- Feeling Confined? Dr. Campbell to the Rescue with Some Blues…
- RELAXATION AND RESONANCE PART I Pre-Feeling and Post Feeling
- Ballade I & Domingo Pagliuca Remembers Dr. Campbell
- Celebration of the Music of Charles Campbell, kicks off with “March I”, from 30 Contemporary Etudes!
- ReschedUled!!! Rumor Has It…It’s All About the U! dUo brUbeck returns to the UM Frost Jazz Hour TBA
- First Half of Duo Brubeck Tribute Nears Completion in South Florida????
- Studio 18 & DUO BRUBECK TUESDAY SEPTEMBER 10th
- Septura: Seven Breaths to Heaven, with “FIVE!”tm
- Astri Karoline Ellann Blends-in with “Seven Positions”tm
- Coffee with Duo Bruo? Effervescent DUO BRUBECK LIVE! 11:00 AM, Thursday, 8-1-2019 WDNA 88.9 FM
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David Brubeck Bass Trombone Soloist
This six-page article is the first of a three part series on “Relaxation and Resonance”, which also includes “Trombone Slide Motion, An Alternate Position” RELAXATION AND RESONANCE PART I http://www.davidbrubeck.com/2013/03/trombone-slide-motion-an-alternate-position-reprint-from-the-journal-of-the-international-trombone-association/ and “A Sumo and a Loaf of Bread? Brass Articulation”-RELAXATION AND RESONANCE part III http://www.davidbrubeck.com/2013/03/brass-articulation-a-sumo-with-a-loaf-of-bread/
from Domingo Pagliuca of the Boston Brass
“Dr. Campbell was an amazing musician and a great teacher. “Doc”, as we used to call him in lessons, always wanted the best for each and every one of his students. I feel so fortunate to have had the opportunity to know him and to study with him during my years at UM.
“Doc” was always pushing me as much as much as he could to be as musical as possible, as he did for all his students, and to become a better musician AND artist!
Thinking back, I was also fortunate enough to perform some of his works, including these etudes, and one of his trombone quartets.
I feel honored and privileged to have worked with Dr. Campbell throughout my college education while a student at the university of Miami.
I will always remember Dr. Campbell as one of the great teachers I had.”
c. 2020 David William Brubeck All Rights Reserved
Celebration of the Music of Charles Campbell, kicks off with “March I”, from 30 Contemporary Etudes!
We are pleased to present the first of “Thirty Contemporary Etudes” for trombone composed by Charles J. Campbell. As part of his on going legacy of excellent service to the trombone community, david brubeck.com graciously acknowledges his widow, Mrs. Eileen Campbell, and her support of our efforts. Enjoy….
c. 2020 David William Brubeck All Rights Reserved
Image courtesy of Mrs. Eileen Campbell
Rumor has it the guitar is almost complete, a stunning skyscraper. Could it be a monument to Miami’s Own Duo Brubeck? We’ll keep our eyes out for the construction of a bass trombone, and let you know! (Any bass trombone the size of a mailbox post or larger counts!) Find out more at the FREE Duo Brubeck concert Tuesday Night, September 10th at Studio 18 in Pembroke Pines, Florida. Refreshments to be served…Grooves on hand….Lindsey Blair plugged in… and bass trombone mailbox post donations may even be accepted.
SYUDIO 18, 1101 Poinciana Drive, Pembroke Pines, FL 33025
See You There!!!!
c. 2019 David William Brubeck All Rights Reserved.
Join Duo Brubeck for an art exhibit of the AURAL kind! Be on hand for an artistic exploration of grooves with your favorite curators, Lindsey Blair & David Brubeck. From Bossa Novas to Swing, Funk to Fusion, Mambos to Waltzes, dive into the rhythms of Duo Brubeck in this interactive presentation which features the stunning duo in live performance within the beautiful visual arts studio that is STUDIO 18!
Be on hand from 7:00 pm to 8:30 pm at 1101 Poinciana Drive, Pembroke Pines, FL 33025 to dip your ears into a whole new palette of rhythms!
David Brubeck and Lindsey Blair are two of our most illustrious alumni! DUO BRUBECK is a really interesting combination of instruments that will blow your mind….it really, REALLY works!
-University of Miami Frost School of Music Jazz Hour-WDNA 88.9 FM
Consider the string quartet; four matched timbres. Perhaps, this is only achievable in brass by matching two trumpets and two trombones in a quartet-but the extra duty on the trumpet players makes this setting a formidable challenge. And what of the mighty resonance of the tuba-(not to mention that it is an adopted child of the trombone section)? But the traditional quintet has some limitations as well. Just now and again, you might have felt a bit of a gap in the timbres: perhaps from horn to trumpet or horn to trombone. Here and there a ten piece could fill out the timbre, or perhaps the rarer still, a sextet. Until now… Until SE-VEN brass? Until SEPTURA! As though divinely inspired and appointed, the NAXOS recording artists plunge ahead to weave their unique timbrel combinations in a Kaleidoscope of sonic delight. “Five!” tm, is swelled with pride to present Septura. Enjoy……..
1. Why not a Quintet? Are there advantages or disadvantages to going another route?
[MK]: The main driving force behind the septet configuration was the sound concept. The brass section of the orchestra (which is what the septet is) can create such a wonderful homogenous sound, almost organ-like, and that is something that we had never experienced with the existing brass chamber formations of quintet and ten-piece. The lone horn in those formations offers the potential of a different sound (because the instrument works differently, pointing backwards with the player’s hand in the bell), but it makes true homogeneity difficult. The advantage of having seven instruments is that we have 3 trumpets and 3 trombones, so we can create that truly blended sound, with the tuba providing a rich bass. And we think that we get plenty of variety in the sound, from different combinations of those instruments, and by using a lot of mutes, so there really is no downside compared to the quintet.
2. The British Bass Sound! How would you describe it? How do you make it happen? How is it different than the Berliners or the Chicagoans? (Are there any Conns involved…)
[SC]: In Britain we are trained from a very young age to learn how to play together – in particular we place great importance on blending our sounds, so that ensembles and orchestral brass sections can almost sound like a single entity. A lot of this comes from our backgrounds in the brass band movement, but we also have a long tradition of choral singing in this country which might have an influence. Of course Berliners and Chicagoans make wonderful sounds – perhaps the use of different equipment (e.g. rotary or C trumpets) is what makes us different.
In Septura we particularly work on the link between the trumpets and trombones, trying to match our sounds as closely as possible, so the trumpets often try to sound broader in order to blend ‘downwards’, and the trombones can use a more lively articulation to match up with us.
3. A democratic rehearsal, even with just four or five players is a challenge. With Seven, you are definitely on the border. Do you find that there needs to be a first among equals to have a productive rehearsal with 7?
If so, how is the leadership approached?
[MK]: We are lucky to have on board the finest brass musicians from London, and some of the best players in the world. So there is no doubt that everyone’s opinion is valued, and it is crucial to the success of the group that everyone takes ownership of musical issues and contributes fully to forming a coherent vision for every piece of music.
However, Simon and I do all of the arrangements for the group, and that involves absolutely immersing ourselves in the particular piece that we are arranging. Inevitably we end up knowing the piece very well, and having a strong sense of how we want it to be realised by Septura. We produce extremely detailed arrangements, taking great care over tempos, articulations, and different expressions and colours. And so a great deal of what might be considered the “interpretation” is already in the parts when we get to the first rehearsals.
That doesn’t mean we’re not open to other ideas – often things are debated and we end up changing our minds in practice. Also, we’re aiming for true chamber music, so nothing is set in stone – every concert is different, and if a particular player phrases something differently one night, or uses a little more rubato another then we all embrace it.
4. How do you approach selecting the arrangements for the group?
Our primary aim is to make our arrangements sound like original works for brass – we want audiences to believe that these pieces could actually have been written for us. So when we’re searching for repertoire we have to discard anything that we can’t easily imagine as brass music – sometimes this means we have to reject pieces that we’ve become quite attached to, but it’s worth it in the end.
5. What is your favorite movie music?
[MK]: For brass players composers like Hans Zimmer are favourites – he tends to use a lot of low brass in particular. In terms of incredibly well-crafted writing for brass John Williams is totally unique. But personally the composer who always seemed to create the most beautiful brass sound was John Barry – the theme from Out of Africa is something I always enjoy playing.
In Septura we don’t play any film music, but we do play its precursors – the Sinfonia of Handel’s Rinaldo, which vividly depicts Goffredo’s army tumbling into a volcano, is the film music of it’s day; and Debussy’s programmatic Préludes conjure such strong images, such as the sunken cathedral of Ys rising up from the sea.
6. How did you conceive of the group, and how long did it take until your vision was realized?
[SC]: I had the idea to form Septura in early 2011, when I was working in Finland as a member of the Helsinki Philharmonic. Although I was enjoying orchestral playing, it started to feel like I was spending a lot of my time counting rests and watching my colleagues have all the fun! So I decided chamber music was the answer, and moved back to the UK to start the group.
I decided to develop our artistic approach through a PhD at the Royal Academy of Music, and the group launched in 2014 with its first recording and concerts. Since then we’ve undertaken performances all over the world, and recorded a further 7 CDs. Almost 9 years after the initial idea I would say the vision still isn’t 100% realised (in particular we would love to work with some of the most prominent living composers to develop original repertoire for brass septet), but we’re well on the way.
7. Which brass, and other chamber musicians, have influenced you the most and why?
[MK] We all grew up listening to the Philip Jones Brass Ensemble, and in the UK they were the group that really put brass chamber music on the map. One of the things that was really remarkable about them was that as well as playing some fantastic arrangements they commissioned a huge amount of music, some of it from really great composers like Lutoslawski. Commissioning is something that we still aim to do much more of. The influence of Philip Jones is really felt very far and wide – on our recent tour to Japan we met many people who were fans of PJBE, and hold British brass playing in high esteem as a result. So really that group has laid the foundations for everything that we do.
Outside of brass groups we are influenced by a huge range of chamber musicians. It depends what repertoire we are arranging or performing at the time, but, for example, the Gallicantus recording of Lassus’s Lagrime di San Pietro had an enormous influence on the style in which we tried to play that piece.
8. Which types of trumpets do you use for different situations? (piccolo in A or Bb, G cornet, Eb trumpet, C, etc..) How do you handle the violin parts?
[SC] Our standard trumpet line up is 2 B-flat trumpets and 1 E-flat. This allows us to achieve a good blend of sound with the trombones, but also gives us the range needed to tackle some of the trickier music we play (e.g. violin parts). Occasionally we’ll use piccolo trumpet (usually in B-flat), flugelhorn or cornet to find a different colour.
9. What is your concept of matching lines so well, whether from choir to choir or a seamless hand off of a line?
It’s very simple, we just try to listen to each other!
We often have lines that in the original piece would have been in a single instrument, and in arrangement we have to split up between two or more, and we try to make it sound like one by copying the sound and phrasing of the previous player.
It doesn’t always work out, but when it does it’s incredibly satisfying.
As with lots of brass playing, there is a huge amount of satisfaction in trying to make something quite simple sound really good.
c. 2019 David William Brubeck All Rights Reserved. www.davidbrubeck.com
Images courtesy of NAXOS
Interested in more GREAT Chamber music interviews? Try these!
Canadian Brass 2014, Windsync 2014, Boston Brass 2015, Mnozil Brass 2015, Spanish Brass 2014, Dallas Brass 2014, Seraph 2014, Atlantic Brass Quintet 2015, Mirari Brass 2015, Axiom Brass 2015, Scott Hartmann of the Empire Brass 2015, Jeffrey Curnow of the Empire Brass 2015, Ron Barron and Ken Amis of the Empire Brass, Meridian Arts Ensemble 2015, Berlin Philharmonic Woodwind Quintet 2015, American Brass Quintet 2015 Triton Brass 2016,
When the music is the most important thing, taste triumphs technique and the whole is more than its parts-you will need a virtuoso ensemble player. Someone who melds their skills, musical and non-musical, to make the whole even greater. A virtuoso ensemble player like Astrid Caroline Ellann. With a sound big enough to consume a fjord, “Seven Positions” celebrates a wonderful young bass trombonist who was refined in in the Netherlands, only to achieve great success as part of the Norwegian ensemble ten Thing! Enjoy….How do you view the bass trombone, and what drew you to it? 1. I view the bass trombone as my tool to express my musical intent, and it’s were I feel at home. Because of it’s range the instrument gives you freedom, flexibility and versatility to be sometimes delicate and light as a feather to a heavy (and sometimes brutal) monster.
How I ended up on bass trombone as my instrument of choice was a game of chance, or luck, depending on how you see it. In my local school band (which was a standard British style brass band) they needed bass trombone so I left the euphonium chair and joined the bass-clef-squad. So unfortunately there was no moment of a greater calling which would have looked neatly in writing just a situation of an empty band chair.
2. Solo playing, chamber music and large ensemble playing; which is your favorite and why? I absolutely love chamber music, playing chamber music gives me energy and I feel like I’m very much in my comfort zone. I can easily get a chamber music high! As for solo playing – I’m not a very extroverted person so being the center of attention has never really been my thing. However when ever I have to be a soloist I like to see the accompaniment as my equal in chamber music to be able to feel more like home. Larger ensembles like planying in orchestras are fun, and I usually have time to enjoy the genuine qualities of the other instruments of the orchestra and possibly also learn some musical quirkes from them in the process.
3. Who have been your main influences on your instrument, and what main point have you taken from each? My main influences have been the musicians I have studied with which also are among the current bass trombone heros like Ben van Dijk and Brandt Attema.
But of course I have looked to my collegues in tenThing brass ensemble, and spefically Tine Thing Helseth. I think with all of them I have looked at the ease of playing, musical interpetations and the joy while doing it. Inspiration comes with musical qualties, attitude or just the pure joy of playing. All of them of which are elements I enjoy while listening to others when they play, whether its a bass trombonist, cellist, trumpeter or pianist.
4. What is your secret to a good legato? Difficult question! I usually try to remove any technical challenges that would disturb the listeners experience of the music I’m playing. The goal is that the audience will think about the nice music rather than: “that’s pretty good trombone playing”. I record myself to double check that what I think I’m playing correspond to what’s actually happening. Usually it all breaks down to airflow, timing, efficiency of movement and a clear musical idea of style and intent.
5. What was it like to visit the Thein factory and hand-select a custom bass trombone? What drew you to Thein? My current teacher played on Thein, and my Bach had to go to repair and I got to borrow one of my teachers instruments, and I fell in love with the feel of the instrument. And I suddenly got some inheretence and I had the finances to actually buy one for myself. Going to the Thein factory is a very calming experience, where they will never try to sell you something that is not your best option. Meaning if you have equipment that is better sounding then the trombone setup they offer, they advise to stick with what you have. But they always find something better for you. When you go to Thein they try to change the instrument to make you better. Which is different from the practice room where you try to change or develop yourself to make the instrumeny sound better. I always feel very well taken care of when I go to Thein and after all these years I’m still very much in love with my Thein bass trombone.
c. 2019 David William Brubeck All Rights Reserved www.davidbrubeck.com
image courtesy of Astri Caroline Ellann-Facebook
“Miami’s Own” Duo Brubeck will return to WDNA, the home of serious jazz, and the University of Miami, Frost School of Music Jazz Hour on Thursday August 1st at 11:00 am. The group, featuring Lindsey Blair on guitar and David Brubeck on bass trombone, will present an hour long live performance intermingled with short interviews by host Chuck Bergeron-an outstanding jazz bassist and Professor at the University.
Featuring Lindsey Blair, is an exciting and innovative jazz duo that celebrates the rich tradition of the jazz guitar and trombone duo, with a twist! A favorite of numerous local concert series (Music in Miami, Cleveland Clinic Distinguished Artsists, Arts & Letters Day, Christ Church, Arts in Miami….) and international festivals, Duo Brubeck has also appeared with the Miami Civic Chorale and been featured at the Coral Gables Museum and on jazz radio station WDNA FM.
Was selected by Miami New Times as Best Jazz Musician 2011. As an official guitarist for Sábado Gigante with Don Francisco, Lindsey Blair has played alongside Daddy Yankee, but it was Wes Montgomery who got him started on the guitar, and jazz is where his heart is. The Indiana native studied at the University of Miami for his bachelor and master degrees, and he has toured with Maynard Ferguson and played with Dizzy Gillespie. Blair also has collaborated with Gloria and Emilio Estefan including a performance onstage with Miami Sound Machine for Super Bowl XLI. Blair’s current chart-topping album, “All Wes All Day” is extraordinary! Lindsey Blair also serves as a guitarist at Coral Ridge Presbyterian Church and with Duo Brubeck.
David William Brubeck
Graduated with distinction from Northwestern University, where he was appointed to teach in his senior year. Brubeck was the first three-time All-American college musician recognized by Walt Disney, and has performed with Stevie Wonder, Ray Charles (Recording), Barry Gibb, The Bolshoi Ballet, ABT, Larry Elgart (Featured Soloist), Tex Beneke and as a featured artist at the conferences of the International Trumpet Guild, International Trombone Association, International Tuba and Euphonium Association and International Euphonium and Tuba Festival. Brubeck’s compositions have been performed and recorded around the globe and he serves as a trombonist in the Miami City Ballet Orchestra and with Duo Brubeck. Brubeck is also music director for Broward’s premier youth chamber music and orchestra, www.YouthAllStar.Org
c. 2019 David William Brubeck All Rights Reserved
Take ten brass, luxurious arrangements, add an inspiring leader, and a magical blend of friendship and musicianship and you are just scratching the surface… Join Tine Thing and her fantastic tenThing dectet as they pay homage to the large brass ensembles past while charting a whole new course. “Five!” tm, the chamber music interview series, doubles down on this fantastic “ten-tet”-Enjoy…
- Please introduce us to the members of the group.
1. Trumpet, Tine Thing Helseth: World renowned trumpet soloist.
2. Trumpet (Eb), Maren Tjernsli:
Works as a trumpet player in the Norwegian Army Band, also work as a conductor for a school band and gives trumpet lessons.
3. Trumpet (C and Bb), Guro Bjørnstad Kraft:
Work as a freelance trumpet player, who enjoys playing in many different genres, and have worked with many of the major orchestras in Norway.
4. Flugel horn, Elin Kurverud:
Professional brass pedagogue and work with talent development at Barratt Due Institute of Music. She is also instructs and conducts Torshovkorpset, a band for people with special needs.
5. Horn, Lena Wik:
Work as a freelance orchestral horn player, and have worked with many of the major orchestras in Scandinavia and Germany.
6. Tenor trmb, Ingebjørg Klovholt:
Is a brass pedagogue and school band conductor, in addition and work as a freelance trombonist, and play in different kind of chamber music ensembles and orchestras.
7. Tenor trmb, Frøydis Aslesen:
Is a brass pedagogue, conductor and play in different kind of ensembles, both classical and jazz.
8. Tenor trmb, Tone Christin Lium Røssland:
Is a brass pedagogue, instructor, conductor and is also working as a freelance trombonist.
9. Bass trombone, Astri Karoline Ellann:
Is a brass pedagogue, work as a freelance bass trombonist, play in different kinds of orchestras and ensembles and work in the talent development department of Kongsberg Kulturskole.
10. Tuba, Karin Nordli:
Is a brass pedagogue and spend her time teaching and conducting a new generation of musicians.
2. tenThing is a great name. did it inspire the number of players? & It is not quite a double quintet, Why a third tenor trombone, and not a second French horn?
TenThing is a play on the name of Tine’s surname. Her name is Thing, and we are 10 players, it also reflects that we are a classical brass ensemble in the standard formation of Philip Jones brass ensemble (4 trumpet, 1 french horn, 4 trombones and 1 tuba).
3. How do you handle the trumpet rotation in the group? Are there Bb or A piccolos, g cornet, or Eb trumpets involved? We use 2 C trumpets, 1 Eb and 1 flugel horn. We use Eb trumpet instead of piccolo because we find the sound of Eb trumpet blends better in the section. Occasionally we also use Bb trumpet. The flugel horn is used as a connection between the trumpet section and the horn.
4. How big of a deal is chemistry? Tine, which musicians have you known the longest and the least?
Chemistry is everything! Even though we have very different personalities we give each others space to be ourselves. The core idea is that everyone have equal value, and we support each others to be safe both off and on stage.
Tine: The four trumpet girls came up with the idea of the ensemble, and invited some friends to join. It started as a fun project, and it still is 😉
Lena is the newest, but she’s been with us for 7 years….
5. Which brass groups have been your inspirations? (More than 6), Large:
Philip Jones Brass ensemble
Mnozil brass German Brass
& Smaller (Less than 6)
Brazz Brothers (Norwegian Brass quintet)
In general, we have got a lot of inspiration from the many different kinds of string ensembles around the world.
6. Who handles the arrangements, and how much do you keep the audience in mind when selecting them?
We our very own arranger, Jarle Storløkken, who arranges all of our music. Tine trusts her gut feeling when it comes to selecting music! It’s all about finding a mix of music audiences knows very well, and music that audience will remember and fall in love with. Trying to find a balance between the genres as well.
7. Is the “British Style” band instrumentation big in Norway? (Cornets, baritones, euphoniums, Eb and Be tubas, etc…) & why did you choose a more traditional orchestral instrumentation? Standard british brass bands are very popular in Norway, mentioning Eikanger-Bjørsvik musikklag and Manger musikklag who have both the European championship several times. Many of the members in tenThing have played in brass bands. As we studied to be professional musicians on brass instruments it was natural that the ensemble ended up to consist of traditional orchestral instruments.
8. Given the spectrum of everyone in a tuxedo or uniform, to everyone dress as a different character, where do you find your current thinking heading on how to dress an ensemble?
We try to keep to a category of color codes and try break up the traditional way of dressing for classical concerts. The main point is that we dont wear anything that will disturb the musical expression.
9. How do you handle rehearsals? Is there one or two people in charge, a collaborative effort, a rehearsal conductor?
Tine is leading is leading the rehearsals, and she has the overall artistic responsibility. However the other members of the group also come input for things they feel need attention.
10. Ken Amis, of the Empire Brass, has striven to learn more about playing for non-musicians. Does this concept resonate with you?
We want the audience to have a enjoyable concert experience regardless of them being musicians or not. With this in mind we sometimes break the barrier between the stage and the audience and actually walk among them while playing. We havent given this a specific thought, but we play music we would like to listen to ourselves, which results in reflection about how to balance the program.
11. When forming the group, and replacing people as they move in and out, what characteristics are you looking for in a person/musician? Implicit that the musician has a high level on her instrument we look for a person that will fit in our social enviroment. This is an aspect that is very important since when we are on tour we live basically on top of each others.
12. Your set up included the basses at the center, and the soloist on the outer profile. Did this come naturally, or was it the result of trial and error? It was a very natural choice to have the bass section in the middle as we dont have percussion, the basses are many times in the role of driving the tempo, and all the musicians need equal connection to this engine of the group. In addition it solves a lot of tuning issues.
13. Your video presentations have very high production and editing values. Can you talk about the importance and challenges of high quality video presentation? We have been in the very lucky situation where different tv productions have been made for us, which resulted in very high quality video presentations. By ourselves we have limited knowledge and technology to make high quality videos, having these professional videos give us an important marketing tool where people can from all over the world see us as a serious ensemble. Today the quality of live recordings from phones are good enough for us to send out little teasers to our social media platforms.
14. Tine, this was an inspired idea. Can you address the fruits of pursuing an idea and investing your time and talent, and how it has paid off?
It’s incredible to think about where this ensemble started and what it is now. We had our first concert on my 20th birthday, and it’s been an amazing journey since that. TenThing has absolutely shaped me as an artistic leader. It’s been a challenge that has made me grow as a musician and leader. The feeling of the sound and musical trust that we have in our ensemble is something I’m very proud of! My solo schedule is of course quite busy, but I’m very happy that we get to do a couple of tours a year! It’s been incredible to bring my friends (that’s what they are basically!) to places all around the world and share concert stages I normally visit on my own.
15. How do you divvy up duties within the group, who handles what? We have 1 person for social media platforms, 2-3 persons for planning with managment and budget, we also have one person to search and apply for funding for certain projects (to for example lower the costs of transport/ logistics) and Tine is the artistic leader of the group.
16. Your arrangements seem fresh, and often use restraint, alternating between a few voices and the collective. Is this a conscious choice? Our arranger Jarle Storløkken is making all the choices for these kind of musical decisions and it always works very well, even though it sometimes streches the limits of the player. But we always rise to the challenge.
17. MEMORIZATION! What a commitment, but also an enhancement in performance experience and the visual aspects of performance. What did it take to have 10 people memorize a set of brass music? All the players have their own preference of learn music by memory, so we all do our homework as best as we can before we start rehearsing. And in the rehearsal we have a lot of run throughs of the music in question in order to learn the others parts so you can recognize our personal part.
c. 2019 David William Brubeck All Rights Reserved www.davdibrubeck.com
Images courtesy of: www.tinethinghelseth.com www.muenchenmusik.de www.bbc.co.uk
Interested in chamber music? Check out more from “FIVE!” tm, the chamber music interview series…
Canadian Brass 2014, Windsync 2014, Boston Brass 2015, Mnozil Brass 2015, Spanish Brass 2014, Dallas Brass 2014, Seraph 2014, Atlantic Brass Quintet 2015, Mirari Brass 2015, Axiom Brass 2015, Scott Hartmann of the Empire Brass 2015, Jeffrey Curnow of the Empire Brass 2015, Ron Barron and Ken Amis of the Empire Brass, Meridian Arts Ensemble 2015, Berlin Philharmonic Woodwind Quintet 2015, American Brass Quintet 2015, Triton Brass 2016,
Join Duo Brubeck, featuring the chart-topping Lindsey Blair on guitar, for an evening of sizzling cool jazz! Weston Town Center, 7:00-8:15 pm
Let us take you down, ’cause we’re going to….Strawberry Fields..
c. 2019 David William Brubeck All Rights Reserved www.davidbrubeck.com