Thicker Than Water

Available in Audiophile 96kHz/24bit

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Album Name Length Format Sample Rate Price
Thicker Than Water 1:06:48 $17.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 Is That the Best You Can Do? 05:35 96/24 Album only
2 Minneapolis, 1987 05:59 96/24 Album only
3 Thicker Than Water 06:32 96/24 Album only
4 Coupe De Ville (Intro) 01:26 96/24 Album only
5 Coupe De Ville 06:05 96/24 Album only
6 Changes 03:27 96/24 Album only
7 Trials and Tribulations 07:46 96/24 Album only
8 It's Called Life (Intro) 02:11 96/24 Album only
9 It's Called Life (For Mom) 05:59 96/24 Album only
10 Uh-Huh 07:06 96/24 Album only
11 Your Eyes 05:58 96/24 Album only
12 Land of the Rising Sun 06:34 96/24 Album only
13 A Familia 02:10 96/24 Album only

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℗ 2018 Mack Avenue Records II, LLC. Marketed and distributed worldwide by Artistry Music.
© 2018 Mack Avenue Records II, LLC. Marketed and distributed worldwide by Artistry Music.

THIS ALBUM DOWNLOAD FEATURES HIGH RESOLUTION COVER ART ONLY. LINER NOTES ARE NOT AVAILABLE.

 

“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.

 

“Most bass players will never get airplay or a record deal and I’ve been blessed to always have both. bassonthebroadband.com is about the instrument. It’s an enormous undertaking, but nothing like it exists for bass players. They don’t have any outlets exclusively devoted to playing the music of bassists, which blew me away; thus we’re building it from the ground up. We’ll air music and video clips featuring the greatest bassists in the world in all genres of music, including submissions from all over the world from amateurs.

I’ve been talking to some prominent bass players about hosting a show on the station and potential sponsors about sponsorship. It’s all very exciting and I’m certain we can grow the station and the site while generating revenue. But for me, it’s primarily about creating opportunities for bass players to be heard.”

 

After Bromberg refuels at a gas station near Palm Springs, it’s necessary to refocus him. This is the norm for the musician-producer-composer-arranger who has achieved accolades, respect and success, commercially and artistically, as a solo artist in both straight-ahead and contemporary jazz. It’s not that he is forgetful. Like a yogi, Bromberg is simply focused on the present moment. Once complete, he immediately sets his sights on the next endeavor.

 

“I never plan what I’m going to play or how I’m going to play it. I don’t write down any of the notes I’ll play or the changes and certainly I never pre-plan my solos. I’ve always been a diehard jazz guy—an improviser. I get it done in the moment by simply letting the music ‘come through me.’ I channel it. Planning it would suck the life out of it for me. After recording, I have to listen to what I played in order to relearn the song and how to play it because I forget it instantly,” he reveals.

 

Journalists and fans typically want to know at least the highlight reel moments of an artist who has amassed an extraordinary discography of credits and accomplishments, but due to his limited focus on the mountain ahead, it takes a bit of arm wrestling to get much out of the humble man who has had a signature line of basses in his name for more than a decade.

 

“Playing in Stan Getz’s band as an 18-year-old out from the desert [Tucson] was a life-changing experience, probably the single greatest experience of my career. Earning a Grammy nomination in ...