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Recent Recordings of my Compositions by OTHERS:

Detroit Symphony Master Bass Bass Trombonist and Faculty at Northwestern University, Randall Hawes, recorded my “Stereogram No. 3” as a salute to the DSO concert hall. 

In the 20201 graduate recital of New England Conservatory student Matthew Ethier, “Stereogram No. 20”

And in an innovative video by New York City bass trombonist Ricardo Arbiza with beatboxer Joe Marttin!  May 2021

“Stereogram No.3” by bass trombonist Brian Ronald, June 2021; Stewart Bridgeforth, November 2020; & Marcos Pacheco, January 2021.

University of Toronto Masters Recital by Bass Trombonist Hanna Wilson, “Stereogram No. 3“ & “Stereogram No. 7” May/Jun 2021.

as well as the masterful rendition of the great Ben van Dijk, of “Stereogram No. 16” on December 31 2020.

Thank you to all! I am humbled and honored and very appreciative. Perhaps a round up of 2020 Stereograms recorded by others should follow-we shall see.

Best wishes….

The moon!

It fuels our imagination, illuminates our nights, and beckons us into space!

It pulls the tides and the heart, summoning the wind of both.

As the moon waxes and wanes, it seems that it is almost always the full moon that inspires song.

But what about the sliver of moon?

It could be the last gasp of a waning moon that dissolves into a darker night. The end of something beautiful. The final cry of hope and light. Endings.

OR

It could be the optimistic bud of the waxing moon. The first dawn of light which promises so much more. Hope. Beginnings.

These are the slivers of moon I have written for. You might even think you have found one, and end up with the other. Longing. Unrequited. Requited. Real. Imagined. Ambiguous.

It is one of the most balanced and satisfying pieces I have written. It is both longing and hopeful, and written in a Romantic style with more traditional harmony and alluring rhythms.

If you have a friend who is an intermediate to early advanced guitar player, please feel free to share this with them.

I hope that it brings some joy..

All the best!

C. 2021 David William Brubeck ALL RIGHTS RESERVED

Dear friends and colleagues,

This REALLY works! Astor Piazolla’s “Oblivion” for piano trio with Oboe, Bass Trombone & Piano. This is take two, from a rehearsal. Please share this with all the BAND, WOODWIND & BRASS players you are able.

Other friends and colleagues have enjoyed success with different combinations of woodwind, brass and piano. Find some friends you love to make music with and try out a combination!

This recording of “Oblivion” features oboist Dr. Erin Gittelsohn, pianist Bronwen Rutter, and bass trombonist Dr. David Brubeck.

This is dedicated to my dear, sweet and loving dad, James Brubeck. He is my hero and was my biggest fan.

Piano trio is a traditional chamber music group which features arguably the three greatest solo instruments in classical music: Piano, Violin & ‘cello. From the perspective of a quartet/quintet player it can seem a bit more exposed. All three instruments are equal soloists and there is no where to hide.

On the other hand, if one is accustomed to performing as a soloist with or without piano accompaniment, then the trio is beautiful collaboration with great opportunities for musical interactions and appreciation of other players. From the soloist to the trio, you retain your solo status and gain more musical possibilities and camaraderie.

c. 2021 David William Brubeck All Rights Reserved

http://www.davidbrubeck.com/2013/12/premiere-liz-seigidos-ascensions-mariae-the-ascension-of-mary-for-live-processed-bass-trombone-and-video-overlay/

Music in Miami’s Winter Solstice Concert (Trinity Cathedral, Miami-Sunday 15 December 2013 at 6:00 pm), hosted the world premiere of Ascensionis Mariae (The Ascension of Mary), a two-movement sacred work for live processed bass trombone and video overlay. The work, showcasing the bass trombone’s expressive power and reverent melodious tone, was written for Dr. David Brubeck, a Miami-based virtuoso bass trombonist. The bass trombone, which is the only sound source in Ascensionis, is sampled and processed in real-time by Max/MSP applications designed to turn the sounds of a solo performer into a diverse assemblage of sonorities. The first movement, entitled “Lamento Pro Maria,” is a guided improvisation that draws inspiration from vocal traditions of the Near East and plainchant. The second movement, an ascending crab canon, was inspired by medieval polyphony.

The video overlay was constructed from two images, which were composited together to evoke the expressive, yet reverent, characters of both movements. The first image was a vintage photograph of a statuette of the Virgin Marry from La Capilla de Belen (The Chapel of Bethlehem) in Marianao, Cuba. The second image was that of a living tree and a drying fallen tree. The composite of the fallen tree and of the statuette, mirroring the lamenting character of the music, will be projected over the performer in the first movement. The composite of the living tree and the statuette, mirroring the triumphant character of the music, will be projected over the performer in the second movement.

Dr. Liza Seigido is a Miami-based composer, performer, music-educator, and founding director of “Kendall Sound Art”—a monthly new music concert series hosted in West Kendall Regional Library. Liza is an alumna of New World School of the Arts, Florida International University and the University of Miami. She is a founding member of “Fridamusiq”—a Miami-based avant-garde improvisational ensemble, and is currently teaching at Miami Dade College and the Superior Academy of Music. Her music has been performed across the United States and in Prague, Czech Republic.

c. 2013 Liza Seigido

Images appear courtesy of Liza Seigido

“The work is intensely visceral”, comments Brubeck, “and features shifting rhythmic accents and syncopation amidst a confluence of polyrhythms and soaring lyricism.” The three movement work is Sleeper’s second concerto for his native instrument-the bass trombone, and taken along with his first concerto for bass trombone and the transcription of “Six Arias”, establishes Sleeper as one of the most significant composers for the solo bass trombone accompanied by orchestra.

The piece is dedicated to bass trombonist David Brubeck, The FAUSO and conductor Dr. Laura Joella. “Sleeper is a major composer who also happens to play the bass trombone, so it is no surprise that the work is riveting”, comments Brubeck. The trio have collaborated before, as Sleeper provided a world premiere transcription of “Six Arias for Bass Trombone” for FAUSO, Joella and Brubeck. This latest project is even more ambitious, as the composer set out with the conductor, the ensemble and the soloist in mind at the inception.

Set in three movements, I. Allegro-Lento-Allegro II. Adagio III. Allegro-Adagio Moroso Subito-Allegro, the work is unified by completeness and contrast. Each of the outer movements stands alone, and the second movement is at once understated and yet profoundly satisfying.

“Hauntingly Mysterious”, “Richly Lyrical”, “Soaring Melodies” – all phrases used to describe the music of Thomas M. Sleeper. His output includes 13 operas, fourteen concerti, five symphonies, four orchestral song cycles, works for chorus with orchestra, band, wind ensembles, three string quartets, numerous other vocal and instrumental chamber works and music for film. Sleeper has developed a unique compositional voice whose vocabulary is clearly from, but not limited to, this century***

***adapted from sleepermusic.com

Fred who? If you have to ask, then you might not be a fan of Funk, certainly not of Funk Trombone. One of the greatest trombonists of the 20th century is Fred Wesley-music director and trombonist for James Brown, Solo Artist and Funk Trombone Pioneer.. …Fred made the trombone not only relevant in Funk, but ESSENTIAL!

Here’s our tribute from Duo Brubeck. It may sound a little brighter than usual-playing my small bass bone here, an original Williams 10 that was given to me by my friend Fred Carter. Fred was a trombonist from Oklahoma who was perhaps the only human being to have been a regular member of BOTH Duke Ellington’s Band and Stan Kenton’s Orchestra-now THAT is versatility!

Thanks to my friend and excellent musician Bobby Keating for inviting us to his school.

c. 2021 David William Brubeck All Rights Reserved

Photo courtesy of the Irish Times IrishTimes.Com

What pleasure to have friends as talented as the incredible Marc Reese! Marc elevates any musical situation with his talent, generous humanity and wry humor. This recording was taken from our rehearsal.

I first became aware of the potential of a classical duo without piano when I heard a violin & cello duo. The sound was full and satisfying, and perfect for the room!

I searched for duos and found few for a treble/bass combination. With the help of trumpeter Brian Neal, we were able to assemble 10 concert-proven duos that are adaptable to almost any single treble clef woodwind, string or brass in conjunction with a bass clef instrument. Someone is running late? These are gig savers!

Thanks to Gordon Cherry of Cherry Classics for publishing these duos, and to Dr. Steve Quinzi for processing my humble files.

c. 2021 David William Brubeck All Rights Reserved

Taken from a rehearsal, this is a sample of things to come from our WIND version of a piano trio. Oboe and bass trombone are excellent complimentary sounds, which still allow the piano to be heard. Presented as an inspiration for young bass trombone players to try NEW IDEAS and explore making music in small ensembles with their friends who play instruments-even other than trombone.

Dr. Erin Gittelssohn on Oboe is Joined by trOmBOnE-Duo Winds partner Dr. David Brubeck on bass trombone and master accompanist Bronwen Rutter on piano. Thanks to Dr. Steve Quinzi for his technical expertise!

c. 2021 David W Brubeck All Rights Reserved

Thanks to my good friends Darlene Jones on piano and Doug Friend on drumset.

Billie Holiday is considered to be one of the greatest jazz singers of all time, with a voice that could be as penetrating as Louis Armstrong’s trumpet and as sweet as Lester Young’s tenor.

Billie’s rhythmic acumen was second to none, and I am always impressed by her weaving of of the polyrhythms of jazz with the rhythms of words.

This was performed live at Christ Church, Fort Lauderdale at the behest of their music director Chuck Stanley, and for the many friends in their excellent choir and congregation.

Billie Holiday is one of my greatest musical inspirations, and my main bass trombone is name Billie in her honor and in honor of NBA G.O.A.T., Bill Russell. Enjoy….

c. 2021 David William Brubeck All Rights reserved

Photo Courtesy of the feministwire.com

Transcription courtesy of Darlene Jones

Three four is infectious. It can make you sway, or want to dance. It seems so hospitable-al other rhythms are welcome within! Dr. Campbell’s Scherzo reminds of a scoop of Neapolitan ice cream. Instead of Chocolate strawberry and vanilla I am feeling rhythms in 1, 2 and 3.. You found six? Ok, maybe spumoni! Enjoy!

Dr. Charles Campbell was a composer, trombonist and educator.

Dr. Charles Campbell was famous for one of his highest compliments to students-“You got me dancing!” Like all great musicians, he understood that rhythm is essential.