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PREMESSA: LA SUPERIORITA’ DELLA MUSICA SU VINILE E’ ANCOR OGGI SANCITA, NOTORIA ED EVIDENTE. NON TANTO DA UN PUNTO DI VISTA DI RESA, QUALITA’ E PULIZIA DEL SUONO, TANTOMENO DA QUELLO DEL RIMPIANTO RETROSPETTIVO E NOSTALGICO , MA SOPRATTUTTO DA QUELLO PIU’ PALPABILE ED INOPPUGNABILE DELL’ ESSENZA, DELL’ ANIMA E DELLA SUBLIMAZIONE CREATIVA. IL DISCO IN VINILE HA PULSAZIONE ARTISTICA, PASSIONE ARMONICA E SPLENDORE GRAFICO , E’ PIACEVOLE DA OSSERVARE E DA TENERE IN MANO, RISPLENDE, PROFUMA E VIBRA DI VITA, DI EMOZIONE E  DI SENSIBILITA’. E’ TUTTO QUELLO CHE NON E’ E NON POTRA’ MAI ESSERE IL CD, CHE AL CONTRARIO E’ SOLO UN OGGETTO MERAMENTE COMMERCIALE, POVERO, ARIDO, CINICO, STERILE ED ORWELLIANO,  UNA DEGENERAZIONE INDUSTRIALE SCHIZOFRENICA E NECROFILA, LA DESOLANTE SOLUZIONE FINALE DELL’ AVIDITA’ DEL MERCATO E DELL’ ARROGANZA DEI DISCOGRAFICI .

DAVID BROMBERG
demon in disguise

Disco LP 33 giri , 1972, Columbia , C 31753, Usa

OTTIME CONDIZIONI, vinyl ex++/NM , cover ex++/NM.

David Bromberg (born September 19, 1945, Philadelphia, Pennsylvania) is an American guitarist, musician and singer-songwriter. Bromberg has an eclectic style, playing bluegrass, blues, folk, jazz, country and western, and rock & roll equally well. He is known for his quirky, humorous lyrics, and the ability to play rhythm and lead guitar at the same time.

Demon In Disguise  (1972) è il secondo favoloso lavoro solista dell’ incommensurabile virtuoso della chitarra acustica David Bromberg

• Interprete: David Bromberg
• Etichetta: Columbia
• Catalogo: C 31753
• Data di pubblicazione: 1972
• Matrici: P  AL-31753-2D  /  P BL-31753-2AB 

• Supporto:vinile 33 giri
• Tipo audio: stereo
• Dimensioni: 30 cm.
• Facciate: 2
• Embossed back cover / retrocopertina in rilievo, red orange label, white paper inner sleeve

Musicians

• David Bromberg – guitar, vocals
• Joshie Armstead – vocals
• Steve Burgh – bass, vocals
• Jerry Garcia – guitar
• Donna Godchaux – vocals
• Keith Godchaux – keyboards
• Jeff Gutcheon – keyboards
• Hilda Harris – vocals
• Kenny Kosek – violin
• Bill Kreutzmann – drums
• Jack Lee – vocals
• Phil Lesh – bass
• Andrew McMahon – vocals
• Tracy Nelson – vocals
• Will Scarlett – harmonica
• Tom Shechan – bass
• Andy Statman – mandolin, saxophone
• Jody Stecher – mandolin, vocals
• Tash Thomas – vocals

 Rear sleeve notes read: “Jerry Garcia, Phil Lesh, Bill Kreutamann,
Keith Godchaux appear on this album courtesy of Warner Brothers
Records” Produced by David Bromberg

 
Given a name like Bromberg and the major Jewfro he’s sporting on the
cover, I sort of expected there to be more klezmer elements to his
music — but no, he’s a rock traditionalist, which means country and
folk and bluegrass and blues and even some Irish jigs. He’s a seriously
great picker on acoustic guitar, he’s accompanied by a pretty great
violinist, and his voice is, well, it’s the voice of a Jew not named
Zimmerman singing roots music. It’s all right. His live cover of “Mr.
Bojangles,” during which he goes into an anecdote about Jerry Jeff
Walker (who wrote the song, and who occasionally employed Bromberg as a
sideman) was apparently a minor hit on FM — and most of the tunes on
here are live cuts. It’s the ones that aren’t — the shaggy-dog hard
rock of “Sharon,” the stab at folky sentiment “Diamond Lil,” and the
cozy blues of the title track — that interest me most. One of the most
fascinating things about this project is discovering the kinds of
little-known album tracks that only hardcore fans know about. They may
not be very good (i.e. have any resonance with the wider pop market),
but they’re so unique and individual that someone’s bound to fall in love with them.

David Bromberg is hardly a real demon–he just plays one on stage.
The disguise is that of a musical magician his craft in plain sight:
now you hear it, now you don’t. Bromberg is an intense, savvy,
seemingly enigmatic artist. The guitar wizard labored long and hard to
assimilate and explore the music he performs at a level that dazzles
the ear. For the nearly forty years I have known David, I pondered what
makes for such enthusiastic sorcery. I am still mesmerized by his wryly
humorous, technically accomplished presentation. And his eclectic
taste. At concerts or in front of the stereo, I lean forward to warm
myself by the fire that must burn within a musician who processes what
he has heard, lived and loved into such powerful and satisfying
self-expression. I find it amusing and ironic that listeners caught up
in a frenzy of notes often project super human attributes onto the
serious artist that in the final analysis is more restrained than one
can imagine. The real disguise? David is a skillful professional going
about his business, the business of making music. The demon is in the
ear of the beholder.

Recently after a seventeen-year hiatus from recording, David reentered
a studio to set down an “intimate” program of folk music. I was curious
as to what prompted the effort at this point in his career. David
Bromberg doesn’t have anything to prove. He may be a virtuoso, but he
is one who will debunk misconceptions about his style or technique as
easily as share trade secrets just for the asking. There is no
self-puffery. “I am not and I’ve never been a perfect player,” he
confesses in the liner notes to his new album, Try Me One More Time
(Appleseed Recordings, APR CD 1099), offering additional insight; “My
approach to music has been like folk music in general. When you hear
field recordings, they’re edited by the guy who’s recording them, but
the musician most likely knows scores of other material from lots of
other genres. Doc Watson, for instance, knows rock & roll, and
other music. Robert Johnson was said to be as likely to play Bing
Crosby songs as he was to play the blues. I’ve always recorded and
performed tunes from a variety of sources and genres.” The album
affirms that David Bromberg respects the basics … good songs, good
lyrics and soulful communication. “Seventeen years since you recorded
an album?” is the terse question I put to Bromberg.

Uno dei più bravi sessionman della storia del folk-rock d’ America,
oggi un emerito sconosciuto per chi non era ancora nato negli anni 60.
Perché l’ avventura musicale di Bromberg si può dividere in due, con
uno spartiacque ben definito, il 1980. Fino ad allora, diversissimi
grandi avevano fatto a gara nel richiedere i servigi acustici del
talentuoso chitarrista: Bob Dylan, Ringo Starr, gli Eagles, i Grateful
Dead… Desiderosi di avere con sé questo simpatico signore di origini
ebraiche, barba da capretta e volto pacioso, nato a Filadelfia nel 45 e
cresciuto nell’ humus irripetibile del Greenwich Village alla fine dei
Sessanta. Il botto avviene con la sua partecipazione al leggendario
festival dell’ Isola di Wight, 1970. La Columbia lo scrittura subito:
l’ anno seguente, all’ eponimo disco d’ esordio, potente e
blueseggiante, partecipa nientemeno che un altro Beatle, George
Harrison, scrivendo a quattro mani con lui «The Holdup». Poi arrivano
tutti gli altri, i tour infiniti e le session a ripetizione. Ed ecco il
1980: «C’ è un punto in cui senti i musicisti dei grandi gruppi che
dicono “non so in quale città suoneremo o cosa registreremo nel
prossimo disco”, senti il rammarico nella loro voce. Penso che David si
sia fermato prima di arrivare a quel punto» spiega Steve Bailey, il
manager dei tempi d’ oro. Molla dunque tutto Bromberg e si mette a
studiare da «liutaio». Ovvero impara a costruire i violini e apre un
negozio allo scopo, in uno sperduto paesino del Delaware. Nel
frattempo, concerti poco più di zero e dischi pure (tenterà un
riavvicinamento, fallito, con Dylan, ai tempi di «Good As I Been With
You» nel ‘ 92). Fino a due anni fa: sospinto dai fan che non l’ hanno
mai dimenticato, Bromberg ritorna con l’ album «Try Me One More Time».
E ritorna a suonare: quando vuole lui però, senza tabelle preordinate,
senza stress da promozione. Atti unici quasi, mentre la sua chitarra,
per dirla alla George Harrison, «piange dolcemente».

Dei tanti ritiri a vita privata
visti nel corso della storia del rock, quello di David Bromberg
è sicuramente uno dei più bizzarri, decisamente in linea con la poca convenzionalità
del personaggio. Dismessa nel 1980 una delle più spettacolari e divertenti
band degli anni ’70 (obbligatorio avere in casa per lo meno Wanted
Dead Or Alive e How Late’ll Ya Play’Till, ma qualsiasi album
peschiate non ne sarete delusi), Bromberg si è diplomato nel 1984 in “Arte
della costruzione dei violini” e da allora vive riparando strumenti musicali.
La sua carriera di musicista è continuata con sporadiche apparizioni,
qualche ingaggio da session man, qualche rara produzione, e un paio di
album tra il 1986 e il 1989, discreti anche se un po’ di routine. Il trionfale ritorno nel 2007: Try
Me One More Time in un certo senso non esce a sorpresa, già nel
2003 David aveva riunito la band per una serie di concerti e il fatto
che sia un disco completamente acustico e suonato dal solo Bromberg potrebbe
essere un po’ una delusione per chi si aspettava un come-back a tutti
gli effetti. Ma Bromberg è fatto così, fin dai suoi esordi non è mai apparso
interessato alle luci della ribalta; era uno studioso della tradizione
americana al pari di Ry Cooder, ma la sua vena ironica, quasi comica,
ha fatto sì che forse non sia stato mai preso troppo sul serio dal grande
pubblico, e di certo lui non si è mai dannato l’anima per seguirne i gusti.
Avrebbe potuto campare facendo colonne sonore come gli amici Ry e Randy
Newman, ma nella sua mente c’è sempre e solo questa
musica.

Bromberg attended Columbia University in the 1960s and studied guitar with Reverend Gary Davis during that period. He has played with many famous musicians, including Jerry Jeff Walker, Jorma Kaukonen, Jerry Garcia, and Bob Dylan, and co-wrote the song “The Holdup”, with former Beatle George Harrison.

He began releasing albums of his own in the early 1970s on Columbia Records. His seven-minute rendition of “Mr. Bojangles” from 1972’s Demon in Disguise, interspersed with tales about travelling with song author Jerry Jeff Walker, earned progressive rock radio airplay.

Bromberg currently lives in Wilmington, Delaware where he and his wife, artist Nancy Josephson, own an extensive violin sales and repair shop, with a partial subsidy from the City of Wilmington, Delaware. He occasionally performs at Wilmington’s Grand Opera House.

Bromberg is proficient on fiddle, many styles of acoustic and electric guitar (to each of which he lends a highly individual voice), pedal steel guitar and Dobro. David Lindley, Norman Blake, Mark O’Connor, Emily Robison and Ricky Skaggs are among the small number of other major musicians with equal proficiency on three or more string instruments.

Bromberg released his first new studio album since 1990 with Try Me One More Time on 27 February 2007, on Appleseed Recordings. The disc includes Dylan’s “It Takes a Lot to Laugh, It Takes a Train to Cry” and Elizabeth Cotten‘s “Shake Sugaree.” Bromberg’s previous disc was Sideman Serenade.

After several years of
inactivity on the touring front, David Bromberg is beginning to
reappear on the live concert scene. Bromberg has reunited the “big
band” several times over the last few years and 2003 will see the band
come together at least twice for two short runs early in the year.
David is also beginning to play more with Jay Ungar and Molly Mason in
their show titled “An Evening of American Acoustic Music”. This show
creates an eclectic musical journey through several uniquely American
music forms. The show features the early works of Stephen Foster, the
Texas swing of Bob Wills, Cajun fiddle tunes, Delta and Chicago Blues,
Bluegrass, Folk and much more.

Bromberg’s
live show remains as unique as ever. Concerts by David and his band are
extraordinary events, and performances follow no set pattern of
selection. Give and take between performer is complete, spontaneous,
and totally sincere. As the NY Times noted “He has such control of his
audience that he can, at one moment, hold it in his hand with a tender,
touching yet funny anecdotal song, and then set it romping and stomping
with a raucous bit of raunch. He is electrifying.”

Born
in Philadelphia on September 19, 1945. Bromberg grew up in Tarrytown,
New York. Inspired by the music of Pete Seeger and the Weavers, among
others, he began studying the guitar at age 13. After graduating from
Tarrytown High School, he enrolled at Columbia University intent on a
career as a musicologist.
Drawn to Greenwich Village’s flourishing
coffeehouse folk music scene in the mid-1960’s, Bromberg opted for
performance combined with his studies; he left school in the middle of
his second year, however, to devote full time to his music. Shortly
thereafter, his extraordinary guitar picking and exceptional stylistic
range brought him to the attention of many other musicians: Bob Dylan,
Ringo Starr, John Hurt, the Reverend Gary Davis, Tom Paxton, and Chubby
Checker are only a few of the notables who sought Bromberg out as a
back-up artist for recording. In all he has played as a sideman on over
100 albums.

A
singular performer/writer/arranger, Bromberg’s remarkable musical
versatility and innovative resourcefulness have earned vast critical
and popular acclaim. He is also impossible to classify: As one critic
perceptively wrote, “David Bromberg fits no pigeonholes. He is part of
everything contemporarily musical. He is a product of blues, country,
jazz, folk, and classical music. From his early success as a guitar
virtuoso, Mr. Bromberg has developed into a brilliant entertainer.”
In 1970 Bromberg decided to go it on his own and, following a
spectacular, unscheduled performance at England’s Isle of Wight
Festival that year, he was signed to his first recording contract,
which resulted in the release of four albums: David Bromberg, Demon in
Disguise, Wanted Dead or Alive, and Midnight on the Water with
Columbia, now Sony. Two compilation albums have subsequently been
released. In the spring of 1977 Bromberg moved to the San Francisco Bay
where he recorded several albums for Fantasy, including the double
album How Late’ll Ya Play ‘Til?.

In the fall of 1980 Bromberg dissolved his band and moved to Chicago
where four years later he was graduated from the Kenneth Warren School
of Violin Making. The late eighties and early nineties saw Bromberg
tour only occasionally and mostly as a solo artist. Bromberg now
considers these occasional reunions as a way to see old friends and
play great music again. Preferring to spend time with his family and to
buy and sell violins, the days on the road for extended periods simply
do not fit his primary interests as a father and businessman.

Bromberg has currently left Chicago and returned east. He and his
family have settled in Wilmington, Delaware. David has opened a retail
violin shop in that city’s downtown Market Street area. The shop
specializes in sales and repair as well as bow and violin making.

With his return to the east coast, Bromberg fans can expect to see and hear a lot more from him.

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