Bob Brozman

Bob Brozman is an American guitarist. He is especially known for his playing of different ethnic styles. Some people think that his a living musical lexicon of ethnic music.

Bob plays blues, gypsy jazz, calypso, ragtime, Hawaiian and Caribbean music and collaborates with many other great musicians. His concert schedule brings him to concert halls around the globe.

Lumiere - The Bob Brozman Orchestra

A single player overdubbing himself on several instruments can be a dangerous proposition. But nobody is better prepared for this sort of adventure than American-born guitar virtuoso Bob Brozman. While an ardent and respectful student of various world music traditions, many of which were previously explored during his many international duet recordings, he nonetheless wields an indomitable voice of his own. It is this quality that renders so many of his recordings unclassifiable, as if music of such consistent interest actually required pigeonholing. For this outing, as the hilariously apt cover shot indicates, Brozman, along with a couple of longtime collaborators, has become a multitude. But the result is unexpectedly spacious and relaxed; the various instruments interact but never crowd or overwhelm one another. The 12 tracks are informed by a contagious sense of wonder and deep enjoyment, plus broad swaths of humor both silly and sly. The tunes travel between ports of call like Reunion, Trinidad, Okinawa, Mali, and Hawaii without any jarring transitions. Despite the decidedly modern, shrinking globe frame-of-reference -- only Brozman would employ a Finnish kantele harp during a tango -- many of the tunes have a retro feel. At times, it's like wandering into an antique store and suddenly finding oneself transfixed by a 78-RPM recording of unknown provenance. --Christina Roden

Lumiere is the culmination of guitar virtuoso Bob Brozman's musical memories formed over a lifetime of travelling and playing music with others. His years of absorbing influences from cultures worldwide is expressed through the establishment of the Bob Brozman Orchestra - a unique concept where Bob intricately plays each instrumental part, building layer upon layer to formulate the tremendous sound of an extensive orchestra. He revisits the influences drawn from previous collaborations with artists such as Debashish Bhattacharya, Rene Lacaille, Djeli Moussa Diawara and Takashi Hirayasu to reflect on the profound imprint travel has had on his life.

Lumiere

1. Tango Medzinarodny (International Tango)
2. Lumiere de la Mer
3. Mars Over Sorrento
4. N'Oubliez Pas La Reunion
5. Calypso Calaloo
6. Chaturangui Gazal
7. Mazurka Maracaibo
8. Aloha Laie
9. Bamako Blues
10. Ska Waltz Train
11. Afro Mada
12. Yaeyama Okinawa

All Bob all the time. That's Lumiere but it's not just Blues Reflex (a great album) on steroids.

An album made up largely of guitars and all sizes of other plucked instruments (along with some bass played by a friend, and percussion mainly by Bob but some by longtime friend/producer, Daniel Thomas) and overdubs could have been a disaster in the hands of most guitarists but this comes together beautifully and naturally. This isn't a bunch of dueling guitar solos coming out of every speaker in the room. There is some masterful arranging here, where leads and textures work for the good of the whole.

Playing with Rene Lacaille, Debashish Bhattacharya, Djeli Moussa Diawara, etc... and first and foremost wanting to serve the music has caused Bob to find meaningful expression where lesser musicians would just chunka-chunka strum until it's their turn to be in the spotlight.

This isn't thin, linear music. It's open and spacious, with feelings of movement working both side to side and top to bottom. The "band" is called an "orchestra" but he isn't playing all the cover-photo instruments all the time, or on every track (and no sax at all). Lumiere has the feeling of a really happening small group that may be from some sort of tropical, hot-swinging little Italian villa in northern India where the locals fancy Iranians playing Greek ukeleles. Or something like that. It all flows together beautifully. Each tune has its own distinct personality, like sonic photographs from 1 issue of National Geographic. For me, it really peaks from tracks 4 - 9.

Bob doesn't play a National the way he plays a Weissenborn or a uke the way he plays a charango. You'll hear him explore things in ways you've not heard him play before, as well as hear him enter into familiar strains from previous albums but presented here in new ways. I'm particularly a fan of the little instruments here. This is his best album so far for presenting his artistry on the little guys!

We get something special when all these instruments come together in his hands within this context. I don't think he could have made this album with other people. It's also totally unlike a true solo Brozman performance of Live in Germany - Pharoah S. Wail (Indiana)

Release Date: 07/17/2007

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Acoustic Guitar

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Post Industrial Blues - Bob Brozman

Post-Industrial Blues

1. Crooked Blues
2. Old Man Blues
3. Frim Fram Update
4. Look At New Orleans
5. Hammock Blues
6. Immigrant, The Soldier & The Iraqi, The
7. Follow The Money
8. Lonely Children In The World
9. Rolling Through This World
10. Slow Motion Blues
11. Strange Ukulele Blues
12. Green River Blues
13. Let's Get It, Boy!
14. Airport Blues
15. People Are Strange
16. How I Love That Woman

Release Date: 11/06/2007

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Bob Brozman at a Glance

Bob Brozman (born 1954) is an American guitarist and ethnomusicologist.

He has performed in a number of styles such as blues, Gypsy jazz, calypso, ragtime, Hawaiian and Caribbean music. Brozman has also collaborated with musicians from diverse cultural backgrounds such as India, Africa, Japan, Papua New Guinea and Reunion Island. He has been called "an instrumental wizard" and "a walking archive of 20th Century American music." Bob maintains a steady schedule throughout the year, touring constantly throughout North America, Europe, Australia, Asia, and Africa. He has recorded numerous albums an...

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Mahima - Debashish Bhattacharya and Bob Brozman

While American bluesman would probably like to believe otherwise, the slide guitar has been developed in many cultures. The earliest reports of Hawaiian slide guitar come from 1876, while Indian culture can trace the use of a slide instrument upon strings back to the 11th century. American guitarist Bob Brozman has explored Hawaiian slide deeply and jammed his way around the world, delving into different cultures and finding common musical threads. Here he is joined by India's Debashish Bhattacharya on Hindustani slide guitar, his brother Subhashis on tabla and an array of percussion, and sister Sutapa on vocals. Ranging from the more classical Indian music "Maa" to the riff-heavy "Tagore Street Blues" to the positively rockin' "Bana Mali," the guitarists duel with an open approach that blurs all lines of division, while Sutapa and Subhashis stick closer to the Indian traditions. Like a Bollywood flick about a back-country blues guitarist, Mahima is ragas and 16-bar blues, simultaneously alien and somehow not so far from the American folk form. --Tad Hendrickson

The distinctive sound of the slide guitar is an intrinsic feature in blues, Hawaiian and Indian music. On Mahima, these traditions meet in the capable hands of two of the world's greatest slide guitarists, Debashish Bhattacharya and Bob Brozman. In the process, the two have created a true hybrid, a spectacular union of guitarists on a unique album, which also showcases the vocal talents of Sutapa Bhattacharya and tabla master Subhashis Bhattacharya.

Mahima

1. Bahu Dur Dur
2. Sur-o-Lahari
3. Tagore Street Blues
4. Maa
5. Digi Digi Dom Dom
6. Bana Mali
7. Jibaner Gan
8. Sujan Re
9. Konkani Memories
10. Loomba Re Loomba
11. Lullabai

"OH MY GOD!!" - That was what left my lips most frequently upon my first listen to this album. After having this for a few days now (which translates to 6 complete listenings), unless something beyond miraculous happens later in the year, this is my choice for Album Of The Year.

If you're familiar with Debashish, you know that he has Hindustanified his guitar. On a few tracks of this cd we get to hear his newer, also Hindustanified guitar. This is THE GUITAR! Debashish's tone on this thing is stunning. I don't know how he did it, but he has succeeded in creating an instrument whose tone (along with his touch and taste) has all the best aspects of the tones of both the sarangi and the acoustic guitar. This is the most sonorous, gorgeous tone I have ever heard emanate from a guitar. I hope he records some complete raga performances for the India Archive label with this guitar. The world needs 78 uninterrupted minutes of him playing this guitar!

Aside from Debashish's new guitar, the other "discovery" for me on this cd was Debashish and Subhashish's sister, Sutapa. I didn't even know they had a sister but she is an excellent singer and is featured prominently here on several tracks (singing in one or more languages of India). Asha Bhosle, watch out!! If there is another family on earth as musically talented as the trio of Debashish (guitar), Subhashish (tabla, percussion), and Sutapa (vocals), I have not heard them. Even this family seems too good to be true.

Now I must praise Bob Brozman. Anyone with a toe in the "world music" industry knows that "East Meets West" types of cd's are an extremely popular gimick. They usually consist of little more than a famous white guy who decidedly CANNOT musically hang with the Eastern musicians, but who gets loads of critical and mainstream acclaim anyway. Why? Usually because said-Westerner has whiteified the "foreigner music" down to such a bland level that it is now palatable to boring Western ears. It happens quite often, but there is one main perpetrator. You all know who I am talking about.

Thankfully the remedy to this problem does walk among us white folks, and his name is Bob Brozman. He may be the one Westerner who embodies what "world music" can and should be. He's not throwing any clout around and sleeping in 4-star hotels while his darker-skinned counterparts sleep on the floor somewhere, only to meet up again the next day in a music studio. Pure human and musical equality. This will be Bob's legacy.

In terms of the individual tracks here, there are many new gems, as well as a couple from the pasts of both Debashish and Bob. Bana Mali (track #6) is Nkaminyo Yelena Ma from the excellent Ocean Blues album by Djeli Moussa Diawara and Bob Brozman. Always one of my favorite tracks on Ocean Blues, here Debashish just blows the roof off of it with his melodic grace, fire, and the tone of his new guitar. From Debashish's past comes track #7, Jibaner Gan. More well-known to me as Song Of Life. We are treated to a fine new version of it here and it's also well worth it to hear the version Debashish and Bob do on Bob's Running Man album. I just have to ask... Bob... why no Debussy In Calcutta??? =)

So what kind of cd is this? Hindustani? No. Hawaiian? No. Blues? No. Again, it's one of those cd's that only a handful of musicians are capable of making. Debashish is a genius. Period. Subhahish is a master tabla player and also shows here that he is a brilliant arranger/all-around percussionist. Sutapa is a gorgeous singer. Then there is Bob. One aspect of Bob's brilliance is the fact that he in no way hog-ties the musicians he plays with. They don't have to hold back, dumb-down, or stoop to a lower level so as to accomodate him. Bob is just THE MAN. His openness and willingness to learn allows anyone he plays with to be free, knowing that he will be right there in the give-and-take.

This music transcends all of its foundational traditions to become something new, equal, and beautiful. - Pharoah S. Wail (Indiana)

Release Date: 06/30/2003

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Bob Brozman Albums

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A Truckload of Blues - Bob Brozman

I ran Kicking Mule when Bob Brozman recorded an lp for us. I thought then what I think now. He is the greatest acoustic blues guitarist living, and one of the all time greats. Unfortunately he did not record Truckload for us. I believe he did it for Sky Ranch, a French company and later Rounder released it in the US but I'm not sure. I wish I had released it because this CD all by itself would justify my quarter century in the music business.

I'm a lawyer now and sold the record company over 10 years ago, but I still do a radio show and I play tracks from this CD from time to time.. I recommend to you the "Backwards Blues". It is not only a great parody, it is a great piece of music. "You Set the Market" stands out, too. Listen to tracks from this CD if you've never heard of Bob Brozman. If you like the blues, you'll like his music. -- ED Denson (Alderpoint, Ca USA)

A Truckload of Blues

1. We Gonna Move
2. Worryin` The Blues Away
3. Let`s Get It. Stomp
4. Scene Of The Crime
5. Old Dog Blues
6. Never Hit The Same Place Twice
7. I Can`t Hardly Get Along
8. Stack O Lee Aloha
9. Get Your Ashes Hauled
10. You Set The Market
11. One Of Us Was Wrong
12. Backward Blues
13. Yearning And Blue
14. Don`t Laugh At Me
15. Kitchen Man
16. Just As Well To Let Her Go
17. Come One In My Kitchen

I came across this album completely by chance while browsing in a local record shop specialising in blues. As I wandered around the racks it was being played over the shop hi-fi. I heard one track and thought "Hmmm, interesting". I heard the next and thought "Wow, two good tracks on this album". By the time I'd heard 4 or 5 tracks I couldn't resist - I went to the counter and asked to buy it, still without knowing who it was. That's how good this is. It turns out Bob Brozman is an expert historian, lecturer and author on the blues who has done a considerable amount of research in to all manner of traditional acoustic guitar playing styles. But don't think this leads to a stuffy high-brow academic approach to his music. This is an album full of music above all, not dry research information. Bob's playing is technically excellent, and he really lets his slide technique and National resonator guitar sing throughout. His voice is suitably gruff and full of typical blues slurs and drawls. It might sound to some as if he is simply imitating the masters of deep Southern blues he so obviously admires, but I think he stamps his own mark even on such well-known (cliched?) tracks as 'Kitchen Man'. I played this CD over and over when I got it, and have since acquired several other BB albums. Try the free MP3 downloads to get a flavour of his music. I can only say that good as they are, they aren't even my favourites on the album - that's how good it it is! -

Release Date: 07/08/2009

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Blues Reflex - Bob Brozman

Before Bob Brozman, ethnomusicology seemed to be left to guys who traveled around with tape recorders. Brozman takes that idea one step further by unapologetically inserting himself inside the music at hand, and in the past its made for eclectic and ear-opening listening when he's traveled through Papua New Guinea, Hawaii, Africa or Japan. Rather than focusing on a single influence, here Brozman makes a variety of connections by reflexively tying them to the blues using several models of National steel guitar (his axe of choice) as well as seven-string and Kona Rocket Hawaiian guitars, the Turkish baglama and even percussion. He's joined by a drummer on three of the 13 songs, but mostly he overdubs himself to fine effect or goes it alone with solo performances on a mix of traditionals, tunes by Charley Patton and Skip James and his own bluesy originals. This is one his fans will surely love, but the variety means it's not a bad place for the curious to start. -- Tad Hendrickson

Blues Reflex

1. Dead Cat On The Line
2. Rattlesnake Blues
3. One Steady Roll
4. Death Come Creepin'
5. Vieux Kanyar Blues
6. Poor Me
7. Cypress Grove Blues
8. Little Tough Guy Blues
9. New Guinea Blues
10. It's Mercy We Need
11. Mean World Blues
12. More Room At The Edge
13. Workman's Song

This album came out in 2004 but was available only through Bob's site. I bought it via mailorder back then. I didn't realize it was available here until last night when I was going to go back and review another Brozman album I haven't reviewed yet. I'm surprised this is here, but now I also wonder "If this is here then where are the other albums previously only available through Bob's site?".

Aside from 3 tracks with drums, this is a solo (with various overdubs) Brozman disc. To compare it to one of the others available at his site, this cd could be considered a studio cousin of Live NOW but with more texture due to the overdubs. I know sometimes people freak out about overdubs but there is no need here. There's nothing artificial sounding about this album. Bob plays perfectly off of himself. The overdubs just allow us to have that much more of a good thing... Bob's touch, tone, and rhythmic sensibility. Just to give you a sense of what I mean, here's the instrumentation (straight from the liner notes) for one track... Charley Patton's Poor Me.

"1st section - Weissenborn Hawaiian guitar; Bear Creek Baritone 7-string Hawaiian guita; rouler; vocal.
2nd section - Bear Creek Kona Rocket Hawaiian guitar; National Baritone Tricone guitar; rouler"

Since this site doesn't give a tracklist, here it is... 13 songs and about 45 minutes long. Dead Cat on the Line, Rattlesnake Blues, One Steady Roll, Death Come Creepin, Vieux Kanyar Blues, Poor Me, Cypress Grove Blues, Little Tough Guy Blues, New Guinea Blues, It's Mercy We Need, Mean World Blues, More Room at the Edge, Workman's Song.

I love this album! The first couple times I listened to it I wasn't really digging it but I must have been having mental problems that day. Since then I love it. At various points it seems to expand upon other Brozman-related releases. If you have (from his site, not available here) Rolling Through This World, you'll notice one track here seems like it could be a great, lost (and found) track from that album. A couple tunes here show Bob's newfound love and admiration for the music of Reunion Island, and the catchiest song here (at least for me), Mean World Blues, shows Bob doing this great impression of Tommy Johnson, vocally! (Or I guess it could be his impression of the guy from the Mississippi Sheiks who also did it sometimes, but since I don't have any Sheiks as old as Tommy's recordings I've always assumed it was the Sheiks guy doing his impersonation of Tommy and not the other way around. Stop & Listen Blues No. 2 from the Violin, Sing the Blues for Me disc is a great example of the Sheiks guy doing his Tommy style). Bob does it over this great, jumpy little beat though. It's unlike anything Tommy utilized.

You get a bit of everything that is Bob on this album. His upbeat, percussive-styled guitar playing topped off with entertaining Vaudevillian (at least to me) vocals, as well as the other end... some slow, emotionally heavy, deeper stuff. If you like the music (he has changed the vocal style/lyrics completely, so I just mean the music here) of New Guinea Blues you'll want to get the Songs of the Volcano album. One of the bands on that album is the direct inspiration for the music on this track.

Of the "website only" albums he's released in the past few years, this, Live NOW and Rolling Through This world are my favorites. I'm still not a fan of more than a couple tracks of Metric Time. Also add in Ocean Blues as a great one. I love that album but it did used to be available here. Now I think it's only his site or the label's site. I'd think any fan of Brozman would love Blues Reflex. - Pharoah S. Wail (Indiana)

Release Date: 01/17/2006

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Bob Brozman Videos

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Devil's Slide - Bob Brozman

Ok, Ok, so we all know the Mississippi delta shines like a National guitar, and so does the cover of Dire Strait's poly-platinum "Brothers in Arms", but if you want to know what one *really* sounds like, here is the place - with the greatest respect to Messrs. Simon and Knopfler - you need to start.

Bob Brozman is, from what I can tell, a criminally under-purchased music recording artist: he must be, since he has sold fewer records than guitar legends such as Stevie Ray Vaughan and BB King, in whose company his name is surely entitled to be dropped.

This record comprises a lot of quirky Ragtime and Hawaiian cuts - it's not quite as bluesy as I expected - which all sound fun, until Bob rips into Robert Johnson's monumental Stones In My Pathway, at a pace jaunty enough to sound almost uplifting (not a quality usually associated with Johnson's remarkable oeuvre), when suddenly any doubt you may have been entertaining as to whether you are indeed in the hands of a master instrumentalist are immediately dispelled.

Thereafter, prepare for your eyebrows to spend more time than they usually do communing with your hairline. It shouldn't be possible for a man do do such things with an acoustic instrument. And if it's possible, it sure shouldn't be legal. - O. Buxton "Olly Buxton" (Highgate, UK)

Devil's Slide

1. Devil's Slide
2. Dinah
3. Naivete
4. Uncle Joe
5. Stones in My Passway
6. You're Driving Me Crazy
7. Melloroonie
8. Cinemascope
9. Twilight Echoes
10. 'Cause I Feel Low Down
11. Milenburg Joys
12. Death
13. Deserted Blues
14. Soakin' Wet With the Blues
15. Wipe 'Em Off
16. The Lonesome Road
17. 12th Street Rag
18. New Vine Street Blues
19. La Rosita
20. Texas Bounce
21. Honeymoon Blues

Brozman is the Resonator King! This is more than the description of "twenty-one songs sharing sding syncopation;" it is a fantastic display of technical virtuosity both beautiful and sublime that will leave you wishing for more, give me more... - "scatdaddy" (Sanbornton, NH)