Blues Reflex

Blues Reflex

Artikel-Nr.: RUF 1109
Preis inkl. MwSt., zzgl. Versand



Release Notes

Wer ist Bob Brozman?

„Es ist nahezu unmöglich, Bob Brozman und seine vielschichtigen Aktivitäten mit kurzen Worten zu beschreiben. Er ist eben nicht nur Sänger und Gitarrist, er designt auch Instrumente, ist Händler und Sammler, Musikethnologe und Feldforscher, Entertainer und Professor, und nebenbei ist er auch noch so etwas wie die Mutter Teresa der Saitenkünstler, verschenkt er doch in dem ihm möglichen Maße Instrumente in der ganzen Welt und fördert so lokale Musik und Musiker.“  

(Thorsten Bednarz, Jazzthetik 2003)


Was ist „Blues Reflex“?

Bob Brozmans 30. CD, BLUES REFLEX, ist ein vollkommen akustisches Album mit neuen Songs und Kompositionen aus seiner eigenen Feder, auf dem er mit einer außer-ordentlichen Tiefe und einer enormen Vielfalt an Klängen und Timbren spielt.

Er benutzt mehrere National Guitars, Bear Creek Hawaiian Guitars, Baglama, Percussion, und Gesang; Greb Graber begleitet ihn bei 3 Songs auf dem Schlagzeug. BLUES REFLEX vermischt Bob's Blues-Wurzeln mit den verschiedensten Einflüssen seiner weltweiten Reisen. Es bezeugt einerseits seine Achtung und Anerkennung gegenüber denjenigen Blueskünstlern, die Bob Brozman ursprünglich an die Musik herangeführt haben - andererseits trägt er diese Musik so weit an ihre Grenzen, wie nie zuvor.

A new song preceded and inspired by the spoken word prelude from Rev. J.M. Gates, from a 1929 recording of a "sermon" on the subject of genetics and communication. Recorded with Bob's National Baritone tricone, vocal, Bear Creek Kona Hawaiian guitar, and percussion, with Greg Graber on drums, "Dead Cat" updates a 100 year old traditional field holler with a modern edge.

Loosely inspired by the great Charley Patton, this track features Bob's free-wheeling on-the-edge improvisatory style on a tricone guitar. "Rattlesnake" contains the full dynamic range from whisper to roar typical of Bob's live shows.

Twenty one years after recording this 1920s Chicago classic song (on SNAPPING THE STRINGS) Bob decided to revisit this song, reinformed and re-invigorated by his decades of travel and collaboration with musicians from around the world. This version of "One Steady Roll" is played on 2 tricones in sega rhythm, from the Indian Ocean island of Réunion. The listener can tap along either two or three, because African-based music proves that a shuffle and a waltz can occur simultaneously. All percussion sounds on this song are played on the 2 guitars.

Here Bob pays tribute to Tommy Johnson's legendary 1928 recordings, playing in straight ahead traditional Jackson Mississippi style on two guitars, a 1997 National Baritone tricone and a 1929 national tricone. The new lyrics have a traditional sound, yet are relevant to Bob's current feeling.

"Vieux Kanyár" is a Reunionais creole phrase meaning roughly, "Old musician-wildman." All instruments are played by Bob: Two Kona Hawaiian guitars and a National Baritone tricone guitar, and percussion. This is one of those unplanned songs, a surprise inspiration, composed while recording the first part on kona, then the other instruments quickly recorded while the fire was still burning.

Based on one of the oddest Charley Patton recordings, "Poor Me" may be one of the slowest, most open tracks ever recorded by Bob. Where "Death Come Creepin'" retained the original 1920s playing style combined with new lyrics, this version of "Poor Me" has the original melody and lyrics set to completely different guitar sounds. The accompaniment begins with Weissenborn and Bear Creek 7-string Baritone Hawaiian guitars, but at the key change, the instruments also change to National Baritone tricone and Bear Creek Kona Hawaiian guitar.

The traditional Skip James classic, played as Bob plays it live, in sega shuffle rhythm, raw guitar and vocal. The listener can comfortably tap along in two or in three.

Exactly what the title says...played solo on the Kona, lap style with a bar-like playing with one finger, and that finger does not bend.
A tribute to the raw edgy energy of Robert Johnson and his musical forebears.
A new song inspired by Bob's 2003 recording trip to Papua New Guinea. Bob is playing 5 guitars, in the unusual group "plucking" style of the Gilnatta String Band from Myoko, East New Britain, Papua New Guinea. Remarkably, the rhythm is very similar to the oldest delta Blues styles, though the tonality is a little sweeter. A simple message awaits the listener, at the last line.

A protest song without words. Played solo on the National Baritone, this song can be thought of as a second movement of "Sans Humanité" (from Metric Time). It's a deep minor blues, a musical plea for compassion, played with passion.

An homage with a twist, "Mean World" is a re-working of the Tommy Johnson classic "Canned Heat Blues" melody, played in "one-drop" ska style, with new lyrics for these troubled times.

Completely new all-acoustic music-hip-hop impressionism...Funky Bolero blues...Art music...Trippy chamber music... This track features Bob playing two Kona Hawaiian guitars, tricone, Baritone tricone, a tiny Greek baglama, Chinese temple blocks, and cajon, with Greg Graber on drums.

A lullaby for tired working people everywhere, with a "folk orchestra" sound, with Santa Cruz Brozman Baritone guitar, tricone, baglama, and humming vocals.


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