There’s nobody like David Bromberg, except for maybe Larry Campbell (recent survivor of COVID-19 as you may have read), his producer now for three albums. The two are mutual admirers; both have been guitarists for Dylan. Bromberg says of Campbell, “he’s the only one who understands and knows all these genres I like to play.” Campbell produced this live recording Big Road in the studio to replicate all the magic one gets in a live David Bromberg Band performance. If you haven’t been fortunate enough to attend one of those live performances, this recording and accompanying DVD is a damn good substitute. This writer has seen a recent show among many over Bromberg’s half century in music. His vocals have never sounded better, and this band is as first-rate as it gets. This is truly special; the apex of American music – blues, gospel, bluegrass, folk, and country all in one package. No other artist can do this so seamlessly (except for maybe Campbell, who plays pedal steel and mandolin in a few places besides producing).
The sound quality in the DVD is astoundingly clear as it begins with “The David Bromberg Experience,” talking about the purpose behind the album and the musical bond between Campbell and Bromberg and his bandmates. It’s followed by several of the tracks from the CD where one sees Bromberg often smiling in admiration of his bandmates and exuding reassuring calmness as bandleader. Typically, Bromberg tours with a quintet comprised of Mark Cosgrove (guitar, mandolin, vocals), Nate Grower (fiddle, mandolin, guitar, vocals), Josh Kanusky (drums, vocals) and newest member Suavek Zaniesienko (bass, vocals). Joining the core band is ace keyboardist Dan Walker (“he’s part of the band whenever we can get him”) on piano, organ and accordion. Bromberg also brings aboard a 2-4 -piece horn section that grace a couple of tunes including Tommy Johnson’s title track. They are members of the David Bromberg Big Band – Birch Johnson (trombone), Jon-Erik Kellso (trumpet), Matt Koza (tenor sax) and Bob Stewart (tuba).
To appreciate the depth and breadth of this band’s talent, it’s best to listen to the whole recording to enjoy how they seamlessly cross genre boundaries. At times, you’ll be wondering how Bromberg came up with some of these songs but he’s a musicologist unlike any other, putting his arrangements on traditional and obscure tunes. He offers some originals too. His new stunning country tune “George, Merle, and Conway” alone is worth every penny you’ll spend. He repurposes “Diamond “Lil” from his 1972 Demon in Disguise and it’s never sounded better with the extended soloing, especially the electric guitar dialogue between Bromberg and Cosgrove (a highlight of the DVD).
The liners provide descriptions and anecdotes for each tune and if you’d like to stay with me, here’s to doing them some justice. “Big Road” first appeared on Bromberg’s comeback from practically a 20-year hiatus album 2007’s Try Me One More Time but this version features a powerful 4-piece horn section for which Campbell wrote the horn parts. Solos are from Cosgrove, Grower and Bromberg. “Lovin’ of the Game” is one of those obscure songs that’s so head-shaking good, written by Pat and Victoria Garvey. Campbell is on pedal steel with Mark and Suavek on vocal harmonies as Grower solos on fiddle and Cosgrove on mandolin while Walker plays accordion. Another chestnut, “Just Because You Didn’t Answer,” about unflagging love, is from Thomas Bishop Burke, a writer Bromberg met in Chicago during his hiatus from music. It’s remarkably tasteful with solos from Cosgrove on electric guitar, Grower on fiddle, and Walker on piano.
Bromberg goes solo acoustic on an unknown tune, “Mary Jane” with a guitar part in the style of Reverend Gary Davis, with whom he studied in the ‘60s. Yes, it’s about pot but listen to the coded lyrics. Bromberg calls black gospel his favorite genre of all so the quintet steps up for an a cappella version “Standing in the Need of Prayer.” In live performance they sing around one mic, although three were used here. The beautiful “The Hills of Isle Au Haut” is from Gordon Bok, another that traces to the golden age of ‘60s folk. Solos come from Bromberg on electric Fender, Cosgrove on acoustic, Walker on accordion and Grower on fiddle. The medley “Maiden’s Prayer, Blackberry Blossom, Katy Hill” features Bromberg, Cosgrove, and Grower all playing mandolin, a highlight of their live show.
“Who Will the Next Fool Be” from Charlie Rich is done straight here, without all the comical improvisations Bromberg delivers live. The horns return as Bromberg channels the Bobby Blue Bland version with solos form Cosgrove, Grower and Bromberg. “Take This Hammer” is from Leadbelly, a prison song done bluegrass style with prime spots from Campbell on mandolin, Cosgrove on guitar, and, of course, Grower on fiddle. The closing “Roll On John” is often the encore in the live show, performed without mics, totally acoustic in front of the audience. Cosgrove leads with a mandolin solo followed by an amazingly tender accordion from Walker while Grower and Bromberg follow emotively as all band members sing. As Bromberg states in several places, he never upstages his bandmates, choosing to play the right notes instead on many notes – “I play some more rests in mine.”
David Bromberg is one of a few to earn the title “Godfather of Americana” long before this recording yet it’s as if the greatness of his half-century in music is all distilled into this superbly executed live studio album. This is one for the ages.
