Try Me One More Time


“The extraordinary folk-blues guitarist David Bromberg has strolled back into the spotlight as abruptly as he resigned from it nearly three decades ago . . . His delightful new solo acoustic set . . . is Bromberg’s first album since 1989. . . . The fluid, orchestralinvention of Bromberg’s fingerpicking . . . is in undiminished bloom, invigorating sturdyold blues and ballads . . . A recent surprise is Bromberg’s singing. His old, shaky rodeo-hand yelp – which had its eccentric charm – has settled into a rippling Fred Neil-likebaritone that . . . brings warm, reassuring comfort.”

– David Fricke, Rolling Stone

“. . . A flawless set of solo country blues performances . . . a jaw-dropping tour de force.Bromberg makes it sound as if it's all in a day's work, telling the stories at the heart ofthese songs. He knows the characters and articulates their feelings. He alone knows howhilarious Robert Johnson can be. He understands why Dylan belongs alongside the Rev.Gary Davis. It's just Bromberg, his guitar and some old songs, but the level of nuance andaccomplishment he brings to the party make his welcome return to recording somethingof a minor masterpiece.”

– Joel Selvin, San Francisco Chronicle

“Bromberg’s guitar playing is as agile as ever, and his song choices are astute: tales ofdeath, sex and struggle that sound astonishingly relevant, funny and moving stripped totheir essence. . . . Bromberg’s vocals sound bigger, freer and friskier than ever.”

– Greg Kot, Chicago Tribune

“. . . A delight . . . Full of warmth, wit and hot licks. . . . Full of life.”

– Steven Wine, Associated Press

“Bromberg’s relaxed confidence, both as a picker and a singer, lets him appreciate RobertJohnson’s humor and reveal the pathos in the ambiguity of a song by fingerpickingpioneer Elizabeth Cotton. A master with nothing left to prove to himself or others,Bromberg made this album to enjoy, not to impress. Though, naturally, it accomplishesboth. (3/1-2 stars out of 4)”

– Brian Mansfield, USA Today

“Bromberg’s feel for folk and blues tradition and his encyclopedic command of it remainundiminished. . . . Bromberg puts his own stamp on material from seminal influencessuch as the Rev. Gary Davis and Bob Dylan . . . He’s singing better than ever . . . as hesounds like one of the masters he began by trying to emulate.”

– Don McLeese,

“He's still playing songs from pre-war bluesmen like [Robert] Johnson and Rev. GaryDavis, still in a style that's simultaneously loose and musically precise. He's also singingbetter than ever.”

– David Hinckley, New York Daily News

“The masterful acoustic picking on the new record . . . will not, be assured, strike anyoneas the work of someone long out of practice. And the singing, well, that’s notably moreresonant and full than it had ever been in Bromberg’s big-label youth.”

– Barry Mazor, No Depression

“. . . A generous, unadorned set of live-off-the-floor performances that capture the uniquewarmth and humour with which he earned major credits during the 1970s post-folkboom . . . . Bromberg gives these 16 mostly traditional blues, country-blues and bluegrasssongs the kind of quiet respect a dedicated field recordist might show in attempting tointerpret faithfully the raw work of his distant subjects.”

– Greg Quill, Toronto Star

“Bromberg’s basic M.O. as a musician [is] seeking authenticity and following his heart asclosely as possible without outside interference or commercial considerations. That effortcan be heard straight up on his new album. Try Me One More Time is a refreshinglyclean-sounding album, with a living-room-like intimacy.”

– Josef Woodard, Santa Barbara News-Press

“Alone with just voice and guitar, you get the pure load of guitar chops that he never leftbehind. Ostensibly a folk/blues solo album, Bromberg really gets back to basics for anunhurried, low key return to music making where he simply gets wrapped up in his museand lets his fingers do the real talking. Interesting visit from a long gone old friend.

– Chris Spector, Midwest Record

“. . . This solo set – just Bromberg’s masterful acoustic guitar playing andplain-spoken singing – is better than almost anything he’s ever done. (4 stars)”

– Mike Regenstreif, Montreal Gazette

“. . . With nothing to prove and no one to impress, Bromberg returns and it sounds like henever left. Intact is the effortless fun and filigree of his guitar work. The intuitive mix ofall styles American. The warm, if older and worn, baritone that distinctively transcendsthe age of many of these songs, making them modern, while retaining the cracks andcrannies. These sixteen low-key performances sound like David's decided to sit down andpick in your living room.”

– Mike Jurkovic, Folk & Acoustic Music Exchange

“. . . An oozing-with-personality solo session of roots-oriented material . . .”– Jonathan Takiff, Philadelphia Daily News

“This is Bromberg’s first new CD in about 17 years, and it’s worth the wait. Itrepresents a return to his basic roots/blues influences. . . . Bromberg draws on a widerange of influences. Two Rev. Gary Davis’ songs, “I Belong to the Band” and “Trying toGet Home” are standouts. . . . This CD is truly a labor of love…excellent guitar playingwith vocals that drip with a reverence for the blues. Good to have David Brombergback…hope we don’t have to wait another 17 years. (4 stars)”

– Bob Olsen, MusicTAP/The Digital Bits

“. . . the album feels intimate, honest and earthy, and of course the guitar playing is neverless than masterful.”– Jeff Tamarkin, All Music Guide

“. . . Try Me is a breathtaking work of art from a master guitarist and gifted singer-songwriter whose unfaltering grasp on the traditions of folk, blues, rock and jug bandmusic reveal he’s lost nothing in his ability to breathe new life into all of them. . . .Bromberg’s finger picking and resulting tone are still things to die for, augmented byhis folk-ish-sounding, earthy baritone that’s as welcoming as a well overdue summer’sbreeze.”

– Eric Thom, Exclaim! Magazine

“The best traditional folk album of 2007 may have arrived early this year. It is hard toimagine a more beautifully played, pristinely recorded album, or songs sung with moreheart and soul. David Bromberg’s voice is a little deeper than you may remember it,both in pitch and emotion. It still breaks, quavers and bends in all of the right places butnow he lingers just a little longer on the words savoring their sounds and meaning. Hesings the blues with the ache of a man that’s been around, and the traditional songs withthe wisdom of a man who’s lived with them for most of his life. Bromberg’s trademarkfinger-style playing has similarly matured. Intricate licks are graceful, bass runs laydown the rhythm and slides bend and sustain to wrest every once of expression from themelody. The songs are mostly traditional with Bromberg’s notes in the album detailingtheir often twisted pedigrees. . . . This album is obviously a labor of love, as are so manyof the recordings on Appleseed, and a crowning achievement in the long career of a trueand fine musician. Essential!”

– Michael Devlin, Music Matters Review

“A great Sunday morning, staring out the window, newspaper unread, three-cups-of-coffee record.”

– Jeff Spevak, Rochester Democrat and Chronicle

“Certainly fans couldn't have asked for a more intimate session . . . Bromberg's voice isdeeper now, his delivery droll as ever, and his acoustic guitar work is unfailingly crispand expressive. . . . It's good to have something new from him . . .”

– Mike Joyce, Washington Post

“. . . [An] easygoing, intimate vibe . . .”

– Nick Cristiano, Philadelphia Inquirer

“. . . A comfortable set of blues and traditional tunes, featuring his fine picking and wryarrangements. . . . A welcome return.”

– Gene Hyde, CD Hotlist: New Releases for Libraries

“. . . Fresh, unaccompanied, folk-leaning interpretations of venerable blues chestnuts that Bromberg first heard at the hands of Marshall Owens, Texas Alexander, Big Bill Broonzy, Blind Willie McTell, the aforementioned [Rev. Gary] Davis and others, but which date back farther into the hazy origins of the blues.”

– Saby Reyes-Kulkarni, Asbury Park Press

“The album affirms that David Bromberg respects the basics . . . good songs, good lyrics and soulful communication.”

– Roger Dietz, Sing Out!

“. . . Bromberg shows grace – not flashiness – in his pickings and sings with the quirky charm to time past.”

– Frank-John Hadley, DownBeat

“The all acoustic contents of Try Me One More Time bespeaks a modern DIY effort and the old ‘make what you need’ ethos. [Bromberg is] still singing and playing stuff by the old masters like Robert Johnson, Rev. Gary Davis, and Elizabeth Cotten, as well as several traditional songs in a country blues style that seems as old as the hills and as immediate as the smell when you open the door and know that you’ve arrived home. Bromberg has always been a fine picker, and he shines on the two spirited instrumentals, the traditional tunes ‘Buck Dancer’s Choice’ and ‘Hey Bub.’ They last less than two minutes each, but the works convey a craftsman’s precision and an artist’s soul. This has always been true of his work. Bromberg understands the importance of not playing too fast and still keeping things moving at a deft pace. That’s a difficult groove for a guitar player to find. . . . Bromberg also takes the other tack on ‘Moonshiner,’ which he performs a capella. His voice has a grainy timbre edged with the resonance of barely contained laughter, like he can’t believe anyone would ever want to hear him sing. But that gives Bromberg an infectious sound . . . The best cuts are simply the best songs, and they are not all that different from the material he recorded when first starting out. Bromberg superbly covers Dylan’s ‘It Takes a Lot to Laugh, It Takes a Train to Cry,’ Rev. Davis’ ‘Trying to Get Home’ and Cotten’s ‘Shake Sugaree.’ . . . Bromberg makes you understand the beauty and the aches of being lonely, and the fact that we are each of us all alone even when we are one with the world.”

– Steve Horowitz,

“In the liner notes for his new CD, Try Me One More Time, David Bromberg writes that it sounds like a field recording, just a guy doing tunes. Well, not quite. It's a recording of one of the best acoustic guitarists ever ‘doing tunes.’ David is a member of a very select group of finger pickers which includes the late Dave Van Ronk, Jorma Kaukonen, Roy Book Binder, Taj Mahal and Paul Geremia. . . . He is such an expressive and lyrical player that each track stands out. I started to make a list of my favorite songs and discovered that I had written down nearly every one. . . . This is a long-awaited recording by one of the best American musicians living today.”

– Mary McCaslin, Santa Cruz Sentinel

“. . . Here is an occasion to celebrate: the release of a relaxed, lowkey album from Bromberg, just guitar and a bunch of discerningly picked traditional and might-as-well-be traditional songs and tunes, under the ruefully tongue-in-cheek title Try Me One More Time. ‘Try Me’ is also the first cut, Bromberg's rolling, melody-intensive reworking of an at-least-century-old African-American songster favorite. One is immediately movedby the exquisite tone pouring out of Bromberg's instrument. One hears it as much as one hears the vocal and the narrative, and it sets up high expectations for what is to come next. Though not a naturally gifted singer, Bromberg is a natural performer, and he uses

his voice to remarkable effect . . . Even if you've known these songs most of your own life, I am certain that you will revel in the new life he gives them. . . . I have listened to it again and again, and the pleasure only expands. I expect that once you've heard it, you will try Try Me One More Time more than one more time

.– Jerome Clark,

“With the ambience of a coffeehouse performance, Try Me One More Time is rich in Bromberg’s unique interpretations of some of his favorite songs, many of which he learned from records over 40 years ago (which he hasn’t heard since) or his many collaborations with legendary folk musicians from his days as a sideman for Jerry Jeff Walker and Bob Dylan and his years of playing bluegrass festivals as a headliner. The accompanying liner notes are ripe with stories about the originators of the songs like Reverend Gary Davis, Blind Willie McTell, Pete Seeger and Jelly Roll Morton. There are acoustic instrumentals, a capella performances, lyrical re-writes and a lot of down home style pickin’ and playin’.”

– Paul Shugrue, Port Folio Weekly, Norfolk, VA

“David Bromberg has more American roots music in his right pinky than the collective weight of several thousand critically lavished recordings since his own last album (1990) . . . Not that he’d say so himself. . . . Bromberg’s simultaneous bass and melody parts are more fluid than most of his idols’ while retaining their salt of the earth essence. Delta blues, Appalachian folk and Jelly Roll Morton jazz rise from his Martin into the air, morelike a scent than a sound. Mmmmm, it that buttermilk biscuits? Who on earth doesn’t like buttermilk biscuits?”

– Danté Dominick, Austin Music Magazine

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