Dr. Boz Awes! What Does Her Video Reveal?

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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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Dr. Campbell’s Christmas Trombone Sextet Album

The trombone section in the Count Basie Band. The Chicago Symphony low brass section, especially with with Frank Crisafulli and Arnold Jacobs. And Los Angeles studio musicians! Those are probably the best trombone sections I have heard on recordings.

Studio musicians from other towns have related stories of how they could not get a track recorded correctly after many hours, only to have the producer fly to LA and have it done first or second take. Were the LA studio cats really more expensive if they could do it in 1/10th the time?

I am not sure what Dr. Charles Campbell had in mind when he assembled an especially good crop of his trombone students and recent alumni from the University of Miami at the Blue Smoke Studios of Miami Dade College. I cannot even remember the arranger. My wonderful dad, Jim, had the idea of repeating each of the very short recordings for greater effect, and some recordings are incomplete. It was just a phone call one afternoon and showing up to play whatever they put in front of me. I played the bottom part on my single-valve Earl Williams model 10 Bass Trombone that was left to me by my friend Fred Carter after he passed away too soon and too young.

(If a single an open symphonic tenor earl William is a model 8, and it becomes a model 9 with the addition of a valve, wouldn’t that make a double-valve Earl Williams Bass Trombone a model Eleven? Too late; the bell has been stamped!)

I am not sure what the other guys were thinking, but I was thinking of George Roberts, Dick Nash, Tommy Pederson and the LA studio trombonists-no one better in the world! Enjoy!

ALBUM V Trombone Sextet!

01 “Jingle Bells”

02 “Silent Night”

03 “I’ll Be Home for Christmas”

04 “It Came Upon. Midnight Clear”

05 “Deck The Halls”

06 “Oh, Holy Night-Excerpt”

07 “Joy To the World”

08 “O’ Come, All Ye Faithful”

09 “We Three Kings”

10 “God Rest ye Merry Gentlemen, Excerpt”

Maybe Dr. Charles Campbell, John Kricker, Domingo Pagliuca, Jason Pyle and Steve Saunders on Trombones with David Brubeck, Bass Trombone.

c. 2024 David William Brubeck All Rights Reserved

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“Yeah Jesus! I Want to Thank You, Lord!” That’s What The Boss Man Said At the End of the Concert! Fortunate to be There As a Bass Trombone Sideman.

The Knight Center, in historic Miami, is the just a stones’ throw from the Intracoastal waterway, the bridge to Watson Island , South Beach and the Atlantic Ocean beyond. From “Stiltsville” to the Miami Marine Stadium, South Florida is all about the beaches and waves that connect us to the world.

Originally a hit for the Carpenters, this song is a frightening appraisal of life on the road and more particularly, the stage. But what happens when the stage becomes the most intimate audience of one? Karen Carpenter was a wonderful drummer and superb vocalist. Part of an exclusive list of musicians who were nearly equally accomplished as both instrumentalists and vocalists. Whether Louis Armstrong to Jack Teagarden, Prince to Paul McCartney, Terry Kath to Peter Cetera, Shirley Horne to Buddy Guy, Jimi Hendrix to Nat King Cole, or Trombone Shorty-Ray Charles tops the list.

Swing is perhaps the dominant rhythmic expression of the twentieth century. It is a rhythm drawn from musics of the Blues, Classical, Ragtime, Minstrel and the Caribbean. As Florida welcomes and nurtures flora and fauna from almost every region, so does swing invite any rhythm to its court, as the king rhythm of all. Ray brings the Swing!

In ancient mythology Apollo, the Greek God of Music, was surrounded by the Muses, drawing inspiration from them and the arts they had mastered. Who knows where the inspiration for a song begins for mortals? A rhythm that you cannot shake, a clever phrase or idea that could serve as a hook, an ear worm of melody that begs development, or even a person. For Hoagy Carmichael, that person was his sister, Georgia.

Epicureanism? Hedonism? Materialism? Once you have touched, and tasted, drank and held, beheld and owned all the stuff of your hearts desire, yet the longing in your heart persists still, what then?

Hank Williams was the inventor of Country music, as stark, simple and true mode of expression. considered a parallel mode used often by white rural Americans early on as was the Blues was for rural American blacks. Where the Blues groaned and wailed, with genius simplicity and provided the essential space that allowed the refinement of soloing skills in short one bar bursts, Country music told a story, garnering no less a fan than BeBop legend Charlie Parker. Both of these sincere elements helped to develop the basis for improvisation in Jazz.

Unrequited love? Not quite! It has inspired art enough!

What about love that is won and lost? Abandoned, discarded or misplaced? Moved on or upon?

The difference is clear: one lives only in the ethers of imagination, the other in a palpable memory that resonates within the confines of touch and taste and smell.

Miami Lighthouse for the Blind has been a beautiful supporter of the arts and a vital charity for many. They may be contacted for a donations or to volunteer at miamilighthouse.org

If you are going to compose just one musical, you could do a lot worse than “The Music Man”, by Meredith Wilson. A tour de force of melody and Americana, the song that seemed to find the most success on the charts was “‘Til There Was You”, although we are partial to “76 Trombone”-not sure why!

This is a soulful, yet clever and light blues. The Blues can be both mournful and cheerfully cathartic. Sign us up for the second with this tune!

The depths beyond imagining…

Yes, and pretty good saxophone playing, too! What an advantage this must have been to Mr. Charles as the leader of a big band for so many years. Do you think it was the playing of the great Hank Crawford who inspired Mr. Charles to take up the saxophone?

No one. Please read it again. No one, can traverse ALL the numerous styles from Swing, to R & B, to Country to Rock and Roll ‘n’ beyond as well and authentically as the great Ray Charles. He made each style his own and America’s. We are blessed to have lived during his career or after it and to have heard one of the most startlingly original artists of all time.

America is beautiful yet, and a great blessing.

ALbum VI

It is still somewhat difficult to find great Jazz and Commercial Music Concerts that are friendly to some expressive moments for the bass trombone and feature writing that allows it to soar with section trombones and shouting brass, especially live! Dozens of concerts I shared with artists from Stevie Wonder to Steve Lawrence were unrecorded-fortunately this one was captured! This is what I would have been looking to listen to when I was a boy…Album VI Bass Bone Sideman!

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AHH, VENICE! No. 1 “L’ Arefia” by Giovanni Cavaccio FREE BRASS QUARTET, transcribed by Dr. Charles J. Campbell

Welcome to the greatest outpost of Constantinople’s New Roman/Byzantine Empire and her eventual conquereror VENICE! This amazing “VENETIAN SCHOOL” is of equal importance to instrumentalists as “The Notre Dame School” of Medieval Paris, France is to vocalists! It was religiously inclusive and ultimately influenced all of germanic instrumental music through the person of Heinrich Schutz-one of three Protestant musicians to be canonized as a saint, alongside J. S. Bach and George Frederic Handel.

Dr. Charles Campbell, visited Venice and transcribed numerous works for brass which were left to his assistant, David Brubeck. We honor Dr. Campbell’s legacy here, with the publication of what is hopefully just the first of many Venetian compositions to follow. All free-of-charge.

CONSTANTINOPLE??? Both Christian AND Roman, Constantinople.(or New Rome), stood until 1453-1458 AD! It was heralded as the “eye of the world” in ancient times, and its Orthodox Christian Basilica, “The Sancta Sophia” or “Hagia Sophia” (the largest building in the world at the time), was considered to be “heaven-on-earth”.

Constantinople was originally named “New Rome” until its inhabitants protested their love for the Roman Emperor Constatine who had founded it in 330 AD and insisted it be named after him. This more than ONE-THOUSAND-YEAR CHRISTIAN EMPIRE is often obscured from history by using multiple names including its pre-Roman, Greek name, Byzantium, when it was a minor outpost of the Ancient Greek Empire often vacillating between support for Athens and Sparta. Constantinople, also called the Eastern Roman Empire, eventually fostered economic, cultural and religious ties with Northern Italy, Dalmatia, throughout the Mediterranean and Asia. The architecture, art and conception of St. Mark’s Basilica in Venice is clearly from Orthodox Christian Constantinople, and not Catholic Rome.

Soli Deo Gloria

c. 2024 David William Brubeck All Rights Reserved.

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Concertos for Bass Trombone and Orchestra or Wind Ensemble! Sleeper, Sleeper, Raum & de Meij

As a classical chamber musician, I was largely unprepared to enter the world of concertos-rare enough for a bass trombonists in the first place! I was blessed to have exceptionally sensitive conductors who were open to suggestions and communicated well with me. I was also blessed to perform with fellow musicians, many former or current students, who might accept a turn of phrase or concept from me.

Six Arias for Bass Trombone and Orchestra, by Thomas Sleeper, as performed by soloist David Brubeck and the FAUSO under the direction of Dr.Laura Joella. AUDIO:

I was the lucky one!

Others have reported experiences of just showing up and reading through the concerto in rehearsal with few opportunities for the types of interactions that chamber music often affords. With 50-100 people waiting, there is simply very little time to invite discussion on nuance or phrasing.

Bass Trombone Concerto No. 2, by Thomas Sleeper, world premiere by soloist David Brubeck and the FAUSO under the direction of Dr. Laura Joella. AUDIO:

My suggestion? Rehearse with a fine pianist and a piano reduction. Get all the exploration worked through on your own and later with the pianist, finding the give and take of phrases, crests of dynamics, welling of emotions and strata of musical importance. Then pray for a sensitive conductor!

Bass Trombone Concerto, by Elizabeth Raum, as performed by soloist David Brubeck and the Miami Symphonic Band under the direction of Robert Longfield. USA premiere & world premiere of concerto with wind ensemble accompaniment. AUDIO:

As you can hear, my prayers were answered. WHAT A TREMENDOUS privilege to be the soloist to whom a concerto was dedicated by my beautiful friend and long time colleague, Tom Sleeper, alongside the FAUSO and conductor Dr. Laura Joella. We love you, Thomas, and think of you often. Thanks for all of your beautiful humanity-and some of it was audible!

“Canticles” by Johann de Meij for Bass Trombone and wind Ensemble as performed by soloist David Brubeck with the MDC Wind Ensemble under the direction of Brian Neal. VIDEO:

Bass voices are fragile, and problematic for the concerto, but skilled composers allow the mellow sounds to soar and find niches of resonance for the bass voice to inhabit with alacrities both great and small.

Soloist plus orchestra! The concerto was the FIRST significant form of ensemble instrumental concert music, and strikes a perfect blend between recognizing of the outstanding contributions of the individual AND the society.

It is still somewhat difficult to find bass trombone concertos, especially live! This is what I would have been looking to listen to when I was a boy…Album III Concertos!

__________________________________BONUS_________________BELOW_______________!!______

Ipuwer Papyrus (IP), LEIDEN 344. Was the writer Ipuwer an Egyptian, circa 1440 BC, who described the plagues of Exodus and their aftermath from the Ancient Egyptian Perspective?

FROM VIDEO:

  1. Ipuwer Papyrus , IP-“There is blood everywhere…Lo the river is blood.”/mirrored in Exodus 7:20-21
  2. IP-“One thirsts for water.”/also recorded in Exodus 7:24
  3. IP-“Lo, trees are felled, branches stripped.”/reflects Exodus 9:24
  4. IP-“Lo, grain is lacking on all sides.”/ like Exodus 9:31
  5. IP-“Birds find neither fruits nor herbs.”/similar to Exodus 10:15
  6. IP-“Groaning is throughout the land, mingled with laments.”/ sounds like Exodus 12:30
  7. IP-“Lo, many dead are buried in the river, the stream is the grave, the tomb became a stream, and he who puts his brother in the ground is everywhere.”/ is reflected in Numbers 33:4
  8. IP-“All is ruin!”/ seems related to Exodus 10:7
  9. IP-“The land is without light.”/ Could this be Exodus 10:22-23.
  10. IP-“Gold and Lapis lazuli, silver and malachite, carnelian and bronze…are fastened on the neck of female slaves.”/seem to correlate with Exodus 12:35-36
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NEW! Stereogram “Amazing Grace” Dedicated to Mark Adams and John Duda

ADDED: RECORDING! I played it through on my single valve bass trombone which was at hand, to give you a better idea of what I had in mind. Enjoy!

Dedicated to my favorite repair men/craftsmen and sponsors. I grew up hanging out in the repair basement at The Music Shoppe with Carl & Chuck, and have always been blessed with great repair people and craftsmen like Doug Elliot, Earl Williams, Roy Lawler and others. Mark Adams has customized and assembled most of my trombones with TN Earl Williams Bells & Meinlschmidt valves provided by John Duda. With appreciation and gratitude to all of you and to others who remain unmentioned. Please note: ‘C’ in measure 19 should be a ‘C#’. thanks!

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Brass Duos: Trumpet and Bass Trombone

ONE “Air on a ‘G’ String”, Excerpt, performed and arranged by the Brubeck-Neal Duo


TWO “Two Part Invention No. 4” by J. S. Bach

THREE “Goldberg Variations” by J. S. Bach arranged by Brubeck-Neal Duo

TWO: “Goldberg Variations”, Marc Reese and David Brubeck-Audio file Only:

      1. bach-goldberg-with-marc-reesenew

FOUR “Lucy” by John Lennon & Paul McCartney. performed by the Brubeck-Neal Duo, arranged by Brubeck

FIVE “Flow My Tears” by John Dowland performed by the Shefcik-Brubeck Duo, and arranged by Brubeck-Neal.

SIX “Fur Elise” by Ludvig von Beethoven, performed by Shefcik-Brubeck and arranged by Brubeck-Neal

SEVEN “Sea Journey” by Chick Core, performed by the Brubeck-Neal Duo, arranged by Brubeck

ALTERNATE TAKES

EIGHT “Air on a ‘G’ String” Complete, J. S. Bach, arranged and performed by the Brubeck-Neal Duo

NINE: “Two Part Invention No. 4” Faster Tempo, by J. S. Bach

At first, it seemed to be brass quartets, from Speer and later Venice. Then valves and Ewald and quintets. But what about a duo? Yes, just TWO brass! This is what I would have been looking to listen to when I was a boy…Album II Brass Duos!

LOVE BASS TROMBONE IN A DUO FORMAT?

Check out Legendary Jazz Group, Miami’s Own Duo Brubeck:

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Jazz Trio: Piano, Guitar & Bass Trombone

You open the door to the cafe..

somewhere in Florida…longing for Paris

The band is in the middle of..

“Pensativa” excerpt, by Clare Fischer. As the glasses clank and the waiter, or bartender takes your order, the conversations around you drift in and out if the music, as we fragile humans enjoy our seasons of life and the beauty of adulthood with friends, family, fine cuisine and perhaps a well-mixed beverage…

TWO “Autumn Leaves”, by Johnny Mercer, fills the air and perfectly sums up the beautiful, bountiful and yet haunting autumn of life.

Upon return from the smallest room in the restaurant you are relieved, but find that you have missed the first few bars if the next song. Thinking of being concerned?

THREE “Well You Needn’t”, by Thelonious Monk’s Bebop classic is complimented by the sudden loud staccato of mixing martinis…and bouncing piano. Perfect with your dinner.

FOUR “Triste” by Antonio Carlos Jobim is a Bossa Nova from the master of all Bossa Novas-Jobim, and the land where Bossa Nova is the soul of a nation-Brazil.

FIVE “Blusette”, by Toots Thielman is perfect jazz waltz for desert, more conversation and listening.

SIX reveals a highlight for swing fans, “I’m Old Fashioned”.

SEVEN is “Peace”, by Horace Silver (Silva) Does every night reveal a masterpiece? Sometimes..and sometimes a masterpeace.

Finding live music that features improvised bass trombone solos is not easy. The trio with piano and guitar is just about perfect, leaving plenty of room for bass-trombone, of course. This is what a young bass trombonist just might be looking for..This is what I would have been looking to listen to when I was a boy…Album I Jazz Trios!

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“Stererogram No. 38” Based on “Silent Night” Liebe Cornelia…

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“Stereogram No. 11” ‘Miami’ For Unaccompanied Solo Violin (Or ‘C’ Treble Clef Instrument)

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