WEBVTT 00:00:00.000 --> 00:00:01.919 Welcome to the Deep Dive, where we take a stack 00:00:01.919 --> 00:00:04.099 of source material, sift through the footnotes 00:00:04.099 --> 00:00:06.500 of history, and really try to pull out the crucial, 00:00:06.660 --> 00:00:08.800 unforgettable insights. That's the goal. And 00:00:08.800 --> 00:00:12.919 today we are deep diving into an artist who almost 00:00:12.919 --> 00:00:16.359 defies category in music, David Bromberg. Yeah, 00:00:16.420 --> 00:00:19.480 defining Bromberg. It's like trying to catch 00:00:19.480 --> 00:00:21.660 smoke, isn't it? I mean, in a music world that 00:00:21.660 --> 00:00:24.199 really rewards specialization. You know, the 00:00:24.199 --> 00:00:26.960 blues guitarist, the folk singer, the rock drummer. 00:00:27.140 --> 00:00:29.399 Right. Stick to your lane. Exactly. Bromberg 00:00:29.399 --> 00:00:33.429 is this. Crucial, versatile, and just profoundly 00:00:33.429 --> 00:00:36.570 eclectic force in American music. He spans everything 00:00:36.570 --> 00:00:39.789 from the 60s folk boom right up to today, moving 00:00:39.789 --> 00:00:42.409 between genres like it's nothing. So our mission 00:00:42.409 --> 00:00:44.909 today, for you listening, is to get past that 00:00:44.909 --> 00:00:47.429 sort of surface -level Wikipedia entry and really 00:00:47.429 --> 00:00:50.109 figure out how one guy became the ultimate musical 00:00:50.109 --> 00:00:52.890 polymath. A tall order, but a good one. We need 00:00:52.890 --> 00:00:55.509 to understand the architecture. How did he master 00:00:55.509 --> 00:00:57.590 so many instruments? How did he blend genres 00:00:57.590 --> 00:01:01.259 so seamlessly? Mentor actual rock legends. and 00:01:01.259 --> 00:01:03.939 become Bob Dylan's preferred sideman. And do 00:01:03.939 --> 00:01:07.120 it all with that unique kind of quirky, humorous 00:01:07.120 --> 00:01:09.760 voice. It's a lot to unpack. It really is. So 00:01:09.760 --> 00:01:11.780 maybe start with the tools, the instruments. 00:01:12.000 --> 00:01:15.239 Okay, yeah. To even begin answering that, you 00:01:15.239 --> 00:01:17.780 have to grasp the sheer scope of his technical 00:01:17.780 --> 00:01:21.549 skill. When we say multi -instrumentalist, the 00:01:21.549 --> 00:01:24.609 sources are super clear. Bromberg's core skill 00:01:24.609 --> 00:01:29.109 set includes vocals, guitar, fiddle, dobro, mandolin 00:01:29.109 --> 00:01:33.310 and pedal steel guitar. That's not just dabbling. 00:01:33.349 --> 00:01:35.689 That's a serious collection of skills. It's a 00:01:35.689 --> 00:01:39.549 commitment to several really specialized, difficult 00:01:39.549 --> 00:01:42.250 disciplines. Each one of those could be a lifetime 00:01:42.250 --> 00:01:44.530 study. It wasn't just playing like folk music 00:01:44.530 --> 00:01:46.390 on all of them, right? Yeah, not at all. He was 00:01:46.390 --> 00:01:48.950 a key player in bluegrass rock, blues rock, folk 00:01:48.950 --> 00:01:51.489 rock, jazz rock, country rock, and just plain 00:01:51.489 --> 00:01:54.489 old rock and roll. Yeah. To operate across all 00:01:54.489 --> 00:01:57.069 those fusion genres at the same time. I mean, 00:01:57.069 --> 00:01:59.030 think about it. That's like being fluent in seven 00:01:59.030 --> 00:02:00.689 different musical languages. Yeah, that's a great 00:02:00.689 --> 00:02:02.840 way to put it. And what really stands out in 00:02:02.840 --> 00:02:05.040 the sources, what defines that David Bromberg 00:02:05.040 --> 00:02:08.560 aesthetic, are two key things. First, yeah, the 00:02:08.560 --> 00:02:11.780 quirky, humorous lyrics. He could be witty, observational. 00:02:12.159 --> 00:02:14.719 Sometimes a bit sideways. Okay. But second, and 00:02:14.719 --> 00:02:16.300 this is the technical insight we really need 00:02:16.300 --> 00:02:19.060 to focus on, is his almost unheard of ability 00:02:19.060 --> 00:02:22.080 as a guitarist to play rhythm and lead guitar 00:02:22.080 --> 00:02:24.620 simultaneously. Simultaneously. How does that 00:02:24.620 --> 00:02:27.659 even work? It's a specific technique, very complex. 00:02:27.780 --> 00:02:31.000 It's a skill very few guitarists in any genre 00:02:31.000 --> 00:02:33.080 really can pull off with his level of independence 00:02:33.080 --> 00:02:36.060 and, frankly, speed. Okay. That's definitely 00:02:36.060 --> 00:02:38.400 something we need to dig into. Let's unpack this 00:02:38.400 --> 00:02:41.050 versatility then. Where did it all start? The 00:02:41.050 --> 00:02:43.189 lineage, the training. Right. The foundation. 00:02:43.289 --> 00:02:47.789 So David Bromberg, born 1945, Philadelphia. Yeah. 00:02:47.870 --> 00:02:50.449 Raised in Tarrytown, New York. And his background, 00:02:50.550 --> 00:02:53.530 it seems, valued social and intellectual stuff. 00:02:53.610 --> 00:02:55.330 That's right. And there's a significant family 00:02:55.330 --> 00:02:57.189 connection that's kind of unexpected. He's the 00:02:57.189 --> 00:03:00.729 grandson of Brooke Turney. Saladeck, the labor 00:03:00.729 --> 00:03:03.789 leader. And politician. The very same. A prominent 00:03:03.789 --> 00:03:06.889 figure. So while Bromberg became this master 00:03:06.889 --> 00:03:09.349 musician, he came from a family deeply rooted 00:03:09.349 --> 00:03:13.099 in... intense community engagement, public life. 00:03:13.240 --> 00:03:15.500 You can sometimes hear echoes of that maybe in 00:03:15.500 --> 00:03:17.719 the social commentary woven into his humor later 00:03:17.719 --> 00:03:21.180 on. Interesting connection. So then the 60s hit. 00:03:21.259 --> 00:03:23.259 He's at Columbia College, Columbia University. 00:03:23.759 --> 00:03:27.159 Big time for change. Huge time. And while, yeah, 00:03:27.240 --> 00:03:29.699 he was getting a formal education, his time there 00:03:29.699 --> 00:03:31.840 became absolutely pivotal for a completely different 00:03:31.840 --> 00:03:34.740 reason. Musical apprenticeship. OK, so this is 00:03:34.740 --> 00:03:37.240 where the guitar magic starts. This is the absolute 00:03:37.240 --> 00:03:39.439 foundation. This is where we start to answer 00:03:39.439 --> 00:03:41.300 that question of how he learned to play rhythm 00:03:41.300 --> 00:03:44.340 and lead at the same time. While he was at Columbia, 00:03:44.539 --> 00:03:46.419 he started training with the legendary blues 00:03:46.419 --> 00:03:49.539 and folk figure Reverend Gary Davis. The Reverend 00:03:49.539 --> 00:03:51.879 Gary Davis. Wow. Yeah. And Davis wasn't just 00:03:51.879 --> 00:03:54.400 a performer. He was a hugely influential teacher. 00:03:54.860 --> 00:03:57.919 A master of that complex Piedmont finger -picking 00:03:57.919 --> 00:04:00.259 style. We keep mentioning this technique, Piedmont 00:04:00.259 --> 00:04:01.819 style. For the listeners who might not know, 00:04:02.039 --> 00:04:05.800 why is that connection, that style, so foundational? 00:04:06.159 --> 00:04:09.680 What does it actually let you do? Okay, so it's 00:04:09.680 --> 00:04:12.500 basically everything for his versatility. The 00:04:12.500 --> 00:04:15.919 Piedmont style demands phenomenal hand independence. 00:04:16.829 --> 00:04:20.050 Imagine this. Your thumb is playing a steady, 00:04:20.149 --> 00:04:22.629 driving bass line, sometimes syncopated, sometimes 00:04:22.629 --> 00:04:24.670 straight, acting like the rhythm section. Like 00:04:24.670 --> 00:04:26.850 a built -in bass player. Exactly. Holding down 00:04:26.850 --> 00:04:29.769 the groove. Meanwhile, your other fingers are 00:04:29.769 --> 00:04:31.949 flying over the strings, picking out the melody, 00:04:32.129 --> 00:04:35.850 adding fills, playing lead lines, all at the 00:04:35.850 --> 00:04:37.750 same time. So the thumb is the rhythm section, 00:04:37.990 --> 00:04:41.579 the finger is the soloist, and the harmony. All 00:04:41.579 --> 00:04:44.300 on one guitar. Precisely. It lets a single guitarist 00:04:44.300 --> 00:04:47.120 sound like two, maybe even three musicians playing 00:04:47.120 --> 00:04:49.899 at once. It's incredibly complex but powerful. 00:04:50.160 --> 00:04:51.899 Okay, I can see how mastering that would make 00:04:51.899 --> 00:04:54.560 you adaptable. Totally. It meant Bromberg could 00:04:54.560 --> 00:04:57.439 handle virtually any American folk or blues style 00:04:57.439 --> 00:05:00.259 thrown at him. And crucially, it meant he was 00:05:00.259 --> 00:05:03.160 incredibly self -sufficient as a solo act. But, 00:05:03.220 --> 00:05:05.459 just as importantly, it made him adaptable enough 00:05:05.459 --> 00:05:07.680 to be the ultimate chameleon accompanist. The 00:05:07.680 --> 00:05:10.319 perfect side man. Which is exactly how his early 00:05:10.319 --> 00:05:13.740 career really took off. By the mid -60s, that 00:05:13.740 --> 00:05:16.300 mastery gets him noticed in the really competitive 00:05:16.300 --> 00:05:19.420 Greenwich Village folk scene. He's working solo, 00:05:19.660 --> 00:05:23.199 but also, critically, as that highly sought -after 00:05:23.199 --> 00:05:25.560 session guy, the accompanist everyone wanted. 00:05:25.959 --> 00:05:28.079 building that reputation yeah and that technical 00:05:28.079 --> 00:05:30.660 skill that piedmont foundation it just laid the 00:05:30.660 --> 00:05:33.160 groundwork for his rise as well the ultimate 00:05:33.160 --> 00:05:36.000 side man his reputation grew fast because he 00:05:36.000 --> 00:05:38.079 didn't just play one kind of guitar well he played 00:05:38.079 --> 00:05:40.199 all the key instruments exactly for that whole 00:05:40.199 --> 00:05:44.120 burgeoning americana folk rock country rock scene 00:05:44.120 --> 00:05:46.959 think about that list again acoustic guitar electric 00:05:46.959 --> 00:05:50.100 guitar fiddle pedal steel dobro that's a studio 00:05:50.100 --> 00:05:53.180 owner's dream list for one musician Totally. 00:05:53.279 --> 00:05:55.339 It meant he could walk into almost any session, 00:05:55.500 --> 00:05:58.560 country rock, blues, pure folk, whatever, and 00:05:58.560 --> 00:06:00.620 provide that specific sound, that specialized 00:06:00.620 --> 00:06:03.040 instrument texture that lifts the whole track. 00:06:03.240 --> 00:06:05.860 And that utility, that versatility, it led him 00:06:05.860 --> 00:06:07.779 straight to one of the biggest names imaginable. 00:06:08.100 --> 00:06:12.019 Bob Dylan. The Dylan connection is huge, especially 00:06:12.019 --> 00:06:14.439 because it happened during a really critical 00:06:14.439 --> 00:06:17.040 and frankly often turbulent phase of Dylan's 00:06:17.040 --> 00:06:20.360 career. Bromberg played on two of Dylan's 1970 00:06:20.360 --> 00:06:23.600 albums, Self -Portrait and New Morning. Self 00:06:23.600 --> 00:06:25.620 -Portrait. That was the one that got really mixed 00:06:25.620 --> 00:06:28.500 reviews, wasn't it? Very different. Yeah, notoriously 00:06:28.500 --> 00:06:31.860 experimental, often criticized for moving away 00:06:31.860 --> 00:06:35.160 from Dylan's acoustic roots. Covers, strange 00:06:35.160 --> 00:06:38.199 production. Okay, so analyze this for us. Why 00:06:38.199 --> 00:06:41.339 was Bromberg supposedly one of Dylan's preferred 00:06:41.339 --> 00:06:44.720 musicians during this particular maybe difficult 00:06:44.720 --> 00:06:47.420 time? Well... I think it speaks volumes about 00:06:47.420 --> 00:06:49.699 Bromberg's temperament and his sheer speed, his 00:06:49.699 --> 00:06:52.560 efficiency. Dylan is famously selective, right? 00:06:52.639 --> 00:06:54.639 And he was working fast on these albums, exploring, 00:06:54.740 --> 00:06:57.259 shifting, sometimes kind of chaotic, sonic ideas. 00:06:57.519 --> 00:06:59.399 Notoriously impatient in the studio, people say. 00:06:59.500 --> 00:07:01.800 Right. And Bromberg, probably because of that 00:07:01.800 --> 00:07:03.980 intense training with Reverend Gary Davis, he 00:07:03.980 --> 00:07:06.399 was this low ego, high utility player. He could 00:07:06.399 --> 00:07:08.519 instantly grasp what Dylan was going for, whether 00:07:08.519 --> 00:07:10.759 it was a specific fiddle part, a blues riff, 00:07:10.939 --> 00:07:13.620 a gentle acoustic texture, and just nail it, 00:07:13.639 --> 00:07:15.540 often on the first take. No fuss, just gets it 00:07:15.540 --> 00:07:18.480 done. Exactly. That reliability, that instant 00:07:18.480 --> 00:07:21.459 adaptability. It made him indispensable to an 00:07:21.459 --> 00:07:23.699 artist like Dylan, who really valued intuition 00:07:23.699 --> 00:07:27.420 and speed over endless discussion. Okay. That 00:07:27.420 --> 00:07:29.939 makes sense. And that reliability, that reputation, 00:07:30.220 --> 00:07:33.199 it set the stage for a massive turning point 00:07:33.199 --> 00:07:35.360 in 1970, right? The Isle of Wight Festival. Oh, 00:07:35.360 --> 00:07:37.379 yeah. Isle of Wight was this enormous cultural 00:07:37.379 --> 00:07:39.959 moment, hundreds of thousands of people, huge 00:07:39.959 --> 00:07:42.500 lineup. He was actually there backing up another 00:07:42.500 --> 00:07:44.740 folk singer, Rosalie Sorrells. Okay. So just 00:07:44.740 --> 00:07:48.079 doing a side. man gig. Initially, yes. But then, 00:07:48.180 --> 00:07:50.779 after her set, the sources describe this pretty 00:07:50.779 --> 00:07:53.759 extraordinary thing happening. Bromberg gets 00:07:53.759 --> 00:07:56.319 pushed out, or maybe volunteers. It's a bit hazy 00:07:56.319 --> 00:07:59.439 to do an impromptu solo set. Whoa. Unplanned. 00:07:59.639 --> 00:08:02.160 In front of that massive crowd. Totally unplanned 00:08:02.160 --> 00:08:04.620 showcase. Just him and his guitar, maybe fiddle 00:08:04.620 --> 00:08:06.500 on one of the biggest stages in the world at 00:08:06.500 --> 00:08:08.819 that time. A spontaneous display of everything 00:08:08.819 --> 00:08:10.779 we've been talking about. So here's Bromberg, 00:08:10.959 --> 00:08:13.680 Mr. Reliable Sideman, suddenly thrust into the 00:08:13.680 --> 00:08:16.129 solo spotlight. What happened? How did it go? 00:08:16.290 --> 00:08:18.970 The success was apparently immediate and overwhelming. 00:08:19.189 --> 00:08:21.970 The energy, the technical skill, the personality. 00:08:22.750 --> 00:08:25.730 It was so undeniable that it led directly to 00:08:25.730 --> 00:08:28.089 him being offered a recording contract with Columbia 00:08:28.089 --> 00:08:31.069 Records. Just like that, from an impromptu set. 00:08:31.350 --> 00:08:34.250 Pretty much. In one festival weekend, he goes 00:08:34.250 --> 00:08:37.330 from being Bob Dylan's valued but maybe background 00:08:37.330 --> 00:08:41.149 player to a headline artist with a major label 00:08:41.149 --> 00:08:44.149 deal. That's an explosive career shift. That's 00:08:44.149 --> 00:08:46.710 incredible. And even before that solo debut album 00:08:46.710 --> 00:08:48.899 came out. His session work resume was already 00:08:48.899 --> 00:08:50.379 getting pretty packed, wasn't it? People like 00:08:50.379 --> 00:08:53.059 Jerry Jeff Walker, Richie Havens. Oh, yeah. He 00:08:53.059 --> 00:08:54.879 was already the guy people wanted on their records. 00:08:55.000 --> 00:08:57.059 The Isle of Wight just put him on a whole different 00:08:57.059 --> 00:08:59.700 trajectory. Okay, so Columbia contract secured. 00:09:00.159 --> 00:09:03.480 1972, he releases his self -titled debut, David 00:09:03.480 --> 00:09:07.240 Bromberg. And it wasn't just like a straight 00:09:07.240 --> 00:09:09.580 folk record, was it? No, not at all. It immediately 00:09:09.580 --> 00:09:12.340 cemented that reputation as a cross -genre phenomenon. 00:09:12.419 --> 00:09:15.600 It had blues, it had folk, hints of rock. It 00:09:15.600 --> 00:09:17.279 was all in there. Yeah, and it had some big names 00:09:17.279 --> 00:09:19.860 helping out. Oh yeah, star -studded, right out 00:09:19.860 --> 00:09:22.820 of the gate. One of his own compositions, Sammy's 00:09:22.820 --> 00:09:26.000 Song, it featured harmonica from his recent boss, 00:09:26.100 --> 00:09:29.919 collaborator, and now friend Bob Dylan. Having 00:09:29.919 --> 00:09:32.529 Dylan on your debut. That's a pretty good endorsement. 00:09:32.570 --> 00:09:35.090 Doesn't hurt. But the really fascinating moment, 00:09:35.149 --> 00:09:37.490 maybe the deep cut that kind of changes how you 00:09:37.490 --> 00:09:40.210 view his influence, involves George Harrison. 00:09:40.309 --> 00:09:42.789 The Beatle. George Harrison. The very same. This 00:09:42.789 --> 00:09:45.269 is a key aha moment from the sources we looked 00:09:45.269 --> 00:09:47.600 at. The track is called The Hold Up. The whole 00:09:47.600 --> 00:09:50.340 disc. OK. Right. So George Harrison actually 00:09:50.340 --> 00:09:53.899 co -wrote the song with Bromberg and played on 00:09:53.899 --> 00:09:57.100 the track for that 1972 debut album. Co -wrote 00:09:57.100 --> 00:09:59.220 with a Beatle for his first album. That's huge. 00:09:59.600 --> 00:10:01.500 Massive. And it was a commercially successful 00:10:01.500 --> 00:10:03.700 collaboration, too. They issued it as a single, 00:10:03.840 --> 00:10:05.980 got a lot of play on U .S. progressive radio 00:10:05.980 --> 00:10:09.639 back then. And even much later, a 1998 review 00:10:09.639 --> 00:10:12.799 called it perhaps Bromberg's best known work. 00:10:13.210 --> 00:10:15.570 So it had lasting impact. OK, so great song, 00:10:15.629 --> 00:10:17.389 big collaboration. But you said the influence 00:10:17.389 --> 00:10:19.470 goes deeper. Much deeper. Bromberg fundamentally 00:10:19.470 --> 00:10:22.009 influenced George Harrison's own playing, his 00:10:22.009 --> 00:10:25.149 technique. Wait, hang on. Bromberg influenced 00:10:25.149 --> 00:10:29.350 George Harrison's guitar technique. How? How 00:10:29.350 --> 00:10:31.950 does the sideman influence the legend? It comes 00:10:31.950 --> 00:10:35.570 down to one specific instrument, the dobro. The 00:10:35.570 --> 00:10:37.429 dobro. We mentioned that earlier. Right. The 00:10:37.429 --> 00:10:40.700 sources are quite specific. Bromberg introduced 00:10:40.700 --> 00:10:43.559 George Harrison to the dobro. Now, for listeners 00:10:43.559 --> 00:10:46.019 maybe not familiar, the dobro isn't just any 00:10:46.019 --> 00:10:49.620 acoustic guitar. It's a resonator guitar, often 00:10:49.620 --> 00:10:52.580 with a square neck, played horizontally lap style 00:10:52.580 --> 00:10:55.759 using a metal slide or bar. So totally different 00:10:55.759 --> 00:10:57.960 from playing slide on a regular guitar with a 00:10:57.960 --> 00:11:00.059 slide on your finger. Completely different setup, 00:11:00.179 --> 00:11:03.659 feel, and technique. It produces this very distinctive, 00:11:03.860 --> 00:11:07.519 metallic, singing, sustained tone, very different 00:11:07.519 --> 00:11:09.559 from a bottleneck slide on a standard electric 00:11:09.559 --> 00:11:12.399 or acoustic. So Bromberg, being the master of 00:11:12.399 --> 00:11:15.279 these niche but crucial stringed instruments, 00:11:15.500 --> 00:11:17.820 essentially gave Harrison access to this whole 00:11:17.820 --> 00:11:20.879 new sound palette. And the sources say this introduction 00:11:20.879 --> 00:11:23.039 directly influenced Harrison's development as 00:11:23.039 --> 00:11:26.360 a slide guitarist. It opened up a new... tonal 00:11:26.360 --> 00:11:29.379 world for george a sound that became really key 00:11:29.379 --> 00:11:31.659 to his solo work throughout the 70s and beyond 00:11:31.659 --> 00:11:35.500 that signature slide sound owes a debt to bromberg 00:11:35.500 --> 00:11:38.360 handing him a dobro so let me get this straight 00:11:38.360 --> 00:11:41.539 bromberg the guy who just got his first solo 00:11:41.539 --> 00:11:43.919 record deal wasn't just getting help from giants 00:11:43.919 --> 00:11:47.139 like dylan and harrison he was actively shaping 00:11:47.139 --> 00:11:50.149 their instrumental development He gifted George 00:11:50.149 --> 00:11:52.950 Harrison a core part of his future sound. That's 00:11:52.950 --> 00:11:55.009 what the record suggests. It's an incredible 00:11:55.009 --> 00:11:57.750 testament to the respect his specific technical 00:11:57.750 --> 00:12:00.590 knowledge commanded even back then. That's more 00:12:00.590 --> 00:12:02.269 than just being a good player. That's being a 00:12:02.269 --> 00:12:04.929 musical resource. Absolutely. It proves his technical 00:12:04.929 --> 00:12:07.929 expertise was like currency. It wasn't just valuable 00:12:07.929 --> 00:12:09.950 for playing on a track. It was pedagogically 00:12:09.950 --> 00:12:12.269 influential. He was operating at the highest 00:12:12.269 --> 00:12:14.899 level. earning the respect of the absolute best 00:12:14.899 --> 00:12:17.039 in the business, and apparently teaching them 00:12:17.039 --> 00:12:19.120 a thing or two. Mind blown a little bit there. 00:12:19.399 --> 00:12:23.019 Okay. Right. So if we want to really grasp the 00:12:23.019 --> 00:12:25.740 full David Bromberg aesthetic, that blend of 00:12:25.740 --> 00:12:28.340 humor, storytelling, and just sheer musical range, 00:12:28.639 --> 00:12:31.379 we absolutely have to look at a defining track 00:12:31.379 --> 00:12:34.399 from his next album. It's his seven -minute version 00:12:34.399 --> 00:12:37.940 of Mr. Bojangles from the 1972 album Demon in 00:12:37.940 --> 00:12:40.559 Disguise. Seven minutes? Yeah. Okay, that's long 00:12:40.559 --> 00:12:42.899 for a song, especially back then for radio. Yeah. 00:12:43.440 --> 00:12:45.879 But this version, it got played on progressive 00:12:45.879 --> 00:12:48.820 rock radio. It was a huge platform. It was. And 00:12:48.820 --> 00:12:50.419 the reason it got played, the reason it was so 00:12:50.419 --> 00:12:52.740 captivating, was the unique structure. He took 00:12:52.740 --> 00:12:55.000 Jerry Jeff Walker's classic song, which is already 00:12:55.000 --> 00:12:56.980 a story song, right? Yeah, beautiful sad story. 00:12:57.159 --> 00:12:59.940 Beautiful song. But Bromberg turned it into this 00:12:59.940 --> 00:13:02.700 immersive, almost theatrical, anecdotal experience. 00:13:03.200 --> 00:13:05.899 The actual singing of the song was interwoven 00:13:05.899 --> 00:13:08.519 with these long, detailed, often really funny 00:13:08.519 --> 00:13:10.700 stories about traveling with the song's author, 00:13:10.820 --> 00:13:12.960 Jerry Jeff Walker. Stories about the... road, 00:13:13.019 --> 00:13:14.940 about the characters they met. So he stopped 00:13:14.940 --> 00:13:16.600 the song and just tell a story for a couple of 00:13:16.600 --> 00:13:19.580 minutes. Yeah, basically. He'd ramble, tell these 00:13:19.580 --> 00:13:22.179 shaggy dog tales, then seamlessly slide back 00:13:22.179 --> 00:13:24.320 into the melody. It must have seemed like a huge 00:13:24.320 --> 00:13:26.440 commercial risk interrupting the music like that. 00:13:26.639 --> 00:13:30.039 Definitely unconventional. What did progressive 00:13:30.039 --> 00:13:33.120 radio, which was usually about complex jams or 00:13:33.120 --> 00:13:35.940 concept albums, see in that? I think they saw 00:13:35.940 --> 00:13:39.519 authenticity. raw, unfiltered personality and 00:13:39.519 --> 00:13:42.120 a performer who was treating his audience like 00:13:42.120 --> 00:13:44.700 intelligent people who wanted more than just 00:13:44.700 --> 00:13:47.460 the song. Bromberg was essentially innovating, 00:13:47.480 --> 00:13:49.840 kind of like a live concept album track. Oh, 00:13:49.860 --> 00:13:52.000 OK. He wasn't just performing the lyrics. He 00:13:52.000 --> 00:13:54.139 was giving you the world around the song, the 00:13:54.139 --> 00:13:56.480 context, the flavor, the lived experience that 00:13:56.480 --> 00:13:59.120 burst the music itself. He was selling the feeling 00:13:59.120 --> 00:14:01.159 of being on the road with these guys, not just 00:14:01.159 --> 00:14:02.639 the notes. Like the difference between reading 00:14:02.639 --> 00:14:04.759 a postcard and getting a long rambling phone 00:14:04.759 --> 00:14:08.179 call from a friend. Exactly. That blend of masterful 00:14:08.179 --> 00:14:10.580 musicianship, because the playing was still superb, 00:14:10.759 --> 00:14:13.559 and that captivating, funny, rambling personality, 00:14:13.960 --> 00:14:16.460 that's what really cemented the Bromberg aesthetic 00:14:16.460 --> 00:14:18.960 for a lot of people. And that versatility, that 00:14:18.960 --> 00:14:21.340 ability to be funny one minute and technically 00:14:21.340 --> 00:14:24.039 brilliant the next, it meant he was still everyone's 00:14:24.039 --> 00:14:25.659 first call for sessions, right? Oh, absolutely. 00:14:25.940 --> 00:14:28.120 He never had to turn down a gig because it wasn't 00:14:28.120 --> 00:14:31.320 his style. Look at his work just in 1973, for 00:14:31.320 --> 00:14:33.580 example. Jonathan Edwards' album, Have a Good 00:14:33.580 --> 00:14:36.789 Time for Me, on that one record, Bromberg. played 00:14:36.789 --> 00:14:39.870 mandolin, dobro, and electric guitar. Three completely 00:14:39.870 --> 00:14:42.549 different sounds and skills on one project. Exactly. 00:14:42.549 --> 00:14:44.809 He could provide whatever textural voice was 00:14:44.809 --> 00:14:47.909 needed, that chameleon quality, that, let's call 00:14:47.909 --> 00:14:51.340 it musical promiscuity. It's why his Sideman 00:14:51.340 --> 00:14:54.080 discography from the 70s is just mind boggling. 00:14:54.100 --> 00:14:56.440 He moves seamlessly between genres and major 00:14:56.440 --> 00:14:58.460 acts. OK, let's just run through a few examples 00:14:58.460 --> 00:15:00.299 from the sources just to show the sheer range. 00:15:00.600 --> 00:15:03.080 Willie Nelson. Yep. Played on Willie's seminal 00:15:03.080 --> 00:15:06.100 1973 album Shocked and Willie. That's basically 00:15:06.100 --> 00:15:08.159 a foundational text for the whole outlaw country 00:15:08.159 --> 00:15:10.960 movement. Playing on that required grit, roots, 00:15:11.100 --> 00:15:14.549 authenticity. OK. Outlaw country. Then fast forward 00:15:14.549 --> 00:15:18.509 just two years, the Eagles. Right. 1975, contributing 00:15:18.509 --> 00:15:22.129 to the Eagles one of these nights. That's quintessential, 00:15:22.289 --> 00:15:25.230 highly polished West Coast rock. Totally different 00:15:25.230 --> 00:15:28.149 vibe. Yeah, the skills for an Eagles set in precision 00:15:28.149 --> 00:15:31.809 blend. Maybe a bit more polish. Seem worlds away 00:15:31.809 --> 00:15:33.549 from the looseness you might want with Willie 00:15:33.549 --> 00:15:36.970 Nelson. But Bromberg could deliver both. Flawlessly. 00:15:37.230 --> 00:15:39.690 And his network wasn't just U .S. based or stuck 00:15:39.690 --> 00:15:42.590 in one genre sphere. Carly Simon. Her self -titled 00:15:42.590 --> 00:15:45.049 debut in 1971. Yeah. And he worked with Ringo 00:15:45.049 --> 00:15:47.269 Starr multiple times on the Ringo album in 73 00:15:47.269 --> 00:15:50.509 and again on Ringo the 4th in 77. So folk pop, 00:15:50.730 --> 00:15:53.230 Beatle related rock. OK, this is getting wild. 00:15:53.429 --> 00:15:55.789 John Prine. Maintained his folk and Americana 00:15:55.789 --> 00:15:58.149 cred. Absolutely. Played on John Prine's Brilliant 00:15:58.149 --> 00:16:01.570 Diamonds in the Rough in 1972. So folk, country, 00:16:01.750 --> 00:16:05.139 pop, rock. What else? Well, here's maybe the 00:16:05.139 --> 00:16:07.399 most head -spinning genre leap listed in the 00:16:07.399 --> 00:16:10.419 sources. Ravi Shankar. Ravi Shankar. The sitar 00:16:10.419 --> 00:16:12.519 master. The one and only. Bromberg contributed 00:16:12.519 --> 00:16:15.360 to Shankar's 1974 album, Shankar, Family and 00:16:15.360 --> 00:16:18.860 Friends. Okay, hold on. Going from, say, laying 00:16:18.860 --> 00:16:21.720 down a killer electric slide track for the Eagles 00:16:21.720 --> 00:16:24.600 to contributing to an album rooted in Indian 00:16:24.600 --> 00:16:28.269 classical music fusion. That requires a completely 00:16:28.269 --> 00:16:30.210 different mindset, doesn't it? Different rhythms, 00:16:30.289 --> 00:16:32.549 different scales. Tremendous sensitivity and 00:16:32.549 --> 00:16:34.710 intellectual flexibility, I'd imagine. It just 00:16:34.710 --> 00:16:36.870 shows a level of musical understanding that's 00:16:36.870 --> 00:16:39.009 incredibly rare in popular music. He could fit 00:16:39.009 --> 00:16:41.149 in anywhere. It really is impossible to pin him 00:16:41.149 --> 00:16:43.610 down. His career just proves that point over 00:16:43.610 --> 00:16:46.610 and over. That agility combined with deep, deep 00:16:46.610 --> 00:16:48.909 technical knowledge of all those niche instruments 00:16:48.909 --> 00:16:52.090 made him arguably the most desired utility player 00:16:52.090 --> 00:16:53.789 in music history. He could make a very strong 00:16:53.789 --> 00:16:56.049 case for that, yeah. Okay. But, you know, despite 00:16:56.049 --> 00:16:58.299 that just... staggering output in the 70s, that 00:16:58.299 --> 00:17:00.840 constant demand, Bromberg did eventually slow 00:17:00.840 --> 00:17:03.840 down. He went through a period of reduced output, 00:17:04.079 --> 00:17:06.420 essentially a hiatus from major studio recording 00:17:06.420 --> 00:17:09.220 that stretched well into the 1990s. Burnout. 00:17:09.220 --> 00:17:12.339 The road is tough. Probably factor. The grind 00:17:12.339 --> 00:17:14.740 of being that ultimate utility player, constantly 00:17:14.740 --> 00:17:18.500 shifting gears, traveling. It takes a toll. It 00:17:18.500 --> 00:17:21.119 can be exhausting. So when did he come back in 00:17:21.119 --> 00:17:23.660 a big way? his return to the studio his first 00:17:23.660 --> 00:17:26.779 official studio recording since 1990 came in 00:17:26.779 --> 00:17:30.220 2007 with the album try me one more time try 00:17:30.220 --> 00:17:33.079 me one more time okay what was the vibe it felt 00:17:33.079 --> 00:17:36.059 like a very conscious deliberate move back to 00:17:36.059 --> 00:17:39.339 his core acoustic and folk roots very intimate 00:17:39.339 --> 00:17:42.079 he covered material that spoke directly to his 00:17:42.079 --> 00:17:44.759 musical lineage including dylan's takes a lot 00:17:44.759 --> 00:17:47.200 to laugh it takes train to cry his choice and 00:17:47.200 --> 00:17:49.680 elizabeth cotton's classic shake sugary just 00:17:49.680 --> 00:17:52.109 him and his guitar mostly Back to basics. And 00:17:52.109 --> 00:17:54.829 how was that received after being away for a 00:17:54.829 --> 00:17:56.970 while? It was swiftly and formally recognized. 00:17:57.509 --> 00:17:59.809 Try Me One More Time got nominated for a Grammy 00:17:59.809 --> 00:18:02.970 Award for Best Traditional Folk Album. A Grammy 00:18:02.970 --> 00:18:04.849 nomination straight out of the gate after the 00:18:04.849 --> 00:18:07.250 hiatus. Yep, at the 50th Annual Grammy Awards 00:18:07.250 --> 00:18:10.109 in 2008. And that nomination was really critical, 00:18:10.230 --> 00:18:12.589 I think. It validated his foundational artistry, 00:18:12.589 --> 00:18:15.230 reminded everyone of his deep folk roots, setting 00:18:15.230 --> 00:18:17.470 him apart, in a way, from all the rock in session 00:18:17.470 --> 00:18:20.190 work he was also famous for. He was acknowledged 00:18:20.190 --> 00:18:22.509 again as a pure folk master. That must have felt 00:18:22.509 --> 00:18:24.950 good. And it probably served as a great reintroduction, 00:18:24.950 --> 00:18:27.890 didn't it? Absolutely. Because his next major 00:18:27.890 --> 00:18:31.069 project, the 2011 album Use Me, sure, he hadn't 00:18:31.069 --> 00:18:33.490 just returned to his roots. He still commanded 00:18:33.490 --> 00:18:36.390 massive respect across the entire industry, regardless 00:18:36.390 --> 00:18:39.490 of genre or generation. Use Me. What was the 00:18:39.490 --> 00:18:42.250 concept there? It was basically a thesis statement 00:18:42.250 --> 00:18:44.769 on his career as the ultimate collaborator. The 00:18:44.769 --> 00:18:47.289 concept was other artists would write or choose 00:18:47.289 --> 00:18:49.430 a song for him, and then they'd produce and perform 00:18:49.430 --> 00:18:51.390 it with him. Oh, interesting. So who was on it? 00:18:51.710 --> 00:18:54.670 The guest list is just staggering. It reads like 00:18:54.670 --> 00:18:57.109 a wing of the Rock and Roll Hall of Fame. LaVon 00:18:57.109 --> 00:19:01.490 Helm. Wow. The band. John Hyatt, Dr. John, Keb 00:19:01.490 --> 00:19:04.490 Moe, Los Lobos, Widespread Panic. Okay, that's 00:19:04.490 --> 00:19:06.210 crossing genres and generations right there. 00:19:06.309 --> 00:19:09.549 Linda Ronstadt, Vince Gill. I mean, giants spanning 00:19:09.549 --> 00:19:12.410 blues, country, classic rock, the modern jam 00:19:12.410 --> 00:19:15.470 band scene, all lining up to work with him. So 00:19:15.470 --> 00:19:17.410 that album really demonstrated he wasn't seen 00:19:17.410 --> 00:19:19.509 as some kind of relic, right? He was an active, 00:19:19.549 --> 00:19:21.680 respected elder statesman? Totally. He could 00:19:21.680 --> 00:19:24.319 effortlessly pull together these huge names. 00:19:24.539 --> 00:19:27.220 People viewed him as someone who brought, you 00:19:27.220 --> 00:19:29.900 know, credibility, authenticity, and crucially, 00:19:29.920 --> 00:19:33.119 musical elevation to any track he touched. They 00:19:33.119 --> 00:19:36.190 wanted to use his talent. Hence the title. Very 00:19:36.190 --> 00:19:37.750 cool. And this wasn't just a one -off return, 00:19:37.950 --> 00:19:40.289 was it? He kept recording. Oh, yeah. The hiatus 00:19:40.289 --> 00:19:43.589 was decisively over. He maintained a pretty active 00:19:43.589 --> 00:19:46.349 recording schedule well into his 70s. Albums 00:19:46.349 --> 00:19:49.690 like Only Slightly Mad in 2013, then The Blues, 00:19:49.910 --> 00:19:52.170 The Whole Blues, and nothing but The Blues in 00:19:52.170 --> 00:19:55.009 2016. Okay. Leaning into The Blues there. Definitely. 00:19:55.109 --> 00:19:58.650 And Big Road in 2020. He was fully back as a 00:19:58.650 --> 00:20:01.470 dedicated band leader, really refocusing on his 00:20:01.470 --> 00:20:04.210 core identity as a masterful blues and Americana 00:20:04.210 --> 00:20:07.089 interpreter. still playing incredibly well. Now 00:20:07.089 --> 00:20:08.849 here's a part of his story that seems almost 00:20:08.849 --> 00:20:11.490 like a fascinating contrast. His life away from 00:20:11.490 --> 00:20:13.809 touring, settled in Wilmington, Delaware with 00:20:13.809 --> 00:20:17.109 his wife, the artist Nancy Josephson. We know 00:20:17.109 --> 00:20:19.690 him as this legendary musician, but for a number 00:20:19.690 --> 00:20:21.650 of years, he was also an entrepreneur in a completely 00:20:21.650 --> 00:20:23.349 different field. That's right. It's a really 00:20:23.349 --> 00:20:25.289 interesting chapter. For several years, they 00:20:25.289 --> 00:20:28.549 owned and ran David Bromberg Fine Violins. Fine 00:20:28.549 --> 00:20:31.049 violins, like classical violins. Exactly. An 00:20:31.049 --> 00:20:33.769 extensive sales and repair shop specializing 00:20:33.769 --> 00:20:37.450 in high -end violins, violas, cellos, classical 00:20:37.450 --> 00:20:39.769 stringed instruments. They eventually sold the 00:20:39.769 --> 00:20:42.490 business at the end of 2021. Okay, the master 00:20:42.490 --> 00:20:45.150 of the electric slide, the dobro, the pedal steel. 00:20:45.900 --> 00:20:48.440 The guy who jammed with Dylan and taught Harrison 00:20:48.440 --> 00:20:51.240 dedicated a big chunk of his later life to the 00:20:51.240 --> 00:20:54.279 painstaking craft of Luthri making and repairing 00:20:54.279 --> 00:20:56.660 violins. Yeah. What does that tell you about 00:20:56.660 --> 00:20:58.940 him? Well, it seems to underscore this deep, 00:20:58.980 --> 00:21:01.519 almost obsessive respect for the mechanics of 00:21:01.519 --> 00:21:04.059 music. Maybe it wasn't just about playing. It 00:21:04.059 --> 00:21:06.349 was about. understanding the instrument itself, 00:21:06.609 --> 00:21:09.130 its physics, its craft. I think that's spot on. 00:21:09.170 --> 00:21:11.089 It's such a huge contrast to the chaos of the 00:21:11.089 --> 00:21:13.430 road life, right? Treating the demands of the 00:21:13.430 --> 00:21:16.049 recording studio or the stage for the quiet, 00:21:16.109 --> 00:21:18.210 meticulous, focused work of instrument repair 00:21:18.210 --> 00:21:20.730 and curation. It really speaks to a man dedicated 00:21:20.730 --> 00:21:24.130 to craft over just fame or performance. A different 00:21:24.130 --> 00:21:26.190 kind of mastery. A different but related mastery. 00:21:26.490 --> 00:21:28.410 Yeah. And his impact in Wilmington, it seems, 00:21:28.569 --> 00:21:31.049 went beyond the violin shop. He became part of 00:21:31.049 --> 00:21:33.849 the community fabric. Very much so. He and his 00:21:33.849 --> 00:21:36.609 wife became major donors to the local Grand Opera 00:21:36.609 --> 00:21:38.529 House, where he'd also perform occasionally. 00:21:38.910 --> 00:21:41.490 And he was a regular performer at the World Cafe 00:21:41.490 --> 00:21:44.230 Live Wilmington, located in the Queen Theater, 00:21:44.430 --> 00:21:47.410 up until around 2017. So he wasn't just living 00:21:47.410 --> 00:21:50.369 there. He was actively investing his time, talent, 00:21:50.430 --> 00:21:53.049 and resources into the local cultural scene. 00:21:53.289 --> 00:21:55.670 Right. Fully integrating into his chosen community, 00:21:55.910 --> 00:21:57.930 which is pretty cool. Which brings us up to a 00:21:57.930 --> 00:22:00.869 more recent development. The announcement about 00:22:00.869 --> 00:22:04.960 touring. The final farewell. Sort of. In 2023, 00:22:05.460 --> 00:22:08.440 Bromberg, who was 77 at the time, stated pretty 00:22:08.440 --> 00:22:10.359 clearly that he was finished with the intense 00:22:10.359 --> 00:22:12.779 demands of touring with his big band. The big 00:22:12.779 --> 00:22:14.900 band, that's a lot of logistics, a lot of people 00:22:14.900 --> 00:22:17.099 to move around. Exactly. Road life is brutal 00:22:17.099 --> 00:22:19.740 anyway, but coordinating a large ensemble like 00:22:19.740 --> 00:22:21.920 that. Yeah. It's a massive undertaking, especially 00:22:21.920 --> 00:22:24.500 as you get older. So the official farewell concert 00:22:24.500 --> 00:22:27.119 with the David Bromberg big band was the celebrated 00:22:27.119 --> 00:22:29.359 event at the Beacon Theater in New York City, 00:22:29.519 --> 00:22:33.079 June 10th, 2023. End of an era, in a way. In 00:22:33.079 --> 00:22:35.539 a way. It's really important to clarify the distinction 00:22:35.539 --> 00:22:37.859 the sources make that he made. He said he's had 00:22:37.859 --> 00:22:40.640 it with touring, meaning the constant packing, 00:22:40.799 --> 00:22:44.420 moving, airports, hotels, the whole grind. Yeah, 00:22:44.460 --> 00:22:46.480 that part sounds exhausting. But he emphatically 00:22:46.480 --> 00:22:49.279 did not rule out playing music altogether, not 00:22:49.279 --> 00:22:51.960 ruling out occasional appearances, maybe festivals, 00:22:52.259 --> 00:22:55.140 short -term collaborations, local gigs, things 00:22:55.140 --> 00:22:57.680 that don't involve that relentless travel schedule. 00:22:57.839 --> 00:23:00.660 Ah, okay. So the music continues, just not the 00:23:00.660 --> 00:23:02.710 coast -to -coast night after night. night touring 00:23:02.710 --> 00:23:04.690 lifestyle. Precisely. He's retiring from the 00:23:04.690 --> 00:23:06.789 road, not necessarily from the music. OK, so 00:23:06.789 --> 00:23:09.029 after this whole deep dive, looking at all these 00:23:09.029 --> 00:23:11.849 facets, how do we synthesize David Bromberg? 00:23:13.029 --> 00:23:15.269 We started out trying to define a polymath, and 00:23:15.269 --> 00:23:17.269 what we seem to have found is this figure who 00:23:17.269 --> 00:23:19.569 acts as an essential bridge builder in American 00:23:19.569 --> 00:23:21.369 music. I think that's a perfect way to put it. 00:23:21.410 --> 00:23:24.250 He successfully bridged the earnest foundational 00:23:24.250 --> 00:23:26.970 acoustic roots of that Greenwich village folk 00:23:26.970 --> 00:23:29.170 revival stuff he learned directly at the feet 00:23:29.170 --> 00:23:32.029 of Reverend Gary Davis with the much more complex 00:23:32.029 --> 00:23:34.349 genre bending, sometimes electric experimentation 00:23:34.349 --> 00:23:37.650 of 70s rock and what became Americana. He connects 00:23:37.650 --> 00:23:40.490 those two worlds. Directly. His career is kind 00:23:40.490 --> 00:23:43.200 of the ultimate proof. That deep technical mastery, 00:23:43.400 --> 00:23:45.740 knowing your instrument inside and out, combined 00:23:45.740 --> 00:23:48.839 with extreme stylistic flexibility, being able 00:23:48.839 --> 00:23:52.240 to jump between dobro, fiddle, electric guitar, 00:23:52.480 --> 00:23:54.759 pedal steel, that combination is the definition 00:23:54.759 --> 00:23:57.779 of a truly preferred, indispensable musician. 00:23:58.119 --> 00:24:00.589 He didn't just collect instruments. he mastered 00:24:00.589 --> 00:24:03.130 their specific languages, which allowed him to, 00:24:03.150 --> 00:24:05.809 you know, comfortably add mandolin to a country 00:24:05.809 --> 00:24:08.849 record one week, blistering electric slide to 00:24:08.849 --> 00:24:11.190 a walk album the next, and then turn around and 00:24:11.190 --> 00:24:13.690 collaborate with Ravi Shankar. Yeah, and we absolutely 00:24:13.690 --> 00:24:16.789 can't forget his maybe greatest aesthetic innovation, 00:24:17.029 --> 00:24:19.509 using that anecdotal storytelling like we talked 00:24:19.509 --> 00:24:21.869 about with Mr. Bojangles to transform classic 00:24:21.869 --> 00:24:24.890 songs into these immersive, sprawling seven -minute 00:24:24.890 --> 00:24:27.750 narratives. He offered performance as this shared, 00:24:27.789 --> 00:24:30.190 lived -in character experience. Bringing the 00:24:30.190 --> 00:24:31.910 listener right into the story behind the song. 00:24:32.269 --> 00:24:35.269 Exactly. And even his life beyond music, running 00:24:35.269 --> 00:24:38.069 that fine violin shop, it just reinforces the 00:24:38.069 --> 00:24:40.309 idea that his connection to music is intellectual, 00:24:40.690 --> 00:24:43.069 it's mechanical, it's craft -based, as much as 00:24:43.069 --> 00:24:45.569 it is purely artistic or performance -based. 00:24:45.910 --> 00:24:48.509 He's dedicated to the whole ecosystem of music, 00:24:48.549 --> 00:24:51.049 playing it, understanding the tools used to make 00:24:51.049 --> 00:24:54.269 it, fixing them, maybe even passing on the knowledge. 00:24:54.569 --> 00:24:56.710 Which does raise a really interesting final question 00:24:56.710 --> 00:24:59.269 for you, the listener, to maybe chew on as we 00:24:59.269 --> 00:25:02.630 close out here. Okay. Given his career -long 00:25:02.630 --> 00:25:05.990 habit of blending music and storytelling, his 00:25:05.990 --> 00:25:09.009 deep respect for craft, and the fact that he's 00:25:09.009 --> 00:25:10.970 still performing occasionally after stepping 00:25:10.970 --> 00:25:14.390 back from the big band touring grind, what kind 00:25:14.390 --> 00:25:17.150 of project might an 80 -year -old musical synthesis 00:25:17.150 --> 00:25:19.509 expert, a master bridge builder, turn to next? 00:25:20.029 --> 00:25:22.089 That's a great question. We know from the sources 00:25:22.089 --> 00:25:23.930 he has put out instructional material before 00:25:23.930 --> 00:25:26.730 DVDs, like a guitar lesson with David Bromberg 00:25:26.730 --> 00:25:29.190 or the guitar artistry of David Bromberg. Does 00:25:29.190 --> 00:25:31.809 he maybe double down on pedagogy now, really 00:25:31.809 --> 00:25:34.230 try to chronicle the full depth of that Reverend 00:25:34.230 --> 00:25:36.250 Gary Davis Piedmont style for a new generation, 00:25:36.470 --> 00:25:39.130 pass a torch formally? Or does he maybe focus 00:25:39.130 --> 00:25:42.480 on more? Curated, perhaps geographically limited, 00:25:42.619 --> 00:25:46.019 but musically limitless collaborations. Maybe 00:25:46.019 --> 00:25:48.579 producing or mentoring younger artists who share 00:25:48.579 --> 00:25:51.259 that eclectic spirit. Using his connections and 00:25:51.259 --> 00:25:53.200 wisdom in a different way. Could be either or 00:25:53.200 --> 00:25:54.799 something entirely different we haven't thought 00:25:54.799 --> 00:25:58.019 of. Knowing Bromberg's history, whatever he does, 00:25:58.079 --> 00:26:00.920 it likely won't be predictable. A perfect final 00:26:00.920 --> 00:26:03.599 thought on a man whose next move will undoubtedly 00:26:03.599 --> 00:26:06.599 be fascinating. Guided by that incredible lifetime 00:26:06.599 --> 00:26:09.380 of technical knowledge and artistic curiosity. 00:26:10.160 --> 00:26:11.900 Thank you so much for joining us on this deep 00:26:11.900 --> 00:26:14.740 dive into the singular, multifaceted career of 00:26:14.740 --> 00:26:16.539 David Bromberg. Been a pleasure. We'll catch 00:26:16.539 --> 00:26:16.980 you next time.