davidbrubeck.com

Stereogram No. 3: chords, music and lyrics by David William Brubeck c. r. 1999 All Rights Reserved

In case you would like to perform this with guitar or piano accompaniment.

Click Link to Listen…..

https://davidbrubeck.com/wp-content/uploads/2024/03/IMG_4638-2.mov

Should one of your dreams

drift back to a moment

When your Lion lay down at your beside

purring and rippling with strength

When you sighed,

as senoritas sometimes do,

And imagined the oasis as norm

-your summoned as but common:

Wail now,

in the chains,

No longer awaiting

a second

c. 2026 David William Brubeck All Rights Reserved

Note: the period after the betrayal, but before the demise.

It’s dark?

It’s ok, it’s memorized.

One of several tempos I have performed this piece at.

Was recently asked which part of Miami I was thinking of when I wrote this….

Stereo Gram is a visual term of “3-D’ images, or multiple images within an apparently single image.

This STEREOGRAMS are my musical invention for bass clef people and their instruments and contain implied homophony or a melody accompanied by one or two and even three additional parts all within a single line.

Time is precious.

I become intricate and ornament every seam of it.

Phrasing and expression, once all the other elements are satisfied, may be considered the most sophisticated aspects of prominent European music traditions.

GROOVE and rhythm is the American equivalent for many of our musical forms. Here, even the cowboys swing….

WE LOVE MIAMI! All the best.

Purchase them from Hickey’s; they are good guys!

c. r. 2026 David William Brubeck All Rights Reserved

…. Cuban girls.

TN Earl William 10 Bell, Bach 50 slide, independent closed wrap, two sweet Meinlschmidt valves. Thanks to John Duda, Mark Adams and Ernie Delgado.

Nestled in wooded acres..great music….wonderful faculty….private beach…selected peers….public beach nearby…poet’s cove…day trips…town and bakery nearby…Italian cooked meals…GREAT memories and life-changing experience.

Italy will become your second home, and first love!

The low brass studio hopes to accommodate appropriate level students interested in Professor Brubeck’s extensive experience as a classical soloist, jazz soloist, his unaccompanied works entitled “Stereograms” and his recognized pedagogical expertise with regards to brass instruments and instrumental music and jazz.

All ages may study Voice, Orchestral Instruments or Keyboard with the some superb Italian and American faculty some from the renown Puccini Conservatory, Barry University and elsewhere. All this, in addition to the Italian language.

Italian meals, room and board are included, minors under the age of 18 must be accompanied by an adult.

Please consider this wonderful opportunity to touch the very heart of classical music in perhaps the most cultured country on earth and home of some of the most beautiful music ever created.

I have worked and made music with these first-rate musicians who are warm and kind people, and they passionately infuse great music with expressive depth and meaning.

This is a rare opportunity.
Sincerely,

Dr. Brubeck

EUROPEAN BASS TROMBONISTS MAY NOT HAVE ANOTHER OPPORTUNITY LIKE THIS AGAIN

(IT’S NOT THAT FAR FROM EAST ASIA AND PARTS OF AFRICA, Just Sayin’!)

I really hope to visit Japan next year….

Accommodations:

The Monastero di Santa Croce del Corvo is set within a park of approximately ten hectares. Shaded paths, stone stairways, olive groves, and centuries-old trees create a peaceful and contemplative setting, ideal for rest, study, and reflection, immersed in nature and tranquility.

The monastery overlooks the Magra River and the crystal- clear waters of the Ligurian Sea, awarded the Blue Flag. Sandy beaches, small coves, and rocky shores invite guests to swim, enjoy boat excursions, and visit the Gulf of Poets, Lerici, Tellaro, and Portovenere.

Dr.ssa Barbara Salani barbarasalani22@gmail.co

2nd Verse: “Don’t Fancy Fargo, Key Largo’s just okay, ‘n’ my heart has left that old city by the bay. the sand inside my shoes and the dream inside my heart calls me back to the tide which begs me-‘never part'”. CHORUS LYRICS ARE THE SAME…

The little production that could! Imagine purchasing all the award-winning costumes designed for the Broadway version of “The Cher Show” by the genius Bob Mackie. Imagine hiring the ORIGINAL touring cast of three Chers, and re-uniting them to present the superior BROADWAY VERSION of the script! Great complimentary actors, direction and an all-star pit led by a keyboard diva. Add some fantastic choreography and a half dozen show girls and their male counterparts, and you have the perfect recipe for a wonderful eveining in South Florida celebrating an American Icon-CHER!

The original scriptwriting of the show is tight and comedic. Often touching without being maudlin, it spans Chers career from the early days of the ‘reverse British Invasion’ where she and Sonny won over the UK as the first hippies, to success in their television show, her acting career, and not a few of her more famous professional interactions with great men, Sonny Bono, Robert Altman, Bob Mackie and the great Gregg Allman.

The replendant female role models of Lucille Ball and Cher’s mother, Georgia Holt. Cher could perform comedy with ANYONE, dance with the Jackson’s, sing with Allman and even won the Oscars for best actress over Meryl Streep and Glenn Close in 1988 for “Moonstruck”, all while rivaling Carlie Chaplin & Mick Jagger for age gap vitality and romance.

The idea of three different Chers from throughout her career was a bold and breathtaking move by the broadway writers. Cher’s incredible six decade calvalcade of musical hits, fashion bulls-eyes and acting triumph form an impressive narrative which buoys what seems to often seem like personal challenges. Cher emerges triumphant and inspiring!

Kudos to all.

COPYRIGHT NOTICE/DISCLAIMER:

 FAIR USE:

COPYRIGHT DISCLAIMER UNDER SECTION 107 OF THE COPYRIGHT ACT 1976,
 ALLOWANCE IS MADE FOR “FAIR USE” FOR PURPOSES SUCH AS CRITICISM, COMMENT, NEWS REPORTING, TEACHING, SCHOLARSHIP AND RESEARCH.
FAIR USE IS PERMITTED BY COPYRIGHT STATUTE THAT MIGHT OTHERWISE BE INFRINGING.  NON-PROFIT, EDUCATIONAL OR PERSONAL USE TIPS THE BALANCE IN FIVOR OF FAIR USE

Images Courtesy of Daniella Santos Via Facebook

If you find yourself driving home extra late from a gig in South Florida you might have the AC blasting in your face, be on your second coffee, take stops and walk, and if you were lucky enough to know John Georgini, have some sunflower seeds in the shell to help keep your focus sharp.

If iron sharpens iron, “G” was diamond-studded carbide.

Amongst the most quoted of my friends in our house, John was as close to the living embodiment of the truth as I have met. He was always checking you out and wanted you to check him out to. He wasn’t shy about setting the truth as the standard or letting you know if you had strayed. True story: I knew my friendship with someone was going to end when they said about “G”, ‘ I don’t ever want to hear his name again!’

As part of the legendary Original Miami Dade Campus (now North), Music Faculty, John knew well the musicians who set the standard even before the University of Miami program was ‘happening’. Tony Pandy, John Alexander, Neal Bonsanti and Ronnie Miller, just to name a few.

When Georgini moved to the South (now Kendall), campus, the instrumental side of the department shot up immediately. Local high school band directors sent him some of their best and John led them all over the world, to great success at the North Sea Jazz Festival, on tour in Italy and at Montreux. But John could also teach those who were less than the best and bring them up to speed. Euphonium soloist and exemplary low brass teacher Charlie Knight turned to me in astonishment one day and said that, “John Georgini could make the cars in the parking lot sound good!” There were years that his MDC band sounded every bit as excellent as the UM CJB, but wait-that is “Top Secret”!

John wouldn’t except less than the best for anything. Credentials meant nothing to him and he would often remind us that “you are only as good as your next note”. He was one of the top club date musicians anywhere, and towards the end of his career his globe trotting band leader just gave him a carte-blanche credit card-“just get there for the downbeat, John!” He was amongst the finest improvisers on any instrument in town, superb at crafting a melody and author of his own jazz improvisation text.

And Georgini was a great leader of student and professional groups. He was like a second father, drill sergeant, mentor and best friend for many. The enormous capacity of John and his family for love and generosity is unrivaled in the Miami/Fort Lauderdale area.

In addition to teaching with John for so many years, we performed together as well. He was a marvelous classical musician and assembled the best brass quartet book I had ever seen. We both regretted not recording some of our brass quartet at its heighth, probably with Claudio Osorio, John, Dr. Charles Campbell and myself. We played what seemed to be dozens of gigs each year for many years, and the group also included , at times trumpeters Gilbert Johnson of the Philadelphia Orchestra, Lynn Berman from the Metropolitan Opera Orchestra, Dominick Digangi of the Baltimore and Cleveland Symphony Orchestras with trombonists Steve Saunders and Seth Innes. For a number of years, John played second to Gill in the Miami City Ballet Orchestra.

John Loved his wife and partner Sue, their beautiful family of Gina, Nancy, Albert and MaryAnne and the spouses (mostly), and grandchildren. John wouldn’t mind a drink of scotch, a decent cigar and relished the finest of food and wine. Many of his cars were exemplary, yet did not stick out in a parking lot. He loved craftsmanship and appreciated true expertise from carpentry to almost anything beautiful.

The parties at his house were but one way he shared his love and success with his many friends, particularly musicians, whom he respected and encouraged. You could not have a better friend than John Georgini. And when John Georgini was in your corner, everyone knew. He loved jazz, and may have loved Clifford Brown a little more than the rest of his favorite musicians. John became an expert on Brownie’s solos.

John could play drums well, collected wine and could cook! He’s one of the few who could actually quit smoking cigarettes. The wisdom he gave was from a full life well lived and lovingly observant of all that occurred beyond his own circle and circumstances to include traditions and friends of friends. John had something of an innate sense of how to handle almost any situation, and if he didn’t, was quick on his feet. He was passionate and kind, recognizing the excellence in people he did not care for and wishing them well. I remember clearly how he taught me and perhaps a few other young musicians who were more than a bit too full of themselves how to admit when you were wrong by doing so! “Sorry guys, that was my mistake at measure 51.” (!!!!). None of US could do that! And it might have been one of the best lessons he taught us. Besides time! There were so many things we learned from John.

We here in South Florida were loved and befriended, blessed and privileged to know a man who was really not too much like an angel…

but until the real thing comes along, he’ll do..

WE LOVE YOU JOHN. I LOVE YOU. You are THE BEST.

Please forgive and mis-remembrances or significant omissions. We’ll get it right..

c. 2026 David William Brubeck All Rights Reserved.

Dear Friends. We are pleased to announce the imminent workshop of “The SLide Doctor” coming later this month hosted by MDC-Kendall!

MDC Kendall Campus, 11011 SW 104th Sreet/Miami, Florida 33176

Room K-413

2:05 pm to 3:55 pm

College and Professional students are encouraged to attend at 2:05 pm. High School students will be prioritized from 3:05-3:55 pm.

BRING YOUR TROMBONE

PLANNED Demonstrations included a better understanding of the slide, how to clean it, and the best options for lubricating your slides(s)!

COURTESY REPRINT OF SOME OF THE GOOD DOCTOR’S EARLIER WORK:

www.davidbrubeck.com proudly presents an excerpt from the original:

So You’d Like a Faster Slide?
By John Upchurch
Most people who come to me for a slide adjustment or alignment preface their remarks with “my slide is pretty good, but would you take a look t it?” More times than not, the basic problem with the slide is a buildup of lubricating cream on the inside of the outer slide. This buildup is seldom uniform in thickness and so the slide is not only sluggish, but is uneven in action. If any of this sounds familiar, read on! The solution is quite simple.

For organizational purposes, this article is divided into the following section: Cleaning, Application of Lubricants, Testing Slide Action and Emergency Repairs. Take a hint from the proverbial IQ Test and read all of the instructions before you start any actual work.

Cleaning
Few, if any of us, would allow plaque to accumulate on our teeth since the proper maintenance of the teeth is vital to our livelihood. On the other hand, the inside of the slide often divulges all manner of organisms when cleaned. Here are a few simple steps for a thorough cleaning:

1. Run hot tap water into the complete slide on the bell end. If your hand can tolerate the heat, it won’t hurt the slide. Once the water comes out of the mouthpiece receiver, hold the slide vertically and work the inner slide up and down. Don’t move the outer slide unless you want a bath. Do this as many times as is necessary until no flakes of “goo” are when the water is poured out. The idea here is that by expanding the brass slightly by heating it, the residue is forced to break away.

2. Having washed the slide, it is now time to begin cleaning. Buff the inner slide with a piece of old sheet. Rub firmly until the slide gets slightly warm and begins to shine. To clean the inside of the outer slide use a pushrod. This is the best $1.00 you will ever spend! Snakes and brushes are satisfactory for the “U” bend, but not for the inner slide surfaces. Tear a five-inch by four foot piece of old sheet and wrap one end around the end of the pushrod. Make sure that it fits snugly into the outer slide. Wrap the remainder of the sheet around the pushrod. Some of it should extend beyond the end of the handle. Use the pushrod like a plunger and work it back and forth in the slide, changing the rag end several times. Do this until the rag comes out completely clean when fitted tightly. Do both slides.

3. The slide is now one half clean!
You will be surprised t how much more residue can be removed using Conn Superslick and Formula 3 (Editor’s note: now Superslick & Superslick Plus) as a cleaning agent. We will now move to the application and then return again to cleaning.

Application of Lubricants
1. For best results, don’t use cold cream. It promotes “slide cheese” even when used in modest proportions. Super Slick has no organic materials for the bacteria to use as a growing medium. Apply Super Slick to the stockings of the inner slide. A good measure is that one jar should last one player for three years, cleaning two times a week. Once the Super Slick is inside the outer slide, buff the inner slide until it shines brightly. NO SUPERSLICK STAYS ON THE INNER SLIDE!

2. Place one drop of Formula 3 on each stocking and then rub vigorously into the entire inner slide surface. Use the thumb and two fingers and rub until the slide gets warm. (Editor’s note: be sure to grip the appropriate inner slide tube. Hold the upper inner slide firmly when working with the upper slide, and the lower when working with the lower inner slide.)

3. Spray water liberally over the entire inner slide surface. At this point, water should bead up on the inner slide just like it does on a car that is freshly waxed. Place the inner slide inside the outer slide and work the slide in for a few minutes. Wet it down heavily again.

4. You are now ready to do the second cleaning job. Wipe the inner slide and buff until shiny again. Use the pushrod and a clean rag and chances are that you’ll be shocked at the black rag that comes out after the previous “thorough cleaning.” Repeat the pushrod application, changing the rag end until it comes out clean.

5. Reapply Super Slick and Formula 3 and wet down the slide again. You are now ready to check the alignment.

Testing Slide Action
To check your slide action, hold it horizontally, in first position, in the left hand, with the slide out to your right. Bend the left wrist slightly allowing the water key end of the slide to drop slightly. Have the right hand ready to catch the outer slide if you go too far. If the slide is pulled out by gravity when the water key end is less than two inches below level, then you are on the right track. If it doesn’t move by two inches or lower, the slide needs work. If it does move, but stops or changes speed, you can expect a dent or a flat spot.

Copyright John Upchurch All Rights Reserved
Used by permission of John Upchurch-The Slide Doctor
slidedr.com
Courtesy of davidbrubeck.com