SIDEMAN ALERT! Out-take from an upcoming CD with Danish Composer-Bassist Morten Haxholm featuring Nikolaj Hess, Ari Hoenig, and myself. Available on Sept. 14 from Storyville Records.
pre-order available here: https://www.amazon.com/dp/B07G235ZRQ
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I have become convinced that Ben van Dijk is something akin to the James Bond of the bass trombone. At home in any castle or sanctuary where the bass trombone resides, van Dijk is always appropriate and never out of place. He can, and most likely will, master any and all the utterances of bass trombone within.
Words come to mind: An inspiration. A gentleman. A musician. Ben van Dijk makes music where others may be distracted by technique, finds meaning when others might be lost in debate, and offers of himself and his musical bounty with the greatest generosity. Supportive. Kind. The source of beauty in his playing is undoubtedly fed by his personality, and his high professional standards are exuded in all of his presentations.
I came into contact with Ben van Dijk personally as he began to master my “Stereogram” compositions. No. 10; No. 3; No. 34.; Wow!
Later, as I explored jazz guitar and bass trombone in Duo Brubeck, van Dijk made one of the most ingenious adaptations of a Flamenco Stereogram with HIMSELF on flamenco guitar, and palmas. His arrangement greatly amplified the meaning of the original piece. Amazing!
Ben van Dijk joins the “Jazz Bass Trombone” in celebration of his newest recording of Flamenco music principally for trombones and guitar-seemingly his two favorite voices. Enjoy, as well, the words of the gentle giant of the bass trombone…
1. Why come to the United States to study trombone? And why Los Angeles instead of New York or Chicago?
Although already being a fan of the Chicago Symphony sound I heard on records (Fritz Reiner RCA Red Seal recordings), which my American teacher at the Royal Conservatory of The Hague made me aware of and the live performances of Mahler 5 and Bruckner 9 in the Amsterdam Concertgebouw under Solti, the solo LP “The Big Trombone” and LA Symphony album with the Alpine Symphony with Jeff Reynolds impressive playing on bass- and contrabass trombone made me decide to go to Los Angeles extend my study time.
2. Who were your heroes in LA? And what did you learn from them?
Of course the man I came for, Jeff Reynolds, was my biggest hero, but being there many others impressed me. Roger Bobo, Ralph Sauer and Tommy Stevens all made big impression on me.
One of the things that always keeps in my mind is their collective balanced singing sound in an orchestral tutti! Breathing together, starting on the nose and shaping the notes with nice endings.
I have been and still are a intuitive player, not thinking too much about why and how but just going with the flow. Jeff made me analyze pieces better and I see the benefit of this more.
3. Please tell us about your latest project.
May I use part of the liner notes from the booklet of my new album for this? It says exactly how it is:
I think it’s been over 8 years ago that I asked my friend Ilja Reijngoud if he would like to write me a very specific composition. I’ve known Ilja not only as an amazing jazz trombonist, but also as a great composer and for me, he was the perfect man to compose a flamenco-jazz suite for bass trombone solo, trombone ensemble, flamenco guitar and percussion, based on a theme by one of my flamenco heroes: El Camarón de la Isla.
My idea was to play all trombone voices, including the flamenco guitar, myself. I’ve been playing guitar since my younger years, back when I fell in love with the art of flamenco after hearing the legendary singer, El Camarón de la Isla, together with the great guitarist Paco de Lucía.
I couldn’t be more happy with the suite Ilja wrote me, as it exceeded my expectations completely and even left room for some extras that makes the piece even more interesting and authentic.
Due to many personal and non-personal circumstances it took me many years to finally start with this time consuming dream project, but with the helping hand in editing and mastering of my friend Martin van den Berg, I can now proudly present you the end result.
The composition is titled “Brisas Andaluzas”, which translates into “Andalusian Breezes”, because of the many Andalusian influences that helped form this album.
4. How big a part have your interests in tenor trombone and guitar influenced your forays into jazz and commercial music?
Of these 2 instruments mainly the tenor trombone had the biggest influence in this interest of mine.
The guitar was mainly focused on that completely different art form, Flamenco.
Although I loved to listen a lot to Joe Pass but simply couldn’t get all these chord changing in my system:-))
5. Tell s about your favorite non-classical pieces that have been written for you?
Haha well at this very moment it is “Brisas Andaluzas” by Ilja Reijngoud, it’s completely in my blood right now. This very evening we have the last mixing session and in a week the mastering will be done and of it goes to be pressed:-))
Also Ilja’s masterpiece “Mr Roberts”, a tribute to the one and only Mister bass trombone, George Roberts, for bass trombone solo and jazz trombone quartet which I recorded on my first Album Nana, is a treasure.
6. Tell us about your spiritual journey towards greater humanity and kindness, How have music and your quest influenced one another?
Serious and difficult question David!
I think I have been a lucky guy with having such a wonderful family. Starting with my parents whom have been a stable, loving inspiration for me in my youth. Than I met my wife Aaltje ( coming September 40 years my wife) who has given me everything I needed in life. Of course our two amazing sons who are my 2 best friends ever but she also gives me a warm home, love, respect and a healthy realistic view on everything. She adores me but also puts me in a healthy way with my two feet on the ground. She is my inspiration in everything. Having 2 extra children, our beautiful sweet daughters in law who gave us four adorable grandchildren whom are for me a daily gift and inspiration to stay a child for ever.
My family is my soul!
Of course all the years of making music, coming season will be my 43 orchestral year as Symphonic bass trombonist, all the ensembles I played in, the 5 solo albums I’ve made, the teaching I do etc etc are a lifeline which probably also made me the way I am.
Like I earlier said I’m a intuitive player but also in life I follow mostly my intuition based on love, respect, listening, health, inspiration, these are my keywords in life with since my heath dip of 2 years ago “Carpe Diem” on top!
7. What can you tell us about your interest in recording, editing, electronics and the very high production values you are able to attain for your many projects, both professional and at home?
This goes back to when I was around my 17th. I had this Philips multi track tape recorder and started to make my first home recordings.
Made my own arrangements and remember making some 4 trombones, 4 trumpets, piano and high hat recordings together with my dad. We recorded the trumpets on trombone half speed so when we played it normal speed they sounded like trumpets ( with some fantasy ) and had a lot of fun doing this. I learned a lot from this and having an amazing trombonist at home made me be critical on everything I did.
For a very long time I didn’t do much with this besides making frequent study recordings.
I always had the dream to once in my life make a cd and after a lot of doubts this became reality in 1999 when I recorded my first album Nana. Of course I had ideas about sound etc etc but I wasn’t and still aren’t a technical person.
One of my former students and now very good friend, Martin van den Berg, is. He is the bass trombonist of the Metropole Orchestra and the dud that nailed “Saturday night is the loneliest night of the week” on this meg hit on YouTube.
Martin and me discussed what, how and where to record and he was my ears in the recording sessions and until today he still is. After doing the first 3 cds with recording companies Martin decided to start his own recording company. I helped him to set up and because of this I have the possibility to record on the highest level.
In the meantime I got myself a Mac computer with on it Garageband and started to do some home recordings for fun. After a while I wanted to go to a bit higher quality and more options to work with so I bought Logic Pro X, a nice interface and a microphone and started to do more myself with the guidance of Martin on distance. When I work with this again I go for intuition and simple use my ears where to go for. So much fun to do but also very time consuming which makes me sometimes study not enough.
For video’s I use these days Final Cut and learn in every project I do. YouTube is so valuable in this with all the tutorials you can find there.
With this story I send you the video teaser I made for my newest album I hope you like.
8. What are your thoughts on the jazz and commercial trombone? Any directions you would like to see pursued or see pursued yourself? Any thoughts on where the instrument sings best?
First of all I’ve always loved and envied the more freedom one has in jazz style material, specially in playing solo. As player who has the Symphonic Orchestra as main core business I always have to follow the score, the conductor and my colleagues in a very disciplined way with not much room for a personal touch.
One of the serious problems of today is electronics (use of samples), in music making. When I think back of the time when I entered the music scene back in the early seventies and see how many jazz-commercial trombonists had work in Holland and you see the business today it looks like a catastrophe.
In these days every television or radio show had a live band, studio work was full with live musicians but today you barely see this happen.
It would be a dream come true if a new Tommy Dorsey, Dick Nash or Urbie Green would standup like what we had with pop groups like Blood Sweat and Tears and Chicago and make our instrument hip again!
Writing this I also realize there is still a big crowd that appreciate the jazzy bone and we have to cherish them. My personal hope is that the big audience will start to recognize again the beauty of the trombone sound!
We have some nice things happening here in Holland with younger players like my former student bass trombonist Brandt Attema making steps in the pop scene, adding the bass trombone to the accompaniment of some pop singers. Not yet reaching the big audience but still nice attempts.
I see interesting new input in for example the flamenco scene. Flamenco already has, since many years, been influenced by jazz musicians. The famous Paco de Lucia working together with people like Al Di Meola and Chick Corea made huge impact on the music. We have for instance here in Amsterdam a real Flamenco Big Band which is very successful . Have a look at www.bvrflamencobigband.com and see their work. By adding some typical flamenco rhythm instruments like the cajón, hand-clapping, flamenco singing and flamenco guitar they created complete new vibes to the big band sound.
With my latest project I hope I also give the world a bit of a new look at the posibilidades of the trombone:-))
9. How would you say the reception for jazz and crossover music has been in Europe as opposed to the United States. Is it mostly recordings, or live events as well.
I think most of this I more a less answered on your previous questions:-)) Difficult for me to see how it works in the States but of course I see interesting things happening like your bass trombone – guitar duo and young players like Christopher Bill and Paul the trombonist making nice videos that might attract young people to our beautiful instrument.
About the equipment I use:
At home it is a Focusrite interface and a Se microphone with Logic Pro X.
c. 2018 David William Brubeck All Rights Reserved
Interested in more of “The Jazz Bass Trombone”? Look Below:
The Jazz Bass Trombone No. 1, with Big Band Arranger, Leader and Bass Trombonist Thomas Matta and highlighting bass trombonist extraordinary-Charlie Vernon!
“The Jazz Bass Trombone” No. 2 features a beautiful discussion of Duke Ellington with Marc T. Bolin and Bass Trombone Soloist and Big Ban Leader Demetri Pagalidus’ “Don’t Get Around Much Anymore” arranged by Tom Kubis as discussed by bass trombone virtuoso Major Bailey.
I enthusiastically recommend this piece as a primary consideration for ANY bass trombonist who has the opportunity to perform a concerto or compete in a concerto competition. It is masterfully orchestrated with the capabilities and vulnerabilities of the bass trombone front and center. The colors are extraordinary, the themes expansive, and the fresh harmonic approach and rhythmic treatments are infused with Russian and American spirit. Sleeper, a bass trombonist himself, has written a concerto for his native instrument that is a tour de force of expression and meaningfully connects with audiences and accompanying musicians alike. His Bass Trombone Concerto No. 2 is at once exploratory and unified, inspiring and bound with the hearth fires of genuine humanity.
In the first movement, the heroic voice of the bass trombone elicits thematic stringed responses frozen in homorhythms and fateful pulsations alternating with aqueous dissolutions of polyrhythms. The violins become mournful and sweeten and slow the first movement to a climactic nadir and brief soliloquy interposed with the depth of perfectly placed percussion which howls into regular accentuations as the accompaniment forms to include brass and woodwinds.
The second movement is warmed by strings and spiced with textured and deep, yet sparing, percussive effects. Breathtakingly cinematic with the interrogative melodic juxtaposition of strings and a bass trombone line that simultaneously moans and soars.
The third movement is steeled with resolve and yet optimistically takes flight. It begins with the notes of the woodwinds seemingly perched on the head of the timpani, only to scatter at its first sounding. At one point the bass trombone has strewn sixteenth notes like bread crumbs which the strings devour with birdlike entrances, until the soliloquy returns. Richer, deeper, infused with with textured meaning and recapitulated variation.
Thanks to composer Thom Sleeper, conductor Dr. Laura Joella and the many fine musicians of the Florida Atlantic University Symphony Orchestra.
Both the music-making and the dedication are more meaningful because they are shared with friends.
My performance here is dedicated to my dear and beloved dad, James Brubeck.
Text: c. 2018 David William Brubeck All Rights Reserved
Concerto: c. 2016 Thomas Sleeper All Rights Reserved. www.davidbrubeck.com
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c. 2008 Eliazer Aharoni permission granted www.davidbrubeck.com
Eliezer Aharoni has the spirit of an explorer, the palette of a musical omnivore, and the depth of a French Encyclodepist. An “interest” in non-classic bass trombone and methods for the instrument led this classically trained bass trombonist of note, with the Jerusalem Radio Symphony Orchestra, to produce hundreds of pages of music and words in honor of his instrument. Aharoni’s careful irrigation and cultivation have broadened new lands, and have charted unfamiliar territories for all who follow his guideposts. Come along to whaft the favorite fragrances of his florid collection of music and marvel at sonic delicacies he has gathered, grown and transcribed. Enjoy “The Jazz Bass Trombone” tm with Eliezer Aharoni….
1. Where do you draw the line between jazz and non-jazz commercial?
This is a rather complicated issue, as there are today many different fields in music, many styles, and a lot of combined styles and hybrids of different styles, so it is really very hard to draw a line between “true” jazz and commercial jazz flavored music, which is often regarded, sometimes with a bit of patronization, as artistically inferior. The distinction depends on many factors, such as: context, target audiences, type of ensemble, (for example: if it’s a big band or a combo – it will most likely be categorized as jazz; If strings are involved – it might be viewed as commercial) and many more.
Many of the jazz standards came initially from musicals, and as such were considered as commercial music. Then, they were performed as standard repertoiry of jazz musicians, and acquired the tag of “jazz”. We can hear recordings of Sinatra, Four Freshmen, Elgart Brothers, and many more, that are regarded as commercial music, but nonetheless are great jazz, so in my view music can be sometimes simultanously jazzy and commercial, and we don’t really have to draw a line between the two.
2. Which applications and expressive outlets for the non classical bass trombone have you found most interesting and why? Any future trends you are keeping an eye on?
For me, the most enjoyable and interesting application is jazz ballad, where the bass trombone is displayed at his best, with a warm, expressive singing sound.
A relatively new trend that caught my attention is the bass trombone finding its niche in ethnic music. The most interesting example is the Australian marvelous bass trombonist Adrian Sherriff, who is a multi-instrumentalist and multi-stylist player. In addition to his great jazz playing, he is a member of the Australian Art Orchestra and also plays the flute, percussion and some ethnic instruments like Shakuatchi (a 1.8 foot Japanese flute), Javanese Gamelan, and Mridangam. Sherriff combines jazz and ethnic music from West India, South India, Japan and Indonesia, and performs with quite a few ethnic and jazz ensembles.
Another interesting ethnic playing is the Turkish trombone player Hasan Gözetlik, who plays Turkish and Arab styles. He plays “Taxim” which is a sort of oriental improvisation. Hasan has many video clips. He uses a double valve instrument, but is rarely heard in low register.
In Klezmer style we find bass trombonist Michael Brown of the Dor L’Dor band (heard on Not Your Father’s Klezmer Band and Dance for Your Life Cds. Tenor trombone and tuba are often heard on the Klezmer scene, but a bass trombone is a novelty.
Paul Munger with the Aharonis at ITF 2008
3. What made you decide to write your book?
As you know, before writing this book I wrote a bass trombone method called “New Method for the Modern Bass Trombone”, (NogA Music, 1975). At that time, there were only few bass trombone study materials in general-almost nothing for “non-classic” bass trombone. (This situation has slightly improved over the years). At that time many improvements in bass trombone design came out – different valve set-ups, dependent and independent double valves, and there was no method or consensus as to how to annotate the different positions. I felt the need for more comprehensive study material for the bass trombone and felt that I had something to contribute in this field, especially my ideas for a clearer, more organized annotation system, so I decided to go ahead and write my Method which I hope many of you are familiar with.
Later on, around 2010, I began to realize that there was really very little bass trombone material to study jazz and related styles. I started putting together some ideas how to approach the situation, feeling that despite of the fact that I was primarily a classical player, I have the ability to contribute to enhance the literature in that niche. So I came to the decision to put together my own book. Though I was aware that I am dealing with an area that is not exactly within my area of expertise, I felt that I can write study material that would be both challenging and fun to play, and provide good preparation for players seeking to improve in these fields.
During writing the book, some of the basic concepts were changed. The primary idea was to focus only on jazz, and write a 4-5 pages of introduction. Then, realizing that there are more fields in light music that should be covered, I decided to expand the scope and cover more related styles, such as Pop, Rock, Latin, ethnic music, world music and more. At this time I realized I knew very little about these styles and the background, so aside my bookwriting I started a research to get the bigger picture. I was amazed with the wealth of information I came up with – I thought I’ll find a lake, but found an ocean… I had some help from friends and colleagues, but some of them specializing in jazz fields, could not help me with information about bass trombone in other fields. However, occasionally I received some good tips. For example, Alan Raph mentioned that a former student of his, Marty Harell, played with Elvis, which directed me to learn about bass trombone in Rock. This correspondence with Alan Raph also led to have him write an eye-opening introduction to my book. As a result of this research the info swell into some 50 pages, as I decided that background, history, equipment issues, recording info and information about the main players was also very important and relevant.
Another factor that helped the birth of my book was the collaboration with my friend and former student, Micha Davis from the IPO. I used to send him some etudes for feedbacks, and at a certain point he offered to record them. Then I realized that I need to prepare playbacks for the etudes, which directed me to do the arranging of the accompaniments. So, finally, after nearly seven years of
“pregnancy”, the book came out just in time to be displayed at the ITA workshop
The Non Classic Bass Trombone www.davidbrubeck.com
4. Who are your favorite jazz bass trombonists and their recordings?
Well, it’s a long list, but I’ll name a few of them.
Alan Raph is an incredible player and a respected authority on jazz playing and on bass trombone. Allen can be heard on many recordings of George Benson, Quincy Jones, Gil Evans, and Urbie Green’s “21 Trombones,” to name only a few. On Youtube he is featured on Billy VerPlanck’s “In Summer You Get That Warm Bass Trum-bone Feeling“. He also composed “Rock” for solo bass trombone – a very appreciated and widely performed piece, which demonstrates the way a bass trombone fits in that genre.
I like very much
1. Rich Bullock's
playing. Some samples of his playing are available on . As well, you can find on “The Usual Suspects his website page, An MP3 collection called 12 Legendary Performances By Rich.
Phil Teele is another favorite of mine. Phil can be heard on Sinatraland W. Patrick Williams Big Band, Toshiko Akiyoshi Big band recording “Tales of a Courtesan” in “I Ain’t Gonna Ask No More” (contrabass trombone), and his two albums Low & Outside and Syntheticdivision.
Demetri Pagalidis released a beautiful solo recording “Demetri” With big band, Frank Comstock conducting. This recording demonstrates nice sonority and singing style of the bass trombone. “Silverware” is another recording of him in a big band. [Another Setting]
Ron Wilkins is very active as player and educator. He can be heard “All the Things You Are” with Dr Donald (Donnie) Pinson, on Sonny Rollins “Tenor Madness Charles Mingus tune “Boogie Stop Shuffle“, “Tribute to the Masters” and “Bundee Brothers Bone Band” .
NYC player, Max Seigel, played with Slide Hampton on the Trombone All Stars. He is featured on Slide Hampton’s album “Spirit of the Horn” solo on Walkin’-N-Rhythm.
Ingo Luis is currently the bass trombonist of the WDR (West German) Radio Orchestra in Cologne. He has contributed greatly to the jazz brass literature both as an arranger and as a recording artist. His unique stylistic playing can be heard on his two albums with tenor trombonist Ludwig Nuss: “Horn Players Can’t Eat Garlic” and “The Two-Bone Big Band – The Return of the Horn Players.” Both players are overdubbed, forming a larger ensembles. Contrabass Trombone.
Massimo Pirone is a great Italian tenor and bass trombonist.
He has released quite a few albums “A Portrait of Trombone, Portrait of Roberts, The ballad Album, Directly From The Heart, Like the Wind and Two Brothers With Bill Reichenbach
Ido Meshulam is a very talented young Israeli trombonist (+bass & contra), residing now in the US. He can be heard on contrabass trombone
In ensemble and
on Petit Chien (Shadowing Joe Alessi an 8ve below)
5. How do you feel about the use of mutes, looping and live processed sound? Main course or side dish?
The use of various mutes has always enhanced the variety of tone colors of trombones, both in section playing and on solo playing. On the tenor trombone,
One type of mute – the plunger – has created its own special style (noted by artists like Al Gray and “Tricky” Sam Nanton).
For the bass trombone, there is a unique example of focusing on a mute – this
Is George Roberts’ album “Bottoms Up”, featuring the bucket mute, which has a special delicate tone color and enables an uninterrupted expressive singing playing.
Henri Mancini used frequently a cup-muted bass trombone, which made a special effect of mystery. The bass trombonist Karl Deskarske was mostly the player.
Other than that, bass trombone mute use in solos is rather rare, and is definitely a side dish.
In my book, in addition to describing the different mutes, I also wrote a little suite called “The Mute Shop”, featuring 6 types of mutes. You can watch it and listen in YouTube at:
The Mute Shop part 1
About looping and live processed sounds I occasionally watch some YouTube clips.
People like Pharrell Williams, Christopher Bill and Robin Thicke do some amazing things. Some of them use bass trombone as a part of a track, which sounds amazing with all studio facilities. This guys have amazing skills of instant arranging, too, and the whole project sounds very interesting. However, I do not delve too deeply into it, for me it’s just a curiosity.
6. What has the non-classic bass trombone meant to you throughout your life?
As a teenager, still when I played the tenor trombone, I used to listen to trombone recordings (in Israel, at that time, there was no way to hear non-classic bass trombone in live performance, as there were no active bass trombone players other than in the symphony orchestras) Some of the recordings were of trombone ensembles, mostly J & K. As well, I had access to some Nelson Riddle recordings. These were my first exposures to the bass trombone sound, which I enjoyed very much.
A turning point for me was the purchase of a recording of “The Four Freshmen,” backed by a trombone ensemble with arrangements by Pete Rugolo. Listening to the tasteful bass trombone playing (mostly by George Roberts) was very fascinating for me and made me switch to bass trombone. At that time I played in the Jerusalem Municipality Band and later on joined the Army Band. The conductor – the legendary Itzhak(Ziko) Graziani, was also a great arranger and wrote some really nice bass trombone parts. During my service I also had the chance to play in a big band lead by Mel Keller – an American born sax/clarinet player who was THE jazz pioneer in Israel.
After service I joined the Jerusalem Symphony Orchestra and played mainly orchestral classical and contemporary music, but the orchestra also did some amount of recordings of Israeli songs and song festivals, and in some of them there were some nice bass trombone parts. As well, I did some free-lance work, including the Mel Keller Band and later the Tel Aviv Promenade band.
All these opportunities to play “non-classical” music were for me very enjoyable, and a kind of a different musical journey contradictory to the classical orchestral playing, which had some great moment, but also a lot of routine playing (where you get to count a lot and play very little)…
so basically non-classical music was for me a refreshing change, many times more fulfilling and challenging to play.
The Mute Shop part 3
7. What are your thoughts on the style of soloing various bass trombonists use? The style of post bop saxophone soloists, traditional upright bass, cool style, bluesy tenor trombone or funky electric bass?
All these styles are great models to absorb plenty of ideas and inspiration for solo bass trombone, though players usually do not relay on one model.
The string basses – electric or acoustic – are harder to emulate on bass trombone, because of the difference of character between a string and a wind instrument. There are more inspiring style models, like the style and sound of the baritone saxophone, especially Jerry Mulligan’s playing, or the jazz tuba – players like Joe Murphy, John Sass and Howard Johnson. But the main and natural soloing model is still the tenor trombone, which a bass trombonist has to figure his way how to expand it to the low register. Some players, like Chris Brubeck, choose to improvise mainly in the high register, with some “visits” to the low register. Others, like Massimo Pirone, who has an incredible fluency and agility, choose to stay longer in the low register.
8. Tips for selecting literature?
For me, selecting a piece is about the appeal of the piece to me – some kind of chemistry, a click that makes me want to try the music. I look for pieces that utilize well the singing character and sonority of the low register. I look for pieces that have a logic structure, that are in not too technically demanding, and well suited in register.
I transcribe a lot, borrowing music mainly from low instruments, like tuba, bassoon and cello. I also like to play vocal music for bass and baritone. A great source of inspiration, for me, is the Russian basso profundo singer Vladimir Miller, who sings a lot Russian liturgical music, and I intend to explore and transcribe a few of the works he sings, for bass trombone and tuba.
Like “The Jazz Bass Trombone”? Read the interview and article that launched it all Charlie Vernon and George Roberts (of course), Thomas Matta and more! …HERE.
How about some more Tom Kubis for bass trombone? The Jazz Bass Trombone features “Don’t Get Around Much Anymore”, featuring bass trombonist AND bandleader, Demetri Pagalidus, HERE.
c. David William Brubeck All Rights Reserved www.davidbrubeck.com
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Miami’s Own…DUO BRUBECK is believed to be the first bass bone/guitar jazz duo, and is partially based on my Stereogram concept of alternating between melody and bass in the style of Bobby McFerrin. Over 75 of my Stereograms have been published and are performed and recorded around the globe. The magic of DUO Brubeck is presenting phenomenal musicians and friends at their guitar-virtuoso best, and for that we have been truly blessed.
Stereograms are at the center of DUO BRUBECK, you can purchase Nos. 21-30 HERE.
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A little call and response from the audience at the 2017 International trombone Festival, and we are off! Lindsey Blair can meld into any style or concept and yet has his own distinct “voice”. Incredible!
DUO BRUBECK is based upon the Stereogram concept. Purchase the original Stereograms Nos. 1-20 HERE.
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Miami’s Own, DUO BRUBECK Becomes “Beyond Category” When They Realize That The Only Thing Better Than a Duke Ellington Composition Is TWO DUKE Ellington Compositions, Live on the Radio at WDNA-Miami, Love You Madly….
Stereograms are at the center of DUO BRUBECK, you can purchase Nos. 21-30 HERE.
Posted inUncategorized|Comments Off on What Could POSSIBLY Be Better Than a Duke Ellington Song??? TWO!!! “I Let a Song Go Out of My Heart” AND “Don’t Get Around Much Anymore” Duo Brubeck Featuring Mitch Farber