monday, april 7, 1980
' daily nebraskan
page 9
Bromberg worth money at show
internships in London
SUMMOI I IAU UMtSTU 10 JUG UHUTtB IW1
By Michael Zangari
If there were any justice ki the world, most of the
chart-busters now touring would be hosing off the side
walks in front of David Bromberg concerts.
There is always an element of surprise in a review when
the reviewer exclaims, after much gasping and clawing for
words, that the band was actually having fun during the
show. Let's face it, any more competence is an expected
component in inflated ticket prices, but pinache or the
feeling that the band really worked to all its extremes is
as rare as Republican supporters of John Anderson.
rcuc
Sitting in a time warp after the first set, alt this was
running through my head. Bromberg's opening band, the
Fourth Wall of Sound, had just left the stage to generous
applause and the house lights were brought quickly up.
I was sipping a $150 beer (this being an over-nineteen
concert) and, trying to recover from the set. They were a
vintage 1964 hoot band with varying shades of Dan Hicks
and his Hot licks, complete with acoustic base and
woman fiddle player. Bromberg must have picked them
up out of a San Francisco bar on his way to his bus.
After last year's mythical concert, expectations were
high. The Music Hall was less than sold out, but the fans
that were there proved to be more than a match for
Bromberg. They broke into random standing ovations
after most songs, and Bromberg's comment that is was a
"nice little room' seemed to carry throughout his set.
He opened with an Irish fiddle tune, trading blinding
guitar licks with equally fine fiddle runs. Bromberg fronts
a large band (trombone, sax, bass, drums-all multi
instrumentalists) and the immediate impression is that
Bromberg can't make much more money than his band.
The line-up has ah incredible amount of energy that
Poetry publisher . . .
is capable of doing Dixieland as well as the sweetest of
rhythm and blues.
Leaning heavily on his Midnight on the Water LP,
Bromberg made occasional forays into his other work,
"Suffer to Sing the Blues' from his first album and
"Sharon" from Demon in Disguise stand out.
"Sharon," a song about a striptease Lorelei had its
moments. Bromberg employs an old blues trick on guitar
where he lets the guitar finish a phrase which he he has
begun singing. In "Sharon," he told the audience that
he could hear Sharon calling to him, then proccded to
make the guitar not only call his name, but make obscene
suggestions.
The versatility of the band let Bromberg have three
fiddles and three mandolins on stage at a time, creating in
credible depths.
Bromberg is a sublime instrumentalist, and what makes
him stand head, hands and feet above any other instru
mentalist I can think of is his impeccable taste and feeling.
Bromberg plays the best guitar I've ever heard. What he
lacks in vocal quality he makes up in feeling and spontan
eity. His reading of the classic ballad, "Mr. Blue" would
have been exceptionally hard for just about anyone else
to bring off. Bromberg made it both sensitive and satisfy
ing.
Bromberg has got to love his music. He has a broad
blues background, ("Stack-a-Lce" being the most obvious
standout). At one point he laughingly fined one of his
band members for not following his spontaneous guitar
line. He copped it from James Brown (he freely admitted)
and said that for a James Brown fanatic (like his horn
player), it was unforgivable not to follow.
If there was any doubt about Bromberg giving all, it
was quickly put away after the show when Bromberg
showed up at the Howard Street Tavern and jammed with
the Sandy Creek Pickers.
Simply, Bromberg put on the very best show I have
ever seen. Why anyone with that sort of live show remains
a cult artist is beyond me. David Bromberg's appearances
are everything rock concerts should be, and are not.
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Continued from Page 8
John Campbell, World of Poetry director, said that
poetry is its only interest and it helps educate poets.
Campbell said it also serves as a clearing house for
poetry,
Recently Campbell said that the World of Poetry is
talking to ABC about a possible national television pro
gram dealing with poetry . However, when contacted, ABC
said they had never heard of John Campbell or the World
of Poetry.
The Better Business Bureau of Sacramento, Calif., said
it had received numerous complaints from people since
the World of Ppetry moved from San Francisco to Sacra
mento in 1977. The major complaint was about merchan
dise received from the company.
The National Poetry Press is in Agoura, Calif. The
Better Business Bureau in Los Angeles said it also had
received numerous complaints about the company. The
National Poetry Press could not be reached for comment
because its telephone number is unlisted. Hie Chamber of
Commerce in Agoura has never heard of the company.
The World of Poetry sends out quarterly newsletters
giving information On poetry and upcoming contests.
There are four annual poetry contests, Campbell said.
Three contests have first, second and third place prizes of
$100, $50 and $2$.
The current contest has a first place prize, of $1,000,
while second and third places receive $500 and $250 res
pectively.
The poems are judged by Eddie Lou Cole, who has
won 135 poetry and litjerary awards and contests, Camp
bell said. Cole and other judges narrow the field down to
a few and Cole picks the top three for the cash prizes,
Campbell said. - - -
The first $1 ,000 winner was a medical technologist and
housewife from Pancho-Cprdova, Calif. Although Helen
Glass said she knew Cole, the judge, she said this had
nothing to do with her winning the contest.
4,If you knew Eddie, you'd know she is a very fair and
picky person. If it (the poem) wasn't good, she wouldn't
have picked it," Glass said.
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