He's really built a unique, world sound from pre-WWII slide guitar roots. The slide owns it, but it doesn't own the slide. He's one of those musicians for whom the instrument doesn't matter. He's just doing great work, introspective regarding other human beings but epitomizing Public Display of Affection with his guitars.

It's an odd collection of instruments. With the exception of drums on three of the 13 tracks by drummer Greg Graber, Brozman plays everything – National Baritone Tricone guitar, Rocket Hawaiian guitar, cajon, duff bendir, Chinese temple blocks, Bear Creek Baritone seven-string Hawaiian guitar, baglama; the list goes on. One is to infer from this, not that this record is a sideshow act for freak axes, but that Brozman's current sound and instrument choices are the result of long years of expensive experimentation, during which he's become both a recognized ethnomusicologist and a National Resophonic instrument dealer. Now he has what he wants, and we listeners benefit.

There's trad. acoustic blues here, but there's also borderline flamenco with Cab Calloway-style scatting, raga / jazz / pop fusion and one piece that sounds for all the world like circa Summer of Love Kinks. Apparently, if one has the time to study his entire body of work, there's considerably more breadth there, too. His website, http://www.bobbrozman.com, is a virtual musical world tour.

This is an interesting musician and an energetic communicator of music. Do, at the very least, visit that website soonest.

www.rufrecords.de

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