Multi-instrumentalist, singer and songwriter David Bromberg is not standing still. He is still pushing boundaries, still an iconoclast, still unapologetically unique, as he continues to explore his life’s journey via a path that might be considered “asymmetrical.”
Bromberg’s musical expression is still inimitable and his scope of knowledge is encyclopedic. On his latest CD — Big Road — Bromberg and his band were determined to give fans “something of value” — in other words, a tangible, content-rich package of music, film, text and photos.
The result is a substantive music/video release, featuring 12 new tracks, five hi-def performance videos and a mini-documentary detailing the album’s creation.
Big Road was released in three formats: traditional CD, a gate-fold vinyl album, and a CD/DVD combo pack. In an age where recorded music has been devalued and relegated to a digital stream for smart phones, Big Road returns the listener to the golden age of record-making, when enjoying an album was a tactile, visual and auditory experience.
What is the story of David Bromberg in 2021? His original persona — the outrageous guitar slinger who could blow anyone off the stage — has morphed into masterful bandleader. Today we get to focus on the totality of the man.
After 50 years, David has evolved but is still searching, still creating, still vital, and ever humble.
The thrust of the story is David’s amazing journey.
• He starts out at 20, leaving Columbia University for the streets of Greenwich Village, playing in coffeehouses, learning from Rev. Gary Davis, Doc Watson and Mississippi John Hurt, jamming with musicians and building a reputation.
• By 30, he is on the top of the mountain. He’s recorded with Bob Dylan, Willie Nelson, John Prine and Ringo Starr, written with George Harrison, found Linda Ronstadt her breakthrough hit song “Long, Long Time,” recorded four albums of his own for Columbia and played to adoring crowds.
• At the height of this success, he becomes disillusioned with life as a touring musician and quits, moving to Chicago to become an apprentice violin builder. He immerses himself in the world of lutherie and learns to identify violins – their makers, materials, provenance and commercial value, eventually opening a retail violin shop.
• After decades away from life as a recording and touring musician he returns, records the Grammy-nominated album Try Me One More Time, assembles a band and continues to carve out his own turf and identity which leads to Big Road.
King Solomon Hicks has been called “Lil” B.B. King, East Montgomery and King Solomon by his ever-growing fan base. He is the real deal — the next great thing out of New York City.
Solomon has been in the biz since 13 as the lead guitarist and performer at the Cotton Club, with a 13-piece band. He recorded his first CD, Embryonic, 14 with the Cotton Club All-Star Band.
Solomon performed at B.B. King’s, Minton’s Playhouse, Terra Blues, The Garage, Red Rooster, Shanghai Jazz, Iridium, Ginny’s Supper Club, Harlem Arts Alliance events and many other clubs in the New York City area.
Solomon is a jazz and blues guitarist, singer, and composer. An eclectic musician, Solomon excels at a number of styles ranging from jazz, blues, classical, gospel, R&B, funk and classic rock. He studied jazz, classical and Afro-Cuban guitar at Harlem’s School of the Arts, Boys Conservatory, Brooklyn Music Academy, Opus 118, and Barry Harris’ Bebop workshops.
Solomon grew up in Harlem “around a lot of great musicians.” That certainly shows on his latest CD Harlem, an 11-song salute to those roots — and how the 24-year-old guitarist and singer has turned them into his own fierce and distinctive style over the years.
The set, produced by multiple Grammy Award winner Kirk Yano (Miles Davis, Public Enemy, Mariah Carey), showcases Hicks as a writer, player and interpreter.
Hicks’ playing and singing shine throughout Harlem, blending reverent familiar with vigorous fresh, the work of an artist deeply rooted in blues birthed decades before him but equally invested in finding his own way of playing it.
Yes, every day he sings the blues, but in a manner only Hicks himself can.