Preston Frazier: Welcome back to the Slang of Ages.com. We have a very special guest here: Bobby Broom, to discuss his trio’s new album, Notes of Thanks. The album is already out. You can find it on Bandcamp or through Bobby’s website at Bobby Broom Official Website. 

I think the last time we had you on was when we talked about Jamalot Live!, your live album with your trio. But you’ve had an amazing career, and it’s always good to talk to you again and remind myself how extensive that career really is. You’ve released around 15 albums under your own name, plus many more with your organ trio and as a sideman.

Let me start by asking: why now for this project, which really serves as a tribute to Sonny Rollins?

Bobby Broom: Several things. First, I wanted to put this out into the world while Sonny is still among us and still here in this realm, rather than waiting for the obvious or inevitable moment. There’s no order to these things.

The idea for the recording had been brewing for some time. I knew I wanted to do it, but I didn’t have a fixed timeline or concept for when or how.

And you mentioned the trio — I have two trios: the organ trio and the guitar trio with bass and drums. Between those groups, there are about 15 records, not counting the Deep Blue Organ Trio projects and other collaborations.

For this trio specifically — with Dennis Carroll on bass and Kobie Watkins on drums — we hadn’t recorded a trio album in over ten years. We had done other recordings in different contexts, like the quartet album Keyed Up with Justin Dillard, and more recently, the recording with the Chicago Jazz Orchestra, More Amor: A Tribute to Wes Montgomery. But those weren’t pure trio records.

Another important factor was Kobie Watkins. Kobie was Sonny Rollins’ final drummer and worked with Sonny during the last six years of his performing career.

Preston Frazier: Brilliant album, by the way, More Amor. And Keyed Up was another stellar release.

But let me go back a bit. You worked with Sonny Rollins on several projects and live recordings, including No Problem, Sunny Days, Starry Nights, and Sonny, Please, plus the Road Show live recordings. How did you first connect with Sonny Rollins?

Bobby Broom: That story was a mystery to me for years, until recently, when I read Sonny’s biography.

I partly got my start playing with Al Haig, the pianist from those classic Charlie Parker records in the 1940s. Al liked my playing and had me come sit in regularly at a club called Gregory’s on the Upper East Side in New York.

At the same time, I was doing an off-off-Broadway play. One night after the performance, a man approached me and said someone wanted to talk to me. It turned out to be Sonny Rollins’ guitarist at the time, Aurell Ray.

I was 16 years old. He reached into his pocket and handed me a note with all the information for a rehearsal or audition Sonny was holding. I remember thinking, “Wait , you play guitar with Sonny Rollins. Why are you giving me this?”

So I went. Sonny was there with Bob Cranshaw and drummer Eddie Moore. We played for about an hour, and then Sonny asked me to join the band and go on the road. I couldn’t do it because I was still trying to finish high school.

He said, “Right, right — I forgot. I’ll call you when I get back to New York.”

Six months later, he called me to play a concert at Carnegie Hall.

For years, I wondered how any of that happened. Then, while reading Sonny’s biography, I found out that during a reclusive period in his life, one of the few people who knew how to reach him was Al Haig. I literally threw the book in the air when I read that because suddenly it all made sense.

Preston Frazier: That’s an incredible story, especially at such a young age. Have you ever considered writing an autobiography?

Bobby Broom: I have thought about it many times. Every other thing coming out of my mouth these days is a story. I used to hear older musicians do that and think, “Man, all they do is tell stories.” Now I understand it.

And I’ve had some incredible experiences — not just because they happened to me, but because they’re genuinely unbelievable stories. The way I met Kenny Burrell, for example, was something you couldn’t script any better.

There are also other aspects to my life beyond music that shaped me and affected how I process everything. So if I ever do write a book, it wouldn’t just be about jazz.

Preston Frazier: Let’s get back to the album. There are ten songs here, including one original composition by bassist Dennis Carroll called “Me Time.” How did you choose the material and arrange it?

Bobby Broom: Honestly, it was mostly personal preference. The songs came to mind pretty naturally. I know Sonny’s music deeply enough that I didn’t need to revisit much of it.

The only tune I really referenced closely was “Doxy,” because I wanted to check tempo and certain musical details. Another was “Kim,” which many people probably know from a performance Sonny did on Night Music with Leonard Cohen. That performance absolutely blew the roof off the place.

I later found out Sonny had actually recorded “Kim,” but my introduction to it came through that television broadcast.

We also included “Airegin,” “Paul’s Pal,” and “Alyson,” which I’d been playing with the trio since the early 2000s.

Preston Frazier: I’m definitely going to track down that Night Music clip.

Bobby Broom: Do yourself a favor and watch it.

Preston Frazier: Let’s talk about “Me Time.” Why include a non-Rollins composition on the album?

Bobby Broom: I often include an outlier on tribute records. Dennis played “Me Time” for me while we were discussing the project, and immediately I thought, “Man, we have to record that.”

There was something about the tune — something hard to put into words — that captured the spirit of Sonny’s personality and energy. It just fit the picture.

Preston Frazier: It’s a beautiful song. I’m glad you included it.

Kobie Watkins had already performed some of this material with Sonny. Did you ask him to approach it differently?

Bobby Broom: No. Kobie is such an integral part of this trio that I never really worry about what he’s going to bring. I know it’s going to elevate the music.

Sometimes, as musicians, we imagine what something could sound like, but we have to remain open to what it actually becomes when everyone contributes.

There’s a tune on the album, “Paul’s Pal,” where Kobie came into the session and played a calypso rhythm we hadn’t rehearsed. Suddenly, the tune sounded like it had always been written that way.

That’s the power of jazz.

Preston Frazier: Absolutely. That’s also the power of great musicians working together.

How long did the recording process take?

Bobby Broom: Two days.

Preston Frazier: And I know I ask you this every time, but what guitar were you using?

Bobby Broom: A Koentop hollow-body guitar built by Danny Koentop, a Chicago-born luthier now living on the West Coast. He’s an extraordinary craftsman.

Every time I play that instrument, I marvel at the sound. I’d waited a long time to own a guitar of that caliber.

Preston Frazier: It’s a beautiful instrument.

Did you consciously change your style at all for this album compared to Keyed Up or More Amor?

Bobby Broom: Nothing conscious, really. Maybe deciding whether to support a melody with chords or leave it more open. Those are in-the-moment musical decisions.

At this point, stylistically, I am who I am. It took a long time to become comfortable with that and accept that this is what I have to offer.

Preston Frazier: Well, what you do clearly resonates with people. I’ve seen you live several times — with Steely Dan and with both trios — and every album still feels like a progression, which is hard to do over such a long career.

Are you planning to continue touring through 2026?

Bobby Broom: I certainly hope so. Music — and really life — is about opportunity. I watch basketball, and you see players sitting on the bench who are incredibly talented, just waiting for the opportunity to show it.

That’s how I feel sometimes. Wherever I’m given the chance to play, audiences respond. The rooms are full, the music connects. So my attitude is basically: just let me loose.

Preston Frazier: I remember seeing the organ trio open for Steely Dan, and the audience was captivated.

Bobby Broom: That’s why we recorded those performances, some of which are on ‘Jamalot’. The monitor engineer gave me recordings of the shows, and when I listened back, I realized how strong the response really was.

At the time, you’re just moving city to city, doing the work. Later, you realize thousands of people were screaming for your set.

Preston Frazier: Are you doing more Midwest dates?

Bobby Broom: We’re working on dates now. We’ve got a week coming up at the Jazz Showcase, which should be great.

And we’ll see whether LPs sell better than CDs. I didn’t even make CDs for this one.

Preston Frazier: I love jazz LPs. They remind me of being a kid.

Bobby Broom: I bought a turntable again a few years ago. There’s nothing like it.

Preston Frazier: The album is Notes of Thanks, featuring Bobby Broom with Dennis Carroll and Kobie Watkins. It’s a wonderful record.

Check out Bobby Broom Official Website and his Bandcamp page. Bobby, I appreciate your time.

Bobby Broom: Thanks, Preston. I appreciate you too.