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Due to the current Coronavirus Pandemic & Oregon Governor's order of no public gatherings, the David Bromberg show at the Aladdin Theater on May 28, 2020 is rescheduled to December 9, 2020. All tickets for May 28, 2020 will be honored on December 9, 2020.
ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.
“We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.” – T.S. Eliot
“There’s only two kinds of music – ‘the Star Spangled Banner’ and the blues.” – Willie Nelson, quoting renowned fiddler Johnny Gimble
For Americana godfather David Bromberg, it all began with the blues.
His incredible journey spans five-and-a-half decades, and includes – but is not limited to – adventures with Bob Dylan, George Harrison, Jerry Garcia, and music and life lessons from seminal blues guitarist Reverend Gary Davis, who claimed the young Bromberg as a son. A musician’s musician, Bromberg’s mastery of several stringed instruments (guitar, fiddle, Dobro, mandolin), and multiple styles is legendary, leading Dr. John to declare him an American icon. In producing John Hartford’s hugely influential Aereo-Plain LP, Bromberg even co-invented a genre: Newgrass.
Add in a period of self-imposed exile from his passion (1980-2002), during which he became a renowned violin expert, and Wilmington, Delaware’s cultural ambassador; top that off with a triumphant return to music-making, and you have an amazing tale leading back to one place: the blues.
Now, with The Blues, the Whole Blues, and Nothing But the Blues, his first release for Red House Records, Bromberg and multi-Grammy-winning producer/accompanist Larry Campbell (Dylan, Levon Helm, Paul Simon) focus on the music David discovered in high school, when, circa late 50s, he was introduced to a friend’s dad’s collection of blues 78s. He’d only just taken up guitar as a means to pass the time while in bed with the measles.
“I loved those 78s so much,” says David, “I taped them on a portable reel-to-reel, so I could listen at home and learn.”
That love is evident in The Blues, the Whole Blues and Nothing But the Blues. The album is both blues primer and an opportunity to witness a master embracing this distinctly American music with passion and grace.
“There’s a lot of different types of blues on there,” Bromberg notes. “We decided to start it off with a dyed-in-the-wool blues [Robert Johnson’s “Walkin’ Blues”], but there’s also country blues [“Kentucky Blues”], and gospel-influenced blues [“Yield Not”].”
Bromberg, a onetime sideman himself, is quick to give props to his long-running road-and-studio cohorts: Butch Amiot (bass), Josh Kanusky (drums), Mark Cosgrove (guitar), Nate Grower (fiddle), and Peter Ecklund (cornet). Of producer, arranger, multi-instrumentalist, fellow Reverend Gary Davis acolyte, and old friend Larry Campbell, he says, “To use a baseball analogy, Larry is like a star at any position in the infield, because he can play them all.”
Since meeting in the early 80’s, Campbell and Bromberg had crossed paths many times. They finally worked together in Levon Helm’s studio for David’s 2013 return-to-form Only Slightly Mad. “He wanted to do a Chicago blues album then,” Larry says. “But we decided to remind folks of what he does better than anyone: the whole gamut of Americana, the full Brombergian.
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