Was The Highwire Right Because They Were Guessing, Bill? Or Was It SCIENCE? (The Old-Fashioned Kind…)

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Stereogram No. 38 “Silent Night” for Viola

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Stereogram No. 38, “Silent Night” for Trumpet

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The Best Musicians I Have Performed With #2: “Bossa Combo et Raymond Cajuste”!

Around 1990, I had the pleasure of performing with a wonderful horn line as part of Raymond Cajuste’s Bossa Comba. It seemed that the whole band made it to the concert in Miami, except the trombonist-who may have been ill at the time. I was very fortunate to have been asked to fill in. I was even more surprised when I found that they were playing on the South Side of Chicago the following week, just before Christmas, and that I would be home in Illinois to perform with them a second time. The horn section I recall was one trumpet, or two and two saxophones plus myself.

The closest I had lived to Chicago was a half block North of Howard Street , in Evanston. The South Side was the subject of the imagination for me and a mixture of impressions I had garnered from Jim Croce Songs, The University of Chicago and tales of Elliot Ness, and on one cold winter night, rhe tale of a young trombonist newly transplanted to Miami. I remember being very cold and shivering without a sweater. Without hesitation, the big burly Haitian trumpet player literally loaned me the sweater of his back! (I was rather thin in those days!). I had just acquired a diesel van, and had to take every opportunity to start it up on our breaks, lest I become stranded at the International Brotherhood of Electrical Workers Headquarters on the South Side a day or two before Christmas.

I recall beautiful music and even more beautiful people. Since then, I felt that of all the people I have met in my lifetime, those from Haiti were the nicest. I also recalled the moment, about an hour or so into the gig, it suddenly occurred to me that I might be the only blonde for miles around-certainly at the concert! And then we just played some more and more. I was sorry to discover that Monsieur Cajuste passed away last year, and am grateful to have performed with him and his wonderful band.

c. 2024 David William Brubeck All Rights Reserved.

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“Silent Night” Stereogram No. 38 for French Horn

Silent Night

http://www.davidbrubeck.com/wp-content/uploads/2024/03/Stereo-no.-38-French-Horn-F-copy.tiff
Soli Deo Gloria c. 2010 David William Brubeck All Rights Reserved.
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Did FDA Admit It Was Wrong About Ivermectin?

Has the FDA admitted that the Covid-19 “vaccine” leads to significantly elevated risk of seizures in toddlers?

Did a Japanese pre-print call for a suspension of all mRNA “vaccines” as concern that transfusions of “vaccinated” blood may have adverse affects on the un-vaccinated?!

Is “Deadly Quiet”, a micro-documentary on Excess Deaths from the view a British funeral director?

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Brubeck Brass Congratulates Alumnus Giulia Rath, The New Principal Trumpet in “Orchestra Now”

It’s true! We literally had THE most fun when Giulia was on the job! Often times, it did not even seem like work. We loved all of her stories about growing up near Vienna , Austria “The City of Musicians” EXCEPT ONE: The creature that came out to torment Austrians on Nikolaus-KRAMPUS! SCARY!

Giulia possess such a warm sound and is able to do so much with it-AMAZING! We wish her the best!

OUR ADVICE: Have a great time while you can; she might not be there too long! (And whatever you do, do NOT ask about Krampus!)

Read more here: Orchestra Now.

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The Incredible Intellectual Accomplishemnt of Black American Culture Via The Blues, “Did We Miss Something? No. 4”

The Blues has drawn near universal acclaim as one of the most outstanding and influential art forms of the twentieth century and its origins are the exclusive product of Black American culture.   Any singer, instrumentalist or listener who would step one toe outside of classical music, would likely encounter the Blues or one of its offspring. 

Few, seem to recognize the significant intellectual accomplishments of the this incredible and indelible art from. Here are but a few:

 The intellectual achievement of the American Blacks created a music which regularly tonicized the dominant seventh chord-an achievement beyond the Europeans!  

With the blues scale, Black American culture and The Blues also produced a more interesting, sophisticated and popular alternative to the diatonic harmony of Major and minor scales than the leaders of European musical culture of the time-the French and their whole-tone scale.

The limited improvisation of the Blues found between sparse secular lyrics served as the incubator of improvisation which led to Jazz and became one of the principal genres of Jazz.

The stunning originality of the Blues concept of a backbeat, which emphasis on beats TWO and FOUR, was a stark contrast to both the African and European conception of emphasizing beat ONE.  

The addition of the musical personality of the singer through more than tone, phrasing and technique of European Classical Music created a precedence which changed to interpretation of music around the globe.

The Blues takes a little bit more than “just feelin’ it”, but that would not be a bad place to start! How often, you ask?

c. David William Brubeck 2024. All Rights Reserved

Where can you go to get it? Hmm, Chicago, Memphis or maybe even…

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Favorite George Roberts Album?

Well, solo album, anyway. It is difficult to exclude all the great recordings with Frank Sinatra, Stan Kenton and his orchestra, Nelso riddle or many other recordings. We sincerely hope that you enjoy this transcription that has been re-imagined. Like vocalists Frank Sinatra and Billie Holiday, many of George Robert’s solos center around the melodic material, or respond to it in a tasteful and seemingly unhurried way-no matter how difficult his part may have been!

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Dr. Boz Awes! What Does Her Video Reveal?

https://www.bitchute.com/video/Ia6RQPMqd38Y/
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Featuring Mitch Farber, Miami’s Own-DUO BRUBECK

If there were a “Groove Genie” in a bottle, anyone who knew Mitch Farber would toss it back in the ocean; not needed here, thank you!

“Summertime”

Mitch doesn’t just groove at the grooviest level, he adds melodic interest to the groove, then layers in contrasting ideas and of course, alternates grooves within a tune.

“You Are My Sunshine”

“I Let a Song Go Out of My Heart” on Top of “Don’t Get Around Much Anymore”

Mitch Farber grooves with rhythmic chords, he grooves with single line riffs, he grooves with percussive sounds on the guitar, with different patches, with two voice and three voice and … voice riffs; he grooves with bass lines; heck, even the electric cord to the amp grooves when Mitch is playing! (Where is Dr. Seuss, when you need him?)

Mitch also LISTENS, with HUGE ears, and ENJOYS the music as he makes it. Mitch Farber is most certainly a divinely appointed gift from God. Here are a few tunes with Mitch, that are not part of concerts that he alternated tunes or sets with Tom Lippincott, which will be posted later, and include two more sets worth of music with Mitch, and two with Tom.

“Its Bitsy Spider”

“Go Tell Aunt Rhosy”

“Stereogram No. 6”

Performing live together for the University of Miami Jazz Hour on WDNA 88.9 was a highlight for sure.

“Sea Journey”

c. 2024 David William Brubeck. All Rights Reserved.

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Featuring Lindsay Blair In Miami’s Own-DUO BRUBECK

Featuring Lindsay Blair in Miami’s Own, DUO BRUBECK

Miami’s Own, Duo Brubeck, began in about 1991, with Tom Lippincott on guitar and David Brubeck on bass trombone. As the group became more successful, Tom was not always available, and a second set of repertoire and line up of Duo Brubeck emerged with Mitch Farber on guitar and David Brubeck on Bass Trombone.

A breakthrough came when a concert was scheduled downtown Miami, alternating both versions of the duo was scheduled. By listening to each other play the complicated arrangements without having to focus on playing them, both guitarists were able to more fully grasp the concept of the group beyond the virtuosity of the parts.

The success of the group reached an important crest when Duo Brubeck was invited to perform at the 2017 International Trombone Festival near Los Angeles, California. One catch; both Tom and Mitch were busy the week of the festival.

There were doubts that any guitarist could reach the level of Lippincott or Farber in an idiom that they helped to create-jazz guitar and bass trombone duos! Even another guitarist they could, the time frame was impossible! The jazz duo had grown and accumulated techniques and literature for years if not decades: to plug someone in now for a feature length concert seemed unlikely if not impossible given such short notice.

Except for Lindsey Blair.

Lindsay accpeted the challenge, and was even willing and available to fly out to Los Angeles. Some arrangements needed to be written down for the first time and new pieces were adapted. In record time, DUO BRUBECK 3.0, featuring Lindsay Blair, became a thing of beauty and originality on its own.

“Strawberry Fields, Forever”

“Old Devil Moon”

“Use Me Up”

“Yes, jesus Loves Me”

“Go Tell Aunt Rhody”

“Blue Bossa”

ALTERNATE TAKES

“Strawberry Fields”

c. 2024 David William Brubeck. All Rights Reserved.

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