RIP Bob Brozman

Started by Duque, April 25, 2013, 05:20:07 PM

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Sad news really, first Richie Havens, now Bob Brozman, sad week for acoustic music lovers,

RIP Bob Brozman..

Sad news indeed...  we got to see Bob Brozman at Canmore folk festival years ago. He was an amazing man .... what a talent and real nice guy.  RIP Bob

Yep, way too young.

But thanks so much for what you gave to us, Bob!      :thumb   

I missed a good one. RIP Bob.
Larrivee L-03 w/Gotoh 381 tuners (African Mahogany/Sitka)
Collings OM2Hc (EIR/Sitka)
Schenk Ophirio (Sapele/Cedar)
Bourgeois 00 Custom (Mahogany/It. Spruce)

I learned how to make the dobro not sound like cats on a chalk board by watching Brozman.  He was talented and I'm sure will be missed by many.

Brozman Story Link
bluesman67
HOGTOP CHARLOTTE

www.reverbnation.com/hogtopcharlotte

Rest In Peace Bob, you did a lot for music as a whole, and for Reso-phonic instruments.
I had just been looking into getting another Nation guitar and had watched many videos of his lately.
RIP George Jones also, its been one of those weeks
Larrivee OO-03MT
National Delphi
Ashbury AT-24 Tenor

Dang, That's a shock. What happened? I've spoken with him several times (he sells stuff on the side) including just a few months ago during holiday. Thin, relatively young, very energetic. Dang
10-1614 more than a number, it's body and soul.

Copied this text from a tribute to Bob Brozman that I thought was worth sharing:


"We often hear about music being a universal language, it's a great notion. But Bob Brozman, who also had a passionate interest in science, is the only person who ever gave me a good explanation as to why music is a universal language. As he said the first time I spoke with him in 1998:

"We human beings are nothing more than a calcium bucket filled with salt water. The neuro-biology of playing a musical instrument is completely scientific, but it's also an absolute miracle, that you're taking basically a calcium bucket filled with salt-water that's run by a weak electrical signal, and you're using it to move your flesh around in order to manipulate an instrument which disturbs air molecules between you and the listener, and then the listener's ears picks up those disturbed air molecules which generates a weak electrical signal to their calcium bucket full of salt water, and they feel a feeling. That's miraculous, and that's where I live," he said.

So if you ever want to know why the music on this program makes you feel good – even if you don't understand the rhythm or the words – remember that great explanation."

Yea I saw that. Another good one that I saw in past, it might be on his page under the lessons part, was this. You know he traveled all over world. He was talking about rhythms around the world and said something like. Actually let me see if I can just find it. Hold on.................
OK found it. Pretty neat theory and makes me think he was a little out there like any genious should be. May very well be true though. The theory certainly jives with the reality as far as matching cultures to rhythm. Theres more on this and other stuff on his page under "tips for guitarist"

CULTURAL CONTEXT OF DOWNBEAT AND BACKBEAT

I've observed a fundamental difference between colonizing and colonized cultures in the way the downbeat/backbeat relationship is perceived, and in the priority given to the backbeat in this relationship. Put simply, marching (colonizing) cultures see the downbeat as something to follow, and the "marched-upon" (colonized) cultures see the downbeat as something to react to, using the backbeat. This is not at all a racial issue of black and white, as Japan and its colony Okinawa also bear out this theory. It is simply that the function of the downbeat in marching and organizing troops is critical. In "backbeat" cultures, dancing is usually far more important than marching, and most observers will find that dancing to the backbeat is far more sensual than marching along to the downbeat.
    The European concept of rhythm is normally conceived as being in one meter (a set number of beats per measure) at a time: 2, or 3, or 4, etc. African-based music normally has as the fundamental meter: both 2 and 3 at the same time. This opens the door to syncopation, polyrhythms and musical creativity, which occurs on a more primal level in the brain than harmony. It is acknowledged that Europeans developed harmony further than any other culture; but rhythmically their culture is among the planet's most primitive. Rhythmically speaking, European-based music is like working on a computer with one window open, whereas in African based music there are always two windows open, and you are working in both of them at once ... continuously. The "work" is really simple multiplication and division, all based on 2 and 3. The layers of rhythmic complexity can get dizzying in African-based music, and these ever-changing layers stimulate the mind and body, inspiring the tradition of dance that often accompanies African music.
10-1614 more than a number, it's body and soul.

Apparently, he took his own life....??? so sad...

That has been reported. He was getting in so much pain from old car accident it was getting harder and harder to play.

http://www.guardian.co.uk/music/2013/apr/28/bob-brozman

In 1980 Brozman was involved in a serious car crash and, according to Thomas, "suffered severe pain in his spine and his extremities ever since". A year and a half ago, Brozman told him he was unable to play Hawaiian guitar. "He said 'My hand won't do it' ... and he was the greatest Hawaiian player since Tau Moe." While recording his last album, Fire in the Mind, "there were times when he just had to stop, and it was incredibly painful for him". According to Thomas, Brozman "took his own life. He said he was dissolving before his own eyes, and he was devastated by the loss. He struggled to imagine his life without an instrument in his hands."

Brozman is survived by Haley and by a daughter, Zoe, from a previous marriage.



• Bob Brozman, musician and ethnomusicologist, born 8 March 1954; died 23 April 2013
10-1614 more than a number, it's body and soul.

Wow, really sad news, I can't imagine the pain and sadness he must have been living to do something like that,

I totally love his work with David Grisman on Tone Poems 3, beautiful recording...

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