Saturday Night (Part II): Bob Brozman

I've been a fan of Bob Brozman's ever since I saw him on TV (yes, there used to be a blues show on French TV, sadly it didn't last...) in 1997. Since then, I saw him live once in 1998 solo in Roubaix and once in Paris with Djeli Moussa Diawara and Takashi Hirayasu in late 2000. Ever since, I've looked around for Brozman gigs near Paris but sadly they are few and far between.

As you know, I'm still preparing the next podcast, which will be about New Orleans and Katrina. A few weeks back I found Bob's latest record, Post-Industrial Blues, and I purchased it. There's a song on it about Katrina, so I wrote to Bob to see if I could use the song in the podcast. That was on Saturday afternoon, two weeks ago. While I was at it, I asked him if and when he was playing in France. About five seconds later, an answer comes, not only allowing me to use the track, but saying

I play tonight in Beauvais at Blues Zinc festival !!!

Beauvais is about an hour's drive from where I live, so fairly reasonable. I drove up there, and enjoyed Moriarty, as I've already described in Saturday Night (Part I): Moriarty. Then Bob quickly set up his numerous stringed instruments (no less than six, which must make traveling awkward to say the least!) and we were on to the second part of an evening of great music.

The set started with what is perhaps Bob's greatest "classic", his Down the Road which is part Trinidad and part plain-crazy. It's both a stunning moment for those who have never seen him play it, and an exhilarating moment for all. The early set continued with a few more Bob Brozman "classics" including Hawaiian Heat Waves and Debussy at La Réunion (which, I think, Bob dubbed Debussy en Vacances à Madagascar.) There seemed to be quite a few people from Reunion Island in the audience, so his frequent use of sega rhythmic patterns (even over "traditional" blues material) found appreciative ears. Not that you have to be from La Réunion to appreciate it, obviously, but I guess it had more effect on the "natives".

The great thing about Bob Brozman concerts is that even if you've seen him several times and even if he plays roughly the same material you've seen him play the previous times, the execution is such that it's simply impossible not to enjoy. Bob's reputation for musical eccentricity is clearly deserved and it's a large part of the enjoyment. He's like a live battery, seemingly never out of juice.

What I found interesting and refreshing about this concert, however, is the deeper tone to his material and commentary. I've always known (well, ever since Youtube, I guess) that Bob was this rare breed of American whose heart is further left than many Europeans'. It was never openly expressed in his music, however, and in a way that only left the mad eccentricity on his solo records, enjoyable as it was. I felt a change with Blues Reflex, which had the gripping Rattlesnake Blues and the very somber Death Come Creepin'. As I said when I reviewed it at the time, [Blues Reflex is] more focused and [...] more sober than most of his earlier stuff, and [...] if it’s an indication of the directions Bob Brozman is steering towards, it’s also a great omen of things to come.

As was made evident at this concert, Bob has now taken it one step further. He no longer shies away from being overtly political, and whether you agree with him or not (I tend to, although I think his admiration for European social models may be a little idealistic) there's a sincerity there which is evident and magnifies the music. When he played Look at New Orleans that night - the song I contacted him about using for the podcast - my throat was actually tight. It was moving and true.

From this point on in the concert, I felt that depth everywhere,even in material I'd heard him play previously, and even in material that is more light-hearted. But when Bob closed by playing Love in Vain, which is a chestnut of his and many others' repertoire, I was strongly moved again. His interpretation that night was truly deep, heartfelt, powerful.

A musician who can marry virtuosity, emotional depth, eccentricity and strong positions is a rare thing indeed. Bob Brozman has become that musician. If you have not yet seen him live, you owe it to yourself to make the effort to go whenever he comes near you. You will not regret it one second. I came out of that concert exhilerated and moved, a strange combination for sure, but with enough adrenaline to drive home safely.

Thanks, Bob, for such a great experience. Next time I will bring the kids, they just have to experience this.

If you want to see photos if the concert, they're here.