David Bromberg Quintet

Main Stage

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  • Advance Price: $40.00
  • Door Price: $45.00

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Tuesday, July 17

DAVID BROMBERG QUINTET

For Americana godfather David Bromberg, it all began with the blues.

His incredible journey spans five-and-a-half decades, and includes – but is not limited to – adventures with Bob Dylan, George Harrison, Jerry Garcia, and music and life lessons from seminal blues guitarist Reverend Gary Davis, who claimed the young Bromberg as a son. A musician’s musician, Bromberg’s mastery of several stringed instruments (guitar, fiddle, Dobro, mandolin), and multiple styles is legendary, leading Dr. John to declare him an American icon. In producing John Hartford’s hugely influential Aereo-Plain LP, Bromberg even co-invented a genre: Newgrass.

Add in a period of self-imposed exile from his passion (1980-2002), during which he became a renowned violin expert, and Wilmington, Delaware’s cultural ambassador; top that off with a triumphant return to music-making, and you have an amazing tale leading back to one place: the blues.

Bromberg, a onetime sideman himself, is quick to give props to his long-running road-and-studio cohorts: Butch Amiot (bass), Josh Kanusky (drums), Mark Cosgrove (guitar), Nate Grower (fiddle), and Peter Ecklund (cornet). Of producer, arranger, multi-instrumentalist, fellow Reverend Gary Davis acolyte, and old friend Larry Campbell, he says, “To use a baseball analogy, Larry is like a star at any position in the infield, because he can play them all.”

“He’s always able to plug into the emotion of a song,” Campbell says. “He’s incredibly inventive as a player. Sometimes restrictions can be good.”

Although he remains the proprietor of the beloved David Bromberg Fine Violins in Wilmington, Delaware – “I love my shop,” he says – Bromberg makes time to tour with his quintet, and he’s already included every song in his live repertoire (save “Yield Not,” which requires a choir), from his latest recording “The Blues, the Whole Blues and Nothing But the Blues.” As ever, he brings his characteristic devotional intensity to the music, invigorating his surprise third act with the same passion he felt as a teen, spinning those blues 78s, just before the road called.

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