Bob Brozman - Lumiere
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CD Details
Artist: Bob BrozmanEdition: Music CD
Audio: English (Unknown); English (Original Language)
CD Release Date: 2007-07-17
Music Label: World Music Network
Soundtracks:
- Tango Medzinarodny (International Tango)
- Lumiere De La Mer
- Mars Over Sorrento
- N'Oubliez Pas La Reunion
- Calypso Calaloo
- Chaturangui Gazal
- Mazurka Maracaibo
- Aloha Laie
- Bamako Blues
- Ska Waltz Train
- Afro Mada
- Yaeyama Okinawa
Music reviews of Lumiere
Music Review: In Bob We Trust
Rating: 4 Stars
All Bob all the time. That's Lumiere but it's not just Blues Reflex (a great album) on steroids.
An album made up largely of guitars and all sizes of other plucked instruments (along with some bass played by a friend, and percussion mainly by Bob but some by longtime friend/producer, Daniel Thomas) and overdubs could have been a disaster in the hands of most guitarists but this comes together beautifully and naturally. This isn't a bunch of dueling guitar solos coming out of every speaker in the room. There is some masterful arranging here, where leads and textures work for the good of the whole.
Playing with Rene Lacaille, Debashish Bhattacharya, Djeli Moussa Diawara, etc... and first and foremost wanting to serve the music has caused Bob to find meaningful expression where lesser musicians would just chunka-chunka strum until it's their turn to be in the spotlight.
This isn't thin, linear music. It's open and spacious, with feelings of movement working both side to side and top to bottom. The "band" is called an "orchestra" but he isn't playing all the cover-photo instruments all the time, or on every track (and no sax at all). Lumiere has the feeling of a really happening small group that may be from some sort of tropical, hot-swinging little Italian villa in northern India where the locals fancy Iranians playing Greek ukeleles. Or something like that. It all flows together beautifully. Each tune has its own distinct personality, like sonic photographs from 1 issue of National Geographic. For me, it really peaks from tracks 4 - 9.
Bob doesn't play a National the way he plays a Weissenborn or a uke the way he plays a charango. You'll hear him explore things in ways you've not heard him play before, as well as hear him enter into familiar strains from previous albums but presented here in new ways. I'm particularly a fan of the little instruments here. This is his best album so far for presenting his artistry on the little guys!
We get something special when all these instruments come together in his hands within this context. I don't think he could have made this album with other people. It's also totally unlike a true solo Brozman performance such as Live in Germany.
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Description of Lumiere
Lumiere is the culmination of guitar virtuoso Bob Brozman's musical memories formed over a lifetime of travelling and playing music with others. His years of absorbing influences from cultures worldwide is expressed through the establishment of the Bob Brozman Orchestra - a unique concept where Bob intricately plays each instrumental part, building layer upon layer to formulate the tremendous sound of an extensive orchestra. He revisits the influences drawn from previous collaborations with artists such as Debashish Bhattacharya, Rene Lacaille, Djeli Moussa Diawara and Takashi Hirayasu to reflect on the profound imprint travel has had on his life.A single player overdubbing himself on several instruments can be a dangerous proposition. But nobody is better prepared for this sort of adventure than American-born guitar virtuoso Bob Brozman. While an ardent and respectful student of various world music traditions, many of which were previously explored during his many international duet recordings, he nonetheless wields an indomitable voice of his own. It is this quality that renders so many of his recordings unclassifiable, as if music of such consistent interest actually required pigeonholing. For this outing, as the hilariously apt cover shot indicates, Brozman, along with a couple of longtime collaborators, has become a multitude. But the result is unexpectedly spacious and relaxed; the various instruments interact but never crowd or overwhelm one another. The 12 tracks are informed by a contagious sense of wonder and deep enjoyment, plus broad swaths of humor both silly and sly. The tunes travel between ports of call like Reunion, Trinidad, Okinawa, Mali, and Hawaii without any jarring transitions. Despite the decidedly modern, shrinking globe frame-of-reference -- only Brozman would employ a Finnish kantele harp during a tango -- many of the tunes have a retro feel. At times, it's like wandering into an antique store and suddenly finding oneself transfixed by a 78-RPM recording of unknown provenance. --Christina Roden
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