Bobby Broom is a widely respected working and touring Jazz Guitar player who, at the age of 15, was asked to go out on the road with sax legend Sonny Rollins and has since played and recorded with many of the top names in Jazz including Jazz Guitar great Kenny Burrell. In this interview, Bobby shares with us his philosophy, his musical relationships, his current trio and his early years coming up. A definite must read that is as exciting as Bobby Broom's playing is. Enjoy!

JazzGuitarLife.com Interview with Bobby Broom: This email interview was conducted May 23, 2008. Check out his website at www.bobbybroom.com

JGL: Aside from your formal teaching, do you teach privately and if so, how does one go about studying with you? Is there a particular level of student you are looking for?

BB: Yes, I teach privately as my schedule permits. Students usually get in touch with me via my website. I don’t take on a lot of students and don’t usually take beginners because I just don’t have the time. In recent years I’ve taken on more high school age students who are pursuing jazz guitar toward college entry.

JGL: How do you approach improvisation? Is it based on the usual scale/chord relationships or are you coming at it using other concepts?

BB: Yes, chord to scale and arpeggio relationships are the theoretical basis of my jazz music making. These are the tools of construction that we use. However, that is a very simplistic description because, as you know, there is so much more involved in playing jazz and improvising than just hammering out scales. Every musician uses this basic system as a springboard toward their own personal method of processing to yield a greater understanding and ability to make music.

JGL: For the student of Jazz Guitar, what would you say is the most important thing to do when learning to improvise and play over changes?

BB: An aspiring jazz musician on any instrument should listen to records. The answer to how to improvise is on the recordings. After listening for a year or so, you should begin to be able to sing what these guys are playing – with the records, and eventually on your own. You should begin to be able to hear chord changes in your head and to construct your own jazz melodies. Once you can do that you know you’re on your way because the music is in your system. It’s been uploaded to your hard drive. Adding more info and being able to access the files with ease is the continuing life work of the jazz musician.

JGL: What is your practice routine like these days? Do you work on specific things or just play tunes?

BB: These days my practicing varies and isn’t routine, but right now I’m doing some chord work, always playing tunes and trying to add on to my vocabulary via the concepts and ideas that I’ve been developing over the years.

JGL: You have been both a leader and a sideman. Which do you prefer and what are the differences in roles that you bring to the table?

BB: As a leader, I set and control the programming and presentation. There are certain liberties and responsibilities that go along with this roll, but ultimately, as far as being a musician who has ideas about what I want my music and career to be, it’s the only game in town.

As far as musical experience is concerned, playing with like-minded musicians can be as joyous whether I’m a sideman or leader. When that realm is reached it doesn’t matter who the leader is really. The music is most important

Being a sideman has been particularly gratifying and edifying for me. As a jazz musician who appreciates the legacy of the art from the standpoint of a Black American, I’m thrilled to be included in that legacy because of having played with people like Stanley Turrentine, Charles Earland, Al Haig, Sonny, Miles, Kenny Garrett and people of that nature. I’ve been fortunate to come through the ranks so to speak by apprenticing in the bands of some of the elders who are and were the jazz greats.

JGL: You have been playing a weekly gig at Pete Miller's Steakhouse in Evanston, Illinois for over ten years. How does the audience react to your status as an established artist with huge credentials? Are they just there to eat or do you find that they actually dig the music and the group and come to see you specifically?

BB: Well, on one hand there’s no cover charge and so that creates a sort of casual vibe about what’s being presented. Then that’s countered by the look and feel of the venue, which is very professional. The area that we play is kind of sectioned off and there’s a stage, sound system and lighting - but ultimately we’re in a steak house. However, wherever I’m playing there’s a certain performance air that I wish to bring – whether it’s Lincoln Center or Pete Miller’s. So, I’d guess that some customers that have no idea probably think either, “this guy is good” or, “who does he think he is?”

Years ago, it was interesting to see the jazz students from the various Chicago-land college programs coming out on a regular basis. I wasn’t used to that kind of attention being paid to my guitar playing with regularity on a local level. That kind of attendance helped to establish the room as a serious venue for jazz. And it’s always a heart-warming surprise when travelers visit because they have my recordings and know I’m there.

So over the years I’ve had to reconcile the obvious contradictions inherent in having that particular job. Some times are better than others of course. Not everyone will always familiar or care about what we’re doing, but that’s jazz in America. I try not to take it personally. I’ve been able to accomplish quite a bit as a result of having that gig.

JGL: How are you currently marketing yourself and your music? What technology are you using to get the word out about Bobby Broom?

BB: I got my first computer in 1999 right after I left Dr. John’s band. Since then, I’ve used the internet as a primary means of personal business communication and resource gathering. Fortunately, I’ve had some decent recording opportunities during this time as well, so the internet has worked in my favor as far as disseminating national publicity in reviews and things of that nature.

A couple of years ago I acquired an agent and a manager and that has taken a load off of me. Eventually, I hope I’ll return more fully to being a practicing musician rather than a managing one.

JGL: Do you find the business side of being a Jazz musician something that should be taught in music schools or should the playing be left to the player and the business side of things be left to managers and agents?

BB: There was a point in my career that I believed that I could be taught the business in school. When I returned to complete my undergrad degree in the mid-eighties I wanted to understand more about the business after having a record deal and not really knowing what was going on. I quickly realized that unless I planned to be the guy behind the desk, the music business program that I was enrolled in wasn’t for me.

Since then most of what I’ve learned comes from common sense, experience, understanding common business practice and how you and your situation fit’s into the equation in terms of self-worth. Business is not something that musicians usually want to do, but often we must do it in order to maintain and develop our careers.

JGL: In your Bio, you are referred to as being quite "self-critical". Has that always been the case and do you find it to be a blessing or a curse?

BB: I think the self-critical mode has always been the case with me to some extent. When I was younger it was the inner voice that was a guide in my practicing and that propelled me toward something beyond mediocrity. I think it’s still basically the same thing – a desire toward something more.

It is both a blessing and a curse I think. A curse because it’s not an easy thing to have to deal with; and a blessing based on the response and feedback from people about my music and my playing.

JGL: Could you talk a bit about your current Trio as well as your Deep Blue Organ Trio? What's the "secret" to working a successful Trio and how do you approach that particular format?

BB: The Bobby Broom Trio was first formed in 1991 or so. I decided that I needed a regular band so that I could define myself and musically via the development of a group sound and by composing for that group. We began modestly by playing regularly on Sunday nights for the door at a small club in Chicago. Our music and reputation began to develop from there.The group really has helped me in all of the ways that I thought it would and it satisfies the drive that I have that is purely about musical expression through the jazz guitar medium.

The Deep Blue Organ Trio began playing together in various configurations (with and without saxophone and/or percussion) in the early 1990s as well. From 1993 and ‘94 we held a regular Thursday night at Chicago’s Cotton club. Then in 1999, after a lot of gigs and musical maturation, we realized that we had something special to offer because of the unique relationship that we had cultivated over the years.

Both these groups are formats where I can express in different ways and in doing so, meet my own personal creative needs.

JGL: Your current book of tunes range from Standards to Be-Bop to re-workings of Pop tunes like the Beatles, "Can't Buy Me Love". How do you go about picking tunes and what, if any, are the harmonic limitations of playing these tunes in a Trio format?

BB: I basically choose tunes to play that allow me to express myself fully and honestly and those that relate to the groups’ sound and feeling. There are no more harmonic limitations to the “pop” tunes I play than there are to many other tunes in the jazz repertoire. That erroneous thinking comes from an assumption that there’s something simple and deficient about pop music. Actually, from the 1930s through the mid ‘70s pop music was memorable or catchy. As far as I can tell, the harmonic complexity of popular songs from the ‘30s and the ‘70s (up until vamp music with its repetitive harmonies came to the fore) are not that different

JGL: Has your impressions and experiences of being a Jazz Guitar player been what you had expected when you first decided to become a musician?

BB: I didn’t have any real expectations about what I’d experience in my career when I decided I wanted to be a musician. I was purely interested in things having to do with music and reaching a point of satisfaction about my playing.

I remember as a teen, after I’d become obsessed with jazz, feeling like I must’ve been born at the wrong time because I felt so strongly about wanting to be a part of what I heard and on the same level. I figured that there was no way that this was possible for someone my age. I guess that feeling was minimal compared to the desire I had and the thought and effort that I put toward reaching my goals or dreams.

JGL: If you could do one thing over again, what would that one thing be and why?

BB: I don’t think in these terms. For me it’s not real nor healthy. I feel that things are as they should be and everything has happened and will happen according to plan. I think my job is to make sure that I’m available and be ready to carry out my part. All things considered, things are working out well for me.

JGL: What does the future hold for Bobby Broom?

BB: Who knows? Let’s just hope that it continues to evolve and grow.

JGL: Any advice for the younger guy or gal who is thinking about playing jazz guitar?

BB: You mean like: don’t do it? Really, playing music is something that a person is compelled to do beyond all reason. Music compels the musician and even then, there are no guarantees for success. This sounds grim, I know.

As a youngster my goal was to become a respected guitarist in my field. I said I didn’t want to be famous. Perhaps that was a disclaimer or what I thought was a noble attitude. Well, about ten years ago I had to revamp that visualization because a certain amount of fame is necessary to reach a level of success. And I’m not talking about having fancy cars, but just playing respectable venues and maintaining a career.

JGL: Have you ever had second thoughts about your choice to have music as a career and if so, what other career path do you think you would have followed had you not been a guitar player.

BB: No, I’ve never had a second thought about being a musician.

JGL: Apart from music, what else do you like to do for fun?

BB: When I’m not playing music I love hanging out with my wife, my daughter and my dogs. I’m a computer junkie and wannabe geek, so I spend a lot of time with that. I really like to travel, so my job is perfect – especially when my wife gets to go.

JGL: I've kept this question for last since every other question after it paled in comparision. In your Bio you state that Jazz is "...an American story, and a story of Black people in America. It's a cultural thing for me and I don't want to see that part of it overlooked." With the rise of urban music such as the commercially ubiquitous music of Rap/Hip-Hop and Adult Contemporary middle of the road R&B, do you find that the cultural aspect of Jazz is waning amongst the black youth of America? And if so, how can one instill the importance of Jazz as a cultural institution not only amongst the African-American community but America at large?

BB: It is a sad phenomenon that the art of jazz is not more recognized as the cultural gift of the African-American to the world, because that’s what it is. Jazz should be celebrated as the national music of our country, but it will not be until some details about its place in our culture have been altered or removed. In the meantime, our society isn’t taught to be familiar with its greatest cultural accomplishment and the history that comprises its amazing story.

There’s a passage in Sidney Bechet’s autobiography, “Treat it Gentle”, where he talks about the change in black-music during the time period around emancipation. He explains how there was a certain feeling of uplift in this music that “wasn’t [exclusively] spirituals, the blues, or ragtime, etc., but all of these things together – each one trying to put one over on the other…” It is really powerful for me that out of such grave conditions something so glorious could be created and could evolve so brilliantly. Jazz thrived through the early 1900s and into the ‘20s, even as it was being ridiculed and vilified for it’s deep and unabashed feeling and decidedly African rhythms. And then after its first bout with capitalism in the 1930s, it arose again in the ‘40s and sailed high on its varied muses into the mid seventies.

Right now, the way that I champion the cultural legacy of jazz music is by playing it and talking as truthfully as reasonably possible about it. It’s hard to institutionalize art without shrouding it in dogma, but maybe it’s necessary and comes with the territory. Maybe that’s what it takes to preserve it.

JGL: Thank you Bobby for participating in jazzguitarlife.com. It is most appreciated and I wish you great success in your career and life.

BB: The best to you as well and thank you for recognizing me and having me appear here.