucky ones,” says the musician as he barrels down a desolate desert highway accompanied by a massive 300-year-old acoustic bass. Together, they had embarked on a three-week road trip traversing the country beginning in Southern California en route to Reading PA, then on to Nashville TN, returning through his hometown of Tucson AZ and finishing in the San Fernando Valley outside of Los Angeles. During the trip, Grammy® nominated bassist Brian Bromberg played a handful of shows, including a preview performance featuring music from his new Compared To That album at the annual Boscov’s Berks Jazz Festival in Reading before heading south to teach a master’s class in Nashville. And since he was road tripping, Bromberg figured that he would visit his mother for Passover. His vehicle contained several piccolo and electric basses along with assorted amps, but the reason for the cross- country drive instead of flying was the irreplaceable acoustic instrument.

“Last year, one of the airlines dropped it and it cost a fortune to repair. I can’t take any more chances with it,” he explains. “Besides, it was a great trip. I enjoyed taking the time to see the country like this. It’s a really exciting time in my career.”

Indeed Bromberg does imbibe rarified air. The purpose of our conversation is to discuss his three uniquely different, artistically divergent albums slated for release this summer: Compared To That, Bromberg Plays Hendrix and In The Spirit of Jobim. But he also oozes enthusiasm for a labor of love project: the launch of the world’s first online radio station for bass players, bassonthebroadband.com.

"On Bromberg Plays Hendrix, bassist Brian Bromberg doesn't utilize the electric guitar at all, but it's hard to tell. A tribute to one of the world's most inventive guitarists could only be honored by doing something completely different from what is expected. Bromberg manages this on both acoustic and electric piccolo bass. Whether covering sonic blasts like "Fire" and "Purple Haze" or the melancholia of "The Wind Cries Mary," Bromberg and drummer Vinnie Colaiuta make this a worthwhile endeavor that stands up to repeated listening." (Al Campbell)

Brian Bromberg, acoustic bass, electric bass
Vinnie Colaiuta, drums

Digitally remastered

Brian Bromberg
was born in Tucson Arizona. He grew up in a family of musicians and artists. His father and brother played the drums. With all that music around the house and drums all over the place, it was natural for Brian to start playing the drums as well. Brian was two and a half years old, beating up the furniture and banging on anything that didn't move.

After some years of playing and practicing, Brian began his professional career as a drummer at the age of thirteen. In elementary and Jr.high School, Brian also played the cello. That was one instrument that Brian did not feel very comfortable playing. One day in orchestra class at jr. high, the orchestra director came over to Brian and said, hey Brian, you see that big bass over there in the corner? You know that nobody is playing it. Don't you want to play that big cool bass over there? You see, the orchestra director had a plan. He thought that having one bad bass player was better than not having one at all. That was his way of getting Brian to stop trying to saw his cello in half!

That day was a blessing in disguise. Brian didn't realize that he had the gift for melody as well as rhythm. With his drumming background and all this new melody available to him from the bass, Brian knew that this was going to be his path.

From ages fourteen to eighteen, Brian locked himself up in a room and practiced day and night. While Brian was a junior in High School he was already taking many music classes at the University Of Arizona. At the U of A Brian played in the Lab Band, orchestra, and jazz combos. All that led him to test out of high school early and devote all his time to the music. For the next few years, Brian played every type of gig imaginable. Quite often Brian would play five to seven nights a week with several different bands.

Brian's first big break came in 1979 when Marc Johnson, the wonderful bassist with the great jazz pianist Bill Evans, heard Brian play while on the road in Tucson. Several months later while on tour, Marc ran into legendary jazz saxophonist Stan Getz. Stan was looking for a new bass player and asked Marc if he knew any new young players. Marc told Stan about Brian. Brian auditioned for Stan and joined the Stan Getz quintet in December of 1979. Brian had just turned 19 and spent nearly a year touring the world with Stan and his band.

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