FEBRUARY/MARCH 2026 | 27 Seriously reveals three supremely talented musicians at the peak of their powers collaborating to create transcendent songs that remind listeners how music can bring joy to their lives. “I had this idea about starting a superband like a Fourplay, only with a saxophone,” said Brown about the genesis of the band during an interview with all three members of BPM. “Brian was doing concerts in Mexico, and we had a chance to hang out for a couple of weeks. We found out that we had a lot of friends and musical ideas in common. “And on the way home, I pulled Brian aside and said, ‘Hey, what do you think about this idea of starting a superband?’ And he was into it. We got Michael involved, and it’s been a wonderful experience ever since. “ e basic concept was to make great music and tour and just have fun. Do what we want to do, not what we need to do. And people get that when they see us play. ere’s a lot of camaraderie.” at chemistry is quite evident during the freewheeling and lively discussion about the band, the music industry and jazz. e trio o en punctuated one another’s thoughts on musical concepts or poked fun at the absurdity of the music business. It’s easy to see how such live-wire music has emerged from their alliance. Bromberg has been a much-heralded bassist and producer for the last four decades—widely recognized as a master of the electric and acoustic bass. e Grammy-winning Brown is among the elite jazz guitar stylists and producers. His phrasing, eloquence and lyricism have made him one of the most expressive guitarists of his generation. e mercurial saxophonist Paulo, who will soon celebrate his 40th year as a solo artist, is the perfect complement for the estimable talents of Brown and Bromberg. Each member was adamant that ego is never a problem when they get together to work out songs or record. ey are all playing in service of the music. “All three of us are writers, and we produce,” Bromberg emphasized. “We have solo careers and, no doubt, it doesn’t matter how good you are or how nice, everybody at some point might have a di erence of opinion, but we have been able to let the music dictate what it’s going to be. “ is is about the music winning. ere’s something about the chemistry of the band that is unlike anything I’ve been a part of before. It’s truly egoless. We just do our jobs with our unique voices.” Paulo added, pragmatically: “As a saxophonist, I think di erently than Brian with the bass and Paul with the guitar, in terms of concepts or melodies. But when there are the three of us, we all contribute, and that’s what makes the songs unique.” One of the most important components of the band’s debut is the keen attention to melodies. Each of the 10 complex songs is memorable, with graceful, lovely melodies that will have their audience pressing repeat. “I really respect Brian’s melodic tendencies. As a producer, that’s always important to me, and if you don’t have a good melody, it’s di cult to have anything that’s special,” Brown said about the album’s emphasis on melodic structures. “It’s important to have people walking down the street and humming or singing our songs,” the passionately eloquent Bromberg added. “ e melody tells the story. I think the guys would agree with me that you want people to easily recognize your songs, and it’s usually the melody that touches them. All songs have groove, but not all songs have melodies. When the melodies are memorable, that’s what connects you to the song, and that’s what we wanted to have with this album.” Seriously is the perfect antidote for the dark times we are living in. It’s a blast of harmony and clarity amid the chaotic dissonance. e amiable, so -spoken Paulo acknowledged how important it is for musicians to bring that light. “I was just playing a gig at Jazz Alley, and a person came up to me and basically said, ‘You know, there’s all this craziness in the world, and it’s so nice that you guys can enrich our lives with the music that way. And that’s why we play music—to touch people’s emotions. People need the escape.” All three members said BPM is not a side project, and they are fully committed to the band. ey are already 60 percent nished with their next album, with sights on more music ahead. “Oh, it’s a band,” Bromberg said. “I haven’t done a solo show in a year and a half, and have put my live performances into BPM. “Outside of me doing some acoustic-based, straight-ahead, traditional jazz things, which have nothing to do with mainstream smoother jazz, this has been a priority. As far as I’m concerned, we’re in this for the long haul. “We will still make our own records, but this is not a side project. In many ways, we have more fun doing this than our own thing because we all share responsibilities and, in a way, it’s a much more enjoyable experience. ere’s less stress because we love the creativity and honesty of the music.” One of the odd paradoxes of the music industry is that the supergroup format gives the members more freedom to experiment and defy limits because there are no preconceived ideas of how the music should sound. As solo artists, they have label and audience expectations that might sti e experimentation. “This is about the music winning. There’s something about the chemistry of the band that is unlike anything I’ve been a part of before. It’s truly egoless. We just do our jobs with our unique voices.” —Brian Bromberg continued on page 28
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