Bassist Bart G. Broadnax was born in Portsmouth, Virginia on April 18, 1955, to Walter G. and Lois Broadnax, the second of three boys. As is the case with most professional musicians, Bart became heavily involved with music at a very young age. "I liked to sing along with the radio, TV, or any music source, and when I started piano lessons (at around five or six), I realized I could pick out notes and keys of songs I heard without having a reference note. It wasn't until later that I learned that it was called having perfect pitch. I just knew that I loved to do it, and I practiced doing it all the time."

Bart received his first guitar at age 7, a typical department-store quality acoustic. "Before I even knew about standard guitar tuning, I would listen to a song on the radio and try to tune the guitar to the key of the song before it ended (I later found out that this is called open tuning). The easiest keys were G, E and A; usually I could get it in tune by the middle of the second verse, and then I'd play along as best I could. I did that for a while, until the day I ticked off my older brother and he broke the guitar across my backside. When I got my next guitar (an electric) for my 11th birthday, a friend lent me an instruction book. I finally got to play with songs on the radio from the beginning."

Bart's first organized experience came in his local Catholic church, playing for the newly organized folk/rock Masses of the late '60's. Later, while attending Virginia Tech, his love for music grew as he both studied music theory in elective classes and jammed informally with dormmates. Bart reacquainted himself with organized music when he joined the campus Catholic folk music ministry, consisting of only acoustic guitars. While he was a member, the ministry decided to add bass, piano and drums, and Bart was assigned the duty of teaching the new bassist the repertoire. "The bassist we added was really another guitarist, and after several unsuccessful sessions, he finally shoved the bass into my hands and exclaimed, 'You know these parts better than I do! You play bass, and I'll stay on as a guitarist.' And that's how I was introduced to the bass." Soon after, he became the only civilian student to be invited to play with the Virginia Tech ROTC show band. Bart's early influences were Jaco Pastorius, Stanley Clarke, Alphonso Johnson, and Ralphe Armstrong.

Later, Bart and a couple of ministry associates decided to form a modern jazz group, which evolved into the first "professional" (paid gigs) group of his career. Bart stayed with that group, Jasmine, for two years. Afterwards, his musical journey took him to Cincinnati for a short stint before returning to Virginia to attend Norfolk State University, this time majoring in Music/Media, emphasis on Electric Bass Performance. The music curriculum Bart chose required him to also study acoustic bass, even though he would not receive a degree for that study. Ironically, Bart would begin the second phase of his career on acoustic bass, as he was invited to participate in an internship program which took him to Las Vegas to play for the Kirk Stuart Trio, a traditional jazz ensemble. Because of the professional contacts soon made, Bart decided to stay in Las Vegas past his internship period. During his stay, the trio performed with such notables as Joe Williams, Barbara McNair, Eddie "Lockjaw" Davis, Marlena Shaw, and Alvin Batiste. Some of Bart's influences during this time were Ray Brown, Ron Carter, Paul Chambers, Eddie Gomez, Al McKibbon, Oscar Pettiford, and Larry Ridley.

Bart stayed with the trio for almost three years, at which time the untimely death of Stuart brought about its demise. He remained in Las Vegas for the better part of ten years, during which time he played for Lee Greenwood, Doris Troy ("Just One Look"), Sister Sledge, and Sonny Turner (formerly of the Platters).

In 1990 Bart moved to Southern California, where he presently resides. Since that move, he has musically supported such acts as The Coasters, The Cadillacs, Jon "Bowser" Bauman (Sha-Na-Na), The Drifters, Lesley Gore, Rob Mullins, Freda Payne, The Platters, and The Shirelles. Groups with which Bart has appeared have opened for B. B. King, Junior Wells, Rick Springfield, the Pointer Sisters, and George Benson. Recently, Bart was the bassist for the supporting trio on the pilot for Orley After Dark, an hour-long television talk show scheduled for production in the fall of 2002 in Los Angeles. He also appeared as a guest expert for the Yamaha Music Corporation, demonstrating the "Silent Bass" on the TechTV show Audiophile. Other television dates include appearances with the Bill Grisolia Band on Heart To Heart and Talk of the Town, two talk/variety shows based in Long Beach, CA. Bart has also done numerous music clinics for Yamaha, playing bass and assisting in the demonstration of the AW4416 Portable Recording Studio.

When asked how he views live performance, he stated that his experiences have brought him to approach performance from a very heartfelt level. "To me, instruments are loves. When I play any instrument, especially bass, it's like making love to her. There's a time to be tender and caressing, and there's a time to get downright NAUGHTY. With the right touches and the right moves, timed perfectly with the performances of all the other members for the greatest group performance possible, Man! And the audience feels it right along with us."

A veteran of 20+ years, Bart brings experience, knowledge, and intensity to the stage. He has appeared with such notables as Bruce Hornsby, Mel Tillis, Ray Sawyer (Dr. Hook), and George Shearing. He has also performed on recording dates for Motown and Island Records artists, and various independent labels. His current CD project (which has the working title, The Very First 1) employs several notable musicians and technicians from the Southern California music arena.