The reason man created stringed instruments. David touched them with a lover’s fingers and they moaned that true love right back at him. Wood and wire and flesh spoke. – Jerry Jeff Walker on David Bromberg
. . . an engagingly unaffected manner and know-how to get to the heart of a song. – Philadelphia Inquirer
Bromberg is simply one of the finest musicians you’ll ever hear . . . An artist who is the embodiment of the phrase ‘world- class musician’ Bromberg does not disappoint. – Daily Freeman
. . . David Bromberg is a superbly talented guitar player with a highly distinctive voice . . . – No Surf Music.com
He’s played with everyone, he’s toured everywhere, he can lead a raucous big band or hold an audience silent with a solo acoustic blues.
Last year saw the release of Bromberg’s newest album, Use Me, which features David collaborating with and being produced by friends like John Hiatt, Levon Helm, Los Lobos, Tim O’Brien, Vince Gill, Widespread Panic, Dr. John, Keb’ Mo’ and Linda Ronstadt. The San Francisco Examiner described the album: All eleven tracks are a delightful romp through familiar terrain for David, terrain that he navigates with the expertise and energy of a Formula 500 driver. David continues to tour the US, performing for over 10,000 people at San Francisco’s 2011 Hardly Strictly Bluegrass Festival.
Born in Philadelphia in 1945 and raised in Tarrytown, NY, as a kid I listened to rock ‘n’ roll and whatever else was on the radio, says Bromberg. I discovered Pete Seeger and The Weavers and, through them, Reverend Gary Davis. I then discovered Big Bill Broonzy, who led me to Muddy Waters and the Chicago blues. This was more or less the same time I discovered Flatt and Scruggs, which led to Bill Monroe and Doc Watson.
Bromberg began studying guitar-playing when he was 13 and eventually enrolled in Columbia University as a musicology major. The call of the Greenwich Village folk scene in the mid-’60s drew David to the downtown clubs and coffeehouses, where he could watch and learn from the best performers, including primary sources such as his inspiration and teacher, the Reverend Gary Davis.
Bromberg’s sensitive and versatile approach to guitar-playing earned him jobs playing the Village basket houses for tips, the occasional paying gig, and lots of employment as a backing musician for Tom Paxton, Jerry Jeff Walker and Rosalie Sorrels, among others. He became a first-call, hired gun guitarist for recording sessions, ultimately playing on hundreds of records by artists including Bob Dylan (New Morning, Self Portrait, Dylan), Link Wray, The Eagles, Ringo Starr, Willie Nelson, and Carly Simon.
An unexpected and wildly successful solo spot at the 1970 Isle of Wight Festival in Great Britain led to a solo deal with Columbia Records, for whom David recorded four albums. His eponymous 1971 debut not only included the mock-anguished Suffer to Sing the Blues, a Bromberg original that became an FM radio staple, but also The Holdup, a songwriting collaboration with former Beatle George Harrison, whom he met at his manager’s Thanksgiving dinner festivities. Harrison also played slide guitar on the track. Through Bromberg’s manager, Al Aronowitz, David also met the Grateful Dead and wound up with four of their members, including Jerry Garcia, playing on his next two albums.
Bromberg’s range of material, based in the folk and blues idioms, continually expanded with each new album to encompass bluegrass, ragtime, country and ethnic music, and his touring band grew apace. By the mid-’70s, the David Bromberg Big Band included horn-players, a violinist, and several multi-instrumentalists, including David himself. Among the best-known Bromberg Band graduates: mandolinist Andy Statman, later a major figure in the Klezmer music movement in America, and fiddler Jay Ungar (who wrote the memorable Ashokan Farewell for Ken Burns’ PBS documentary, The Civil War).
Despite jubilant, loose-limbed concerts and a string of acclaimed albums on the Fantasy label, Bromberg found himself exhausted by the logistics of the music business. I decided to change the direction of my life, he explains. So David dissolved his band in 1980, and he and his artist/musician wife, Nancy Josephson, moved from Northern California to Chicago, where David attended the Kenneth Warren School of Violin Making. Though he still toured periodically, the recordings slowed to a trickle and then stopped.
After too many Chicago winters, in 2002 David and Nancy were lured to Wilmington, Deleware, where they became part of the city’s artist-in-residence program and where David could establish David Bromberg Fine Violins, a retail store and repair shop for high quality instruments. Frequent participation in the city’s weekly jam sessions helped rekindle Bromberg’s desire to make music again, as did the encouragement of fellow musicians Chris Hillman and bluegrass wizard Herb Pedersen. The jams also led to the formation of Angel Band, fronted by Nancy and two other female vocalists, with David serving as an accompanist.
With the release of Try Me One More Time, (Appleseed Music) his 2007 Grammy nominated solo return to the studio, David continued his musical revitalization, playing shows on his own, backed by (and supporting) Angel Band, his own David Bromberg Quartet, and reunions of the David Bromberg Big Band, the configuration depending on the circumstance.