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Chamber music is a burgeoning and vital aspect of musical preparation and performance. As the opportunities for wind players in chamber music increase, so does interest and expertise. “FIVE!” tm, the chamber music interview series of davidbrubeck.com is dedicated to elevating chamber music, particularly chamber music which involves woodwinds and brass. Launched with Windsync in January 2014, subsequent interviews from that same year from Dallas Brass, Canadian Brass, Seraph, and the Spanish Brass established the series. Thanks to the extraordinary kindness and generosity of these superb musicians, a valuable resource on the art and craft of chamber music was made available.

“FIVE!” tm really took off in 2015 with the incredible interviews listed below. From the iconic Empire Brass Quintet, to the amazing Berlin Philharmonic Woodwind Quintet; from the inspiring American Brass Quintet to the audacious Mnozil Brass, more and more of these amazing instrumentalists and skilled ensemble players have contributed what is now akin to a book on chamber music for winds and brass, all free of charge and universally available. We would like to express our deepest thanks to these individuals for their time, effort and expertise in assembling these interviews. It has been a blessed joy and delight to watch unfold.

We have selected a few of the most intriguing answers from each of the groups over the past year of 2015. Enjoy!

Berlin Philharmonic Woodwind Quintet

The blend in the group is extraordinary! The flute and the oboe in
unison (or octaves), create a completely new and consistent tone color. What
is your secret?

FM Intonation must be flawless, but more importantly we try to play “into” each other’s sounds. The Berlin Philharmonic strives for blend at all times and so do we; it’s our default setting. Choice of instruments also plays a role in the ability to blend. And listening to each other. We imagine playing “flut-inet”, “bass-orn”, “fl-oboe”, “fl-ob-inet” or “fl-oboe-horn” for example. 😉

MR The secret is that we purposely look for these new sounds and sound-mixtures.

It is both a challenge for us, and an irresistible temptation, (perhaps even the biggest difficulty), to discover new sounds.

Within the context of orchestral repertoire, woodwinds are more often
called upon as soloists than are brass players. How do you think that this
influences the basic approaches of brass quintets as opposed to woodwind
quintets?

FM The brass instruments are a homogeneous family, like the strings. The woodwinds are not – they are a collection of individualists. It is the woodwind section of an orchestra that is responsible for the “narration” in an orchestral performance. If we can say crassly that a brass quintet is basically a pair of trumpets accompanied by three lower instruments, then a wind quintet is a quartet of soloists held together by a horn.

Read the full interview here: Berlin Philharmonic Woodwind Quintet

The Meridian Arts Ensemble

4. How do you address note shape (the front AND the back of the note), when playing more rhythmic works?
The MAE has a better group sense of rhythm than any ensemble I’ve ever played with. We listen closely to each other and imitate attacks and releases.

A lot of our matching each other comes from that listening, and much of the rest comes from our body language, which has developed over the course of our 25+ years. I would say that the listening and the body language account for 90% of how we evolve the shape of notes. The other 10% comes from talking, arguing, singing to each other. Sometimes it’s not really chamber music until you are arguing passionately.

I have learned over the years that my colleagues are always right. I may disagree with them, but their ideas are always good and true.

Read the full article here: Meridian Arts Ensemble

Ken Amis of the Empire Brass Quintet

3. What were the distinct aspects of the Empire Brass approach which separated them from other groups?

Empire Brass has a style of playing that produces a big sound and the very front of an articulation that differentiates it from most groups. The groups commitment to establishing a musical, metronomic pulse also makes its sound unmistakable.

4. Which other brass groups have inspired you?
Philip Jones Brass Ensemble

Non brass?
A Ray Charles performance at Tanglewood in the mid-90’s.

5. What are your favorite EB recordings, and why?
Class Brass and Class Brass: Firedance are my favorite recordings due to repertoire and clarity and balance with which the playing was captured by the microphone placement and recording techniques.

Read the full interview here: Ron Barron and Ken Amis of the Empire Brass

Scott Hartmann of the Empire Brass Quintet

You can play really clean, or let it rip! How do you think of “hiding the slide”-(or its smears) when matching trumpets as opposed to your vibrant yet very rhythmic approach to glisses, scoops and falls?
Related to the previous comment on articulation, I have to imagine a sound first, then figure out how you make this sound on the trombone. Oftentimes, I find that people don’t feel that it is correct or appropriate to do something – mechanically or musically – so they restrict their musical palette in the process. I leave the door open to try to make any sound that comes to mind and use any technique that achieves it.

Technique is whatever I do in the process of making a sound. Again, if it sounds right – it is right!

So, a more succinct answer to your question. I think about the air, embouchure, tongue, slide, overtones, valve and how they interact as I make a sound.
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What are your favorite EB recorded tracks and why?
My favorite aspect of the EB is the level of chamber music that we enjoyed. When we knew the music, we could reinvent it on each performance; explore musical possibilities on the fly and let the music come to life each time we played. We would transcend our own voice and truly make music. This was amazing to be joined together through music this way, probably much like the bond that is created within a sports team or military unit…

I believe that our first Class Brass recording captured this ability – primarily because the acoustics at the recording were great and you can hear us using the hall the way we would in concert – most other recordings didn’t quite capture the hall acoustics.

I was Mr. Charlie Geyer’s graduate assistant at Northwestern and he really challenged me in my weak areas. We never really addressed any fundamentals – except for maybe his occasional opinion on things – and it really felt like a “finishing” school to help prepare me for the professional world. I always felt inspired and energized coming out of their lessons and I would regularly practice right after lessons to cement their teachings.

Read the entire interview here: Scott Hartmann of the Empire Brass

Axiom Brass

Three major things that I came away from the Barbara Butler/Charlie Geyer school were:
1) Attention to detail. I had gone to Navy boot camp and I thought I had a pretty good grasp of attention to detail, but they take it to the next level. Mr. Geyer often joked that he is undiagnosed OCD and said that “you have to be a little obsessed with the trumpet to be a good trumpet player.” Notations in the score, historical context, intonation, articulation, trumpet selection, mouthpiece selection, mute selection, tricks and cheats, you name it – if you’re trying to win a job against hundreds of other applicants, it can come down to a missed articulation or dynamic.

2) Record everything you can. This isn’t a concept that is new or exclusive to their studio, but I haven’t seen a studio yet where it is so ingrained and, quite frankly, mandatory! Every lesson, every studio class, every audition (professional and mock), ensemble rehearsals, masterclasses were highly encouraged and politely expected to be recorded. Not only did Mr. Geyer want me to get my money’s worth for my degree, but I think there is concept from Arnold Jacobs of “you can’t sit in the performers’ chair and the teacher’s chair at the same time” that applies. Meaning that if you’re analyzing yourself while you’re performing, you won’t be very musical. Record, perform, and then analyze and scrutinize. This is a concept that is relevant to every Axiom Brass rehearsal and performance.

3) The “power of the studio.” While I was at NU I tried to absorb as much as I could and I asked Mr. Geyer why he thought they had success with their students over the years. He said that obviously talent was a large part of it, but choosing the “right” students (in regards to attitude, good nature, and work ethic) is also a big part of it. He said that every once in a while they’ll get a “bad apple,” but the “power of the group” overcomes them and sets them straight. When you think about it, you don’t really spend that much time with your applied professor compared to your colleagues in the studio. In a year you might average 25-30 hours of private lessons, but you’re spending 25-30 hours a week with people in your studio.

One last contribution to my education I would be remiss without including would be Gail Williams’ (horn professor at Northwestern) “Teaching Techniques” class. It was a very simple concept – we had to observe 15 private lessons from various applied professors and write a small report on each one – but it made a lasting impression on me. While I believe that the trumpet is one of the best instruments of all time, I also think that we can learn so much from vocalists, strings, and woodwinds. Their instruments, when used by master composers as solo instruments, have a firm grasp of phrasing and musical nuance that I think is missing from nuts and bolts teaching of the trumpet.

Read the entire article here: Axiom Brass 2015

Mirari Brass

9. Where do you see the future of brass quintets heading in the next ten to twenty years?
We can’t speak for all brass quintets, but we think there will be many more chamber groups (not just brass quintets) popping up all over the country and world.

Chamber groups are a great vehicle to take music on the road, spreading the genre to a wide variety of people.

We also believe that live music will take on an even greater importance in the current age of Youtube and Spotify. In the past live music was a fundamental social event. Our society has somewhat moved away from that. We hope and believe that there will be a resurgence of that social importance, and as a result live chamber music.

Read the entire interview here: Mirari Brass 2015

The American Brass Quintet

What is a quintet warm-up like with the ABQ?
I have been in the ABQ for over 30 years, and there has never been a coordinated quintet warm-up. It sounds like a fine idea for a younger ensemble, however. Even when warming up independently in the same room, acceptable manners absolutely apply: Always be personally and musically polite regarding sound level, intonation, and your own passage-work connected with your warm-up. -MP

With the ABQ it is clearly all about the music, and yet the prominence of the bass trombone (certainly not to the exclusion of the tuba), often gives your ensemble a characteristic sound. How would you describe the ABQ relationship with the bass trombone, and what do you make of the trend for smaller tubas in other brass quintets?
The use of tuba in a brass quintet adds a nice roundness of sound, coupling with the conical French horn in a pleasing way. That said, it’s a bit like using a double bass in a string quartet instead of a cello; certain voicings and instrument ranges leave something to be desired in the middle of the spectrum. In the ABQ, the matching qualities of the two pairs of trumpets and trombones create a nice balance of sound timbre, which I think outweigh the sometimes deeper, rounder quality of a quintet with tuba. As for the popular use of smaller tubas in brass quintet, the often unfortunate trade-off for easier transport is a lack of full, round tuba sound mentioned above, and a wonky low-register, which begs the question, why use tuba after all? Nothing against tuba in brass quintet, it just presents more challenges, including overhead bins. We’re happy with the bass trombone for so many reasons. –ER

Read the full interview here: American Brass Quintet

Atlantic Brass Quintet

7. Your career evidences the most “dyed in the wool” brass quintet devotee. What do you see the brass quintet genre exploring in the next 40 years?
There is so much I could say about this…It would be my hope, that the brass quintet continually breaks musical ground to become a full platform for individual and group expression, outside of the general business idiom. The brass quintet can be, should be and is more than a gig band for graduations, weddings and ceremonial events. I believe more brass players will be composing, performing and recording their own pieces, hopefully with a personal emotional message to connect and share with their audiences.

I believe more multi-media works will be explored as well as brass quintet and electronics. It’s always been a dream of mine to have a brass quintet hooked up to a real time midi sequencer, with endless options for sound, not just a reverb/echo effect. I believe that we’ll see more collaborations with singers and other instrumentalists/ensembles which will expand the way we use/view the ensemble.

It seems unfortunate, at times, that the popularity of the brass quintet coincided with the that of contemporary music. As a result, many of the pieces actually written for brass quintet were not accessible to audiences’ ears-(and still aren’t!) This seriously hurt our future of being hired to play the music written for us by famous living composers. We need music that general audiences actually WANT to hear. This means the brass quintet needs great new music to play, that connects to audiences ears musically with a story to touch them emotionally. Therefore, the future of the brass quintet lies in the five individuals abilities to be great arrangers, composers and innovators, making sure that their end product, is something that has never been explored before.

Read the entire interview here: Atlantic Brass 2015

Jeffrey Curnow of the Empire Brass Quintet

2. Could you discuss Rolf’s approach to the trumpet, and the types of trumpets (‘C’, ‘G’), he liked to play in different circumstances?

Rolf was the guy who made the Schilke ‘G’ piccolo trumpet famous. Before joining the band, I’d never played one (and I never played one while in the group), but the combination of his ‘G’ “picc.” and my ‘C’ trumpet created an interesting, distinctive hierarchy of sound that separated us from any other quintet.

This worked particularly well with Baroque and Renaissance lit. The set up he used on the G was different than usual. Schilke sent 2 bells with the trumpet, a small and a large, and he always used the large bell-which made the sound of the horn much bigger. That bigger “picc.” sound on top of the sound of a ‘C’ trumpet was a nice blend.

Outside of the Schilke ‘G’, Rolf used Bach/Selmer horns exclusively, and was feverishly adamant about it, in a way that only Rolf could be. Fortunately, I agreed with him completely on this issue.

Unlike most brass quintets, Rolf and I played C trumpet 80% of the time, using the Bb horns and flugels mostly for the crossover tunes on the second half. I think Rolf always felt more comfortable on a ‘C’ trumpet, as did I, and the sound of the ‘C’ trumpets gave the group a distinctive sound, separating us from other groups who exclusively used ‘Bb’ horns.

3. What was it like playing back and forth with Rolf with imitative passages as opposed to supporting him in harmony underneath; how did you match so well?
What was it like playing back and forth with Rolf? Intimidating is the word that comes to mind. When I joined the group, they were weeks from a U.S.S.R. tour so I had to hit the ground running. The blend wasn’t immediate but it had to happen quickly and I really worked at it. I wore 2 hats while playing 2nd, I had to be a bridge between Eric or Scott and Rolf and I had to fill Rolf’s shoes when he had the horn off his face. I found it really fun, honestly, and I wanted to be great at it. Rolf wasn’t much help so I was pretty much on my own when it came to figuring it out.

Read the entire interview here: Jeffrey Curnow of the Empire Brass

The Mnozil Brass

1. “Applied Brass” is where the rubber hits the road. Please talk about your relationship with your audiences and how they may differ from those of traditional concert ensembles.
Music is the most direct art form. You get back what you give immediately, but the relationship between musician and audience is defined by the player. I, for example, am always looking for eye contact with audience members. It encourages me to see peoples’ reactions to our show. With a brass instrument, it´s just great fun to use the whole dynamic scale and watch the audience reactions to that. You can make them cry, cheer, cover their ears or dance in their seats-it´s like telling stories. The difference for classical audiences is that they never know what´s going to happen in our show, and I think they like that!

2. The chemistry (or positive interactions) between the members of Mnozil Brass seems extraordinary. How did you meet? How do you keep it going ?
Wilfried, Gerhard and myself met around 1991 and started the group in the fall of 1992 together with some friends from the music university. In the beginning, we were playing mostly as a quintet. The septet line up happened in 96; that was also the time when the group got more “professional”.

in 2001 we did our first show with a director and choreographer. As you can see, everything developed very slowly and maybe that is one of the main reasons why we´re still having fun. There was never a “hype” about us; everything developed very naturally. As a matter of fact, we had already had made a living with the group for some years, before the media in Austria discovered us. Everything happened within the brass community, and by the time we became known to a wider public, we had already worked together for about 13 or 14 years.

3. “See our Music”, your additions to brass presentations go way beyond the traditions of simple blocking, and even beyond choreography. It is Theatre! How did you arrive at this amazing break-through of presenting bras concert music as theatre?
We achieved this by working with an actor/director named Bernd Jeschek, who had come to us after seeing one of our early, very wild performances. Our first shows were very free: a set list and a lot of “improv” on stage-some good, some bad. The main problem was our lack of timing. Seven jokes at a time; he showed us that less was more.

Read the entire interview here: Mnozil Brass 2015

Sam Pilafian of the Boston Brass and formerly, of the Empire Brass

1. How do you approach playing in a touring brass quintet differently with Boston Brass as opposed to when you toured with Empire?
(hahaha)…This is very much a Rip Van Winkle story!!
(“Back in the Pre-Digital Day” with Empire we will call THEN…
I will refer to today’s Boston Brass as NOW :)) :

-THEN:We carried an extra suitcase with “safety music”.

-NOW: we all carry everyone’s parts and scores on laptops, iPads and even smart phones.

-THEN: I went to find a pay phone or a fax machine every time we stopped moving (on a plane or automobile), to check in with the manager, sponsor of the impending concert, family, etc.

-NOW: communication is in my pocket at all times…(Only Dick Tracy and Flash Gordon had this in Empire days!!)… I can fax, email, talk, text, send documents, photos, graphics, etc. from my phone or another digital device!

-THEN: Travel outside the US presented a myriad of communication and financial problems: expensive telephone calls and often daily currency changes-prior to the Euro. Using a credit card was dangerously insecure and subject to up charges by vendors who were waiting for currency rates to go in their favor before processing your transaction.

-NOW: Internet communication allows all of the above-listed activities to be done for free with a Wi-Fi or hard-wired signal. Financial issues are now guaranteed safe with stable rates by using major credit cards!

-THEN: Arranging, a major responsibility of mine in Empire, was also pre-digital. I learned to write and copy parts on a clipboard “floating” on my left forearm and hand while riding in planes, cars, ferries, etc. We often had part copying pizza parties in my room while on tour! (One time we got on a flight from Zurich to NYC with the count Basie Band and we all copied 2 new Frank Foster arrangements and visited…(I miss the social aspect of music copying but hated how slow the process was:)) Whole concerts and recording projects were arranged on the move in this manner for over 20 years!

-NOW: Boston Brass has THREE arranger/ composers
(José, Chris and me). Digital technology in the writing area is one of the great improvements between then and now!!! The speed, instant playback, orchestrated sounds and legibility have changed our lives for ever! I love traveling with my writing colleagues! It’s like an arts colony around Boston Brass these days!!!

-THEN: LP/Cassette/CD recordings and radio production recordings(common outside the US),were recorded and finished (or edited and mastered) by flying to the city where the recording company headquarters was located. I often made several ” post recording” trips to represent The Empire Brass during editing or mastering.

-NOW: Live concert videos and audio are easily made on tour …either self-made or in collaboration with the concert presenter. “Home” equipment is so good that the group may have more hits from YouTube or other Internet services than we ever got from the very well-selling studio Empire recordings. “Post recording”, for studio recording sessions, is done anywhere from cloud based data sent to our digital Internet devices. One only needs professional quality headphones to make critical decisions anywhere! Another strong difference in the present experience is that both José and Domingo are also professional recording engineers. I am a professional audio recording producer and video line producer. We have people from the media business in the group!!!

-THEN: I did the business work of Empire as well, (contracts, travel scheduling with an agency, payroll, taxes, etc)…
It was much better to do this when arriving home from tour while surrounded by “business machines” like fax,copy machine, type writer, postal meter,etc. This would routinely take more than a whole day upon returning home.

-NOW: Just about 100% of the business is done digitally, (very little mail or express services). All the business devices are available on any Internet device that we are carrying, including the smartphones in our pockets. I am amazed how fluidly Jeff Conner runs most of our business, and Domingo leads the social media/ PR/ advertising campaign….while on the move. My, My…how times have changed!!!

FINALLY, the biggest difference between the Empire and Boston experience is the amazing diversity of the present Boston Brass. They are well-equipped to authentically present improvised jazz and world musics (from throughout their personal experiences and histories) while at the at the same time present concerts at which they are playing wonderfully in the classical tradition. This depth of the diversity in addition to the fact that we are a truly multi-generational ensemble with over a 30-year spread in ages makes our rehearsals, performances and recording sessions very special. I feel like I trained for this diverse moment my whole life. (Kudos to Chris Castellanos, who did the same on horn, making him Extremely rare and valuable to the present efforts of Boston Brass:))

I am so fortunate to have another world class experience in the same career area! Again!!!

Read the entire interview here: Boston Brass 2015

c. 2015 David William Brubeck All Rights Reserved www.davidbrubeck.com

For brass, the beginnings of modern chamber music emerged in Chicago with the Chicago Symphony Brass Quintet and its founders, Adolpoh “Bud” Herseth & Vincent Chicowicz (trumpets), Richard Oldberg (horn), Frank Crisafulli (trombone) and Arnold Jacobs (tuba). “FIVE!” tm 2015 is dedicated to Frank Crisafulli.

Interested in more “FIVE” tm interviews?
Canadian Brass 2014, Windsync 2014, Boston Brass 2015, Mnozil Brass 2015, Spanish Brass 2014, Dallas Brass 2014, Seraph 2014, Atlantic Brass Quintet 2015, Mirari Brass 2015, Axiom Brass 2015, Scott Hartmann of the Empire Brass 2015, Jeffrey Curnow of the Empire Brass 2015, Ron Barron and Ken Amis of the Empire Brass, Meridian Arts Ensemble 2015, Berlin Philharmonic Woodwind Quintet 2015, American Brass Quintet 2015

Imagine the headline, “Trombonist wins X-Factor!”, or even, American Idol! Trombonist Alex Cruz and his bandmates in Bachaco have done it, in Spanish! “Buscando mi Ritmo” seelcted Bachaco from a nationwide tour hosted by Telemundo, and they made it to the top! Kendall Campus trombone alum, Alex Cruz, plays trombone, writes horn arrangements, sings background vocals, writes some tunes, and helps to lead the band which is currently touring across the United States and the World.

1. How did you guys find out about Buscando Mi Ritmo? How many bands were considered?
We found out about Buscando Mi Ritmo at the last minute through a friend. It was a national audition, I know that there was a lot of bands that auditioned in Los Angeles and Miami.

2. What was it like to be part of a reality television show?
To be a part of a reality show was a unique experience. I had never been on a reality tv show. I scratched that off the bucket list. At the time, I was enrolled full-time in school. It was a challenge to juggle both at the same time. I was happy with the effort that we had all put in with the show.

3. How did the band change as a result of the experience?
Bachaco as a band, and myself personally, certainly felt a lot of pressure to come out on top. We had late nights at the studio to make sure our renditions of the songs fit our style of music which is a blend of Reggae, Dancehall, Cumbia, and Ska. Week after week, we grew very comfortable with what we recreated. We were excited and proud to be the winners of season one.

4. What helped you be ready and prepared for that opportunity?
It was a last minute audition for Bachaco. I was called 2 hours before the audition and we had to think on our feet. We had recently wrote a new song that we decided to debut through the audition. I was very happy that we were selected. Ultimately, always be ready for any opportunity that comes your way. In this case, I was more than ready to showcase what I could do individually and what we can do as a band.

5. How do you view the role of horns in pop music, and the trombone specifically?
Horns give such an edge and feel to pop music. I’ve had numerous people tell me that the horns make the band. I agree. We are normally a 3 horn section with a trumpet, tenor sax, and myself on trombone. The show asked for one horn only and a max of 5 musicians. We are a 7 piece band with the 3 horns included. I was lucky to be the one representing the band. The trombone doesn’t have such a strong use when it comes to pop music, although it is huge in Salsa! I’m happy to play my trombone in any genre.

c. 2015 David William Brubeck All Rights Reserved. davidbrubeck.com
Images courtesy of Alex Cruz

MDC Kendall Campus Trombone Alum Clay Lucovich traveled North to Orlando after graduation to further his education at UCF and break into the central Florida scene. Clay is a a specialist in both classical music and jazz, and most enjoys brass quintet and jazz engagements. After a year in the Glen Miller Orchestra as section and solo trombone, Clay returned to Florida and accepted a position as second trombonist in the Tommy Dorsey Orchestra. In a recent telephone conversation, Clay shared that he had been subbing for the regular first chair player, Frank Wosar-(another Kendall Campus trombone alum), and playing the Tommy Dorsey Chair. Clay was kind enough to take time from his busy schedule to share some of his experiences with davidbrubeck.com Enjoy!

1. How did it feel to be asked to play first for the Tommy Dorsey Band?
It was an absolute honor to be asked to play the “Tommy” chair. My initial excitement and sense of achievement quickly gave way to apprehension as it dawned on me how much responsibility it entailed; however, it motivated me to focus on practicing more efficiently and productively, and ultimately growing as a musician.

What have you learned from studying his style?
I learned the importance of compression to maintain the bright, singing quality of the Dorsey sound as well as a consistent, quick, and smooth slide vibrato.

2. What experiences do you most remember from your time with the Glen Miller Orchestra?
I was on tour with the GMO for one year.The band is on the road at least 300 days a year and I’ll never forget the overall wear and tear that goes along with such a demanding tour schedule. The experience of touring Japan for a month was especially memorable because of their appreciation and love of big band and jazz music. The reception and welcome we had while we were there is unforgettable. Lastly, the camaraderie with other band members and the resulting life-long friendships was a once-in-a-lifetime experience and opportunity.

3. How did your adjustment from Miami to Orlando take place?
When I moved to Orlando I was at the right place at the right time. Within the first few months of being there, I heard about a Disney audition and decided to try out. I was offered the job which ended up opening a lot of doors for me and propelled my career as a freelance musician.

4. What do you most enjoy about being a crossover artist, who can play both classical and jazz styles at a high level?
I enjoy the challenge of one day playing lead trombone in a big band and playing in a brass quintet the next. Being a versatile player opens many more doors as well and keeps you sharp as a musician.

5. Any advice to young trombonists?
Do not neglect the fundamentals. Approach every practice session with a critical mindset and take advantage of every playing opportunity regardless of style/genre. Also, take lessons with Dr. Brubeck, of course.

c. 2015 David William Brubeck All Rights Reserved. davidbrubeck.com

Photos courtesy of Clay Lucovich

2015 was a blessed and exciting year for Stereograms!

James Markey’s CD, Psychedelia featured as suite of three Stereograms, Nos. 6, 18 & 7, as did many of his live performances and masterclasses.

Ben van Dijk completed a series of four Stereograms posted on the web, includings Nos. 3, 10, 34, and 41 in a Flamenco style with guitar accompaniment a la DUO BRUBECK.

The composer performed Stereogram No. 1 to a packed house at the 2015 Conference of the International Trumpet Guild (ITG) in Columbus, and Launched DUO BRASS Jazz with trumpeter Jason Carder and an ITG performance of Stereogram-based brass duo arrangements of “Sea Journey” and “Senor Blues”.

Brubeck also performed Stereograms Nos. 1, 6, 11, “I wish” and “Saints Go Marching In” at the 2015 International Euphonium and Tuba Festival in Atlanta, making him the first solo artist to be featured in a grand slam of the four International conferences of the International Trombone Association (2010), International Tuba and Euphonium Conference at Indiana University (2014), and the International Trumpet Guild (2015).

The ground breaking jazz duo featuring bass trombone and guitar-DUO BRUBECK, featured duo treatments of Stereograms Nos. 6 & 3 posted on line, in addition to numerous live concerts with four sets of original and arranged versions of Stereograms based on All Blues, Summertime and Use Me, Take The A Train, So Danca Samba, She’s Leaving Home & Old Devil Moon, And I Love Her, Sea Journey & Caravan, Señor Blues, Ain’t No Sunshine and I Wish!

Stereogram No 3, Dedicated to George Roberts
Performed by Ben Van Dijk

Stereograms Nos. 1-20 are published by The International Trombone Association Press, and available through Hickey’s music.

Stereograms Nos. 21-30 are published by The International Trombone Association Press, and available through Hickey’s music.

Introductory Stereograms Letters A-M are available through Cherry’s Classics. Enjoy a free sample, here.

Seven free Stereograms are offered online at davidbrubeck.com, and an additional four Holiday-themed Stereogrmas are also found there.

Stereogram No. 6,
Performed by James Markey

Available at cdbaby

Stereogram No. 41, Flamenco
dedicated to Ben van Dijk
performed by Ben van Dijk

Stereogram No. 34*, dedicated to Ben van Dijk
Performed by Ben van Dijk

Stereogram No. 10, Dedicated to Gustav Holst
Performed by Ben van Dijk

Stereogram No. 6,
Performed by DUO BRUBECK
David Brubeck, bass trombone & Mitch Farber, guitar

Stereogram No. 3
Performed by DUO BRUBECK
https://www.youtube.com/watch?v=6AkiQFPOkec&feature=youtu.be

Stereogram arrangements in the jazz duo setting,
Performed by DUO BRUBECK

Stereogram in recital included numerous performances by James Markey, and on bass trombone recitals. Ben Larson and Scott Evansen were kind enough to post their renditions of “How Great Though Arts” (Stereogram No. 41), which is dedicated to Douglas Yeo.

c. 2016 David William Brubeck All Rights Reserved. davidbrubeck.com

davidbrubeck.com is pleased to continue our tradition of providing free music to our readers in celebration of the Thanksgiving Holiday in the United States for the blessings of gratitude celebrated around the globe. “Happy Birthday” has been dedicated to one of the most recorded big band leaders in the history of jazz, and a personal favorite-Larry Elgart.

I had the pleasure of playing in Larry’s Band for about two years when he moved to Florida. The band he assembled was an all-star group from all over the state-Miami, Orlando, Jacksonville, Tampa-wherever. I remember playing with guitar great Jack Peterson and drummer Duffy Jackson, among others.

Larry was always a soft-spoken gentleman and a delight to work for. He played his alto saxophone as smoothly as anyone I had ever heard, and at a seductively rich sotto voce whisper, insisting that the saxophones do the same. The brass he let loose!

The arrangements were spectacular! Billy Butterfield, Billy May and many great arrangers filled his unique library culled from the more than 50 albums Larry had recorded as a leader or as a co-leader with his brother, Les. For bass a trombonist, Larry’s band was a dream come true, and the written bass trombone solos picked up where the solo figures of Nelson Riddle left off. Very prominent, exposed, and often aggressive, the featured bass trombone soloist was a clear signature of the band’s sound and a beautiful contrast to Larry’s alto.

Here’s to Larry, one of the greats!

Just a reminder, we have offered free music in the past. For your convenience, the Stereograms and solos for bass trombone have been listed below. Some are quite timely for the holidays…..enjoy!

SEVEN FREE STEREOGRAMS! (FROM STEREOGRAMS 1-20, 21-30, and beyond).

Drawing inspiration from the cello suites of J. S. Bach and vocalist Bobby McFerrin, David William Brubeck’s Stereograms have been performed and recorded throughout the globe. Though originally composed for bass trombone, almost all of the Stereograms have optional octave indications and work very well for euphonium, ‘cello, baritone, bassoon, and tenor trombone with ‘f’-attachment as well. (Separate editions have been transcribed for tuba and saxophone.)

CLick on each link below to access the music-and enjoy!

1. Stereogram No. 1, “Pankow”,

2. Stereogram No. 11, “Miami”

3. Link to Stereogram No. 31, “How Great Thou Art”

4. Stereogram No. 33, “The Star Spangled Banner”

5.

6. Stereogram No. 37, “’Tis So Sweet to Trust in Jesus”-original

7. Stereogram No. 37A, “’Tis So Sweet to Trust in Jesus”-(slightly higher and faster)

CHRISTMAS AND HOLIDAY STEREOGRAMS
I love to use melodies as part of my warm-ups, and at this time of year Christmas melodies are irresistible! This was an improvisation that I transcribed, and polished a bit. See if you can figure out the beginning tune. Feel free to substitute sixteenth notes for thirty-seconds; I play it both ways! Hopefully, a few of these Stereograms will find their way to Salvation Army kettles. Enjoy.

Stereogram No. 40 is dedicated to Donald Knaub, a wonderful man and musician. As a bass trombonist, and particularly with his solo recordings, his influence has been enormous. Merry Christmas, Don!

Silent Night, Stereogram No. 38

We Three Kings, Stereogram No. 32

Jingle Bells, Stereogram No. 39

INTRODUCTORY STEREOGRAMS A-M

MUSIC FROM DONALD BOWYER

davidbrubeck.com is delighted to continue the tradition of free music for bass trombone with Don Bowyer’s “50 + 50 Triathlon”, for unaccompanied bass trombone, goggles, racing number, and bicycle helmet. Don is a mutlifaceted musician and humanitarian who now makes his home in Arkansas. A gifted bass trombonist, music writer, and educator, Don has graciously allowed us to publish this miniature in three movements. Each movement includes 50 notes for the first 50 years and 50 more, for 50 50 fifty more! Written for Carolyn of her 50th birthday, and commissioned by Von Graves. Enjoy!

Don Bowyer is Dean of the College of Fine Arts at Arkansas State University, having previously taught at every level from kindergarten through university in the United States, the U.S. Virgin Islands, and Sweden. Bowyer received his Doctor of Arts from the University of Northern Colorado, his Master of Arts from California State University at Northridge, and his Bachelor of Arts from West Virginia Wesleyan College.

Active in the fields of composition, music technology, and performance, Bowyer has published more than 60 pieces of music, developed an educational computer program (which has been used in more than 120 countries), and has performed all over the globe. Among numerous performing credits, Bowyer spent five years playing trombone on eleven cruise ships in the Caribbean Sea, the Mediterranean Sea, and the Gulf of Alaska. The first ten didn’t sink; see donbowyer.com/aground, for an account of the eleventh!

2013-05-03 Composition List Sheet1

Bowyer and his wife, Donna, have also served as foster parents, having provided a home to eighteen foster children between 2003 and 2010.

“Think outside the box”, must be a mantra for sousaphonist/tubist Bill Pritchard. If there are genres, he’ll blend them; if there are meters, he’ll mix them, and if you hire a bass player near Atlanta, you had better double check the case that instrument comes in! Bill believes that tuba bass fits anywhere. “The Fourth Valve” tm is delighted to mix it up with the sensational southerner Bill Pritchard. Enjoy!

1. What are the advantages of sousaphone? Any disadvantages?
The biggest advantage is you really have is the advantage that both trumpets and trombones have is that you can control your bell angle and decide where you want your sound to go. That of course goes away a bit when I’m in a rock club because I’m almost always mic’ed.

Another advantage is the mobility, I think it really adds to the visual element of a show when you can actually move around a bit.

The disadvantages are really intonation and in general, sousaphones feel pretty nebulous in the staff. I don’t think that sousaphone development has come as far along as tuba development has in even say the last 5 years.

I just recently became an artist for Eastman and along with playing their new CC tuba (632) I’m going to be working with them on tweaking their sousaphone. I’m really excited about that!

2. How do you approach mixed meter? When do you think the small notes, and when do you think the big ones?
I’d say that so much of what I do in both Mercury Orkestar and 4th Ward Afro-Klezmer (4WAKO) I’m focused on the big beats and the overall groove.

I remember being in an Alan Baer masterclass and he was taking about how excepts can be in time, but not groove. He recommended playing with a drum machine, and honestly that’s the best way to do it.

I’ve tried with my students to explain the difference, but I always come up short in expressing it verbally, but you can really hear it and when sting with a drum machine (or drummer for that matter) you can really feel it.

Playing Fountains or the Ride with a waltz beat completely changes how you approach it.

Don’t get me wrong, the subdivisions are vital and I’m hearing them in my head or the drummer is playing them, but as far as feel is concerned, I’m usually focused on the big beats.

3. Would you rather play a melody or a bass line?
Wow, great question! I love solo playing, I really do, especially 20th century literature, and I love playing melodies when I’m in Midtown Brass.

In both Orkestar and 4WAKO in terms
Of composition, I’m in a weird spot. I’m clearly the bass line generator, but I’m still a horn and at times used as part of the horn section and not just part of the rhythm section.

I’m also called on in both groups to take solos, which is rare for bass players in general and very rare in Balkan music. I really love being able to do that and it’s pushed me so much musically to learn how to craft a good solo.

I’m really lucky that I get to do so many different things in music. I think if I just did one, I would go insane, so I love both really and I would feel really out of balance if I could do both.

4. How have you changed your concept of sound and equipment to play with amplified instruments?
I would say in general, my sound concept has changed on both tuba and sousaphone.

Growing up around NYC, I wanted to be Warren Deck (didn’t everyone) and I think we were all trying to go bigger and darker all the time.

I think I took things a little too far and at some point I realized that the sound wasn’t very lively and there was very little clarity to my sound.

At that point, clarity and flexibility of sound color became really important to me. I changed my big horn from a PT6 to a PCK, changed my F from a PT10 to a handmade 822 and now play an Eastman CC (632) in quintet.

I also began playing Parker Mouthpieces (and liked them and Michael so much I became an artist). Maybe I’m crazy, but I feel as though that they give more clarity and carry to the sound (along with feeling nice in the face).

As far as Sousaphones are concerned they are pretty different in terms of what kind of sound they make. For example 20K’s make a really great big warm sound. I played one in the Army and if you want to retain lots of the tuba color, that’s your instrument. On the other end of the spectrum are the old King’s that are a much brighter sound.

I play a Yamaha (for now), which is a much brighter sound that helps me have a lot more clarity when playing with amplified instruments and really meet the standards of clarity and flexibility for me.

5. What are your favorite non-traditional uses of tuba?
I love hearing the tuba, all the time! It’s super cool to hear tuba in rock bands. I play in one (B Wayne and the Belfry’s), but other than shameless self promotion, guys like TubaJoe Exley and Matt Owen (Eclectic Tuba) are doing great stuff.

In world music hearing a classmate from Eastman of mine John Altieri of Red Baraat. Of course so much of what happens or is inspired by New Orleans is great, so guys like Nat McIntosh of Youngblood, Matt Perrine of Bonerama, New Orleans Nightcrawlers, Tin Men etc…

The guy I’m following the most (maybe stalking, JK) is Sergio Carolino. He’s amazing, all over the horn, in every style in all sorts of settings, he is killing it.

6. What would it be like for tuba players today if tuba players in the 40s had completely given up bass function?
It would really have been pretty disastrous for us. We would have only been used in the orchestra and only to bolster the bass section or maybe for an occasional March.

There would have been no way for Canadian Brass to happen, and they really influenced brass playing and chamber music for everyone. They made it a viable income source for all of us.

We would have never been considered to play in crazy world music or rock stuff, bands like The Roots would have never had a sousaphone.

Even our contemporary classical music, wether it be orchestral, solo or chamber has been influenced by pop music (rock, jazz, rap whatever) and we function as a bass player. If we lost that ability, composers wouldn’t have written it for us.

7. How did Greek (Balkan)wedding music come to Georgia, and what makes it different?
I really found that music through Slavic Soul Party (they’re amazing). After hearing them I started checking out where they’re style came from.

I then ran into groups like Fanfare Ciocarlia, Taraf De Haidouks and guys like Boban Markovic.

Little did I know that a great friend of mine, Erik Kofoed (who I went to Eastman with and we lost contact after school) had moved to Atlanta and also loved that music too.

He started by organizing mixed chamber music concerts where we would play music written for us, classical transcriptions and the occasional Balkan tune.

We became roommates and we were looking at each other’s CD’s and we started talking and wondering could we have a group that just does party music? Luckily we decided to do it.

Well, I guess Erik did, he’s really a genius arranger and composer and he runs Mercury Orkestar and has done all (except maybe one) tune.

We’ve had a really great reception here in Atlanta, it’s been really cool.

8. What are your personal mixed meter song hall of fame nominations?
There are so many! One really common time signature is called the Balkan Four. The big beats are in four, but it’s written in 9/8, so that one of the beats is elongated by one eight note.

But my favorite has to be a Bulgarian tune called Krivo Horo. It’s written in 11/16 but felt in 5 with the 3rd big beat being elongated by one 16th note. It’s a great tune and Erik’s arrangement is lots of fun to play.

9. What is your basic approach to bent notes and using your voice? How important are they in your playing?
I can’t say that I use my voice often when playing. Occasionally I used multiphonics on solos or at the end of a tune and maybe the occasional yell or vocal noise, but nothing to the extent of someone like Nat McIntosh, he kills it and if I can’t do it better or more original, I’d rather not just sound like an imitator.

I do use a fair amount of bends and rips when I play and feel like that’s more of my voice than my actual (very high) singing voice.

Technically speaking I use some half valves for effects and for rips in general, when you push down all thee valves in a sousaphone and blow pretty quick, you can get some pretty neat sounds, but like with all things I do, I really let me ear guide what I do and form follow function (thanks for that Jan Kagarice!)

c. 2015 David William Brubeck All Rights Reserved www.davidbrubeck.com

The American Brass Quintet is comprised of:
trumpets (Kevin Cobb & Louis Hanzlik),
horn (Eric Reed), and
tenor and bass trombones (Michael Powell & John D. Rojak).

The American Brass Quintet is distinguished in so many ways. As educators, their residencies at Aspen and Juilliard alone have shaped generations of the most promising brass musicians, not to mention their innovative residencies around the globe. As preservationists of a traditional chamber music approach to brass (which more closely parallels that of a string quartet), they are unmatched. From the ABQ dedication to the more evenly matched timbres of two trumpets and two trombones as the core of a brass quintet, to their persistence in bringing new music for brass to every concert, they are the champions of art music for brass. With a bass trombonist as the bottom voice, it was perhaps natural to take advantage of brass literature from earlier historical style periods, to have done so with such detailed vigor is unprecedented. With over 150 new pieces commissioned and premiered for brass, 50 albums, countless tours, and an impressive array of current and former members, the American Brass Quintet has literally shaped the course of chamber music in America for more than half a century.

“FIVE!” tm is delighted to host the innovative American Brass Quintet as featured guests for our chamber music interview series. Our respondents are:
Eric Reed-ER, French horn (formerly of the Canadian Brass)
Michael Powell-MP, tenor trombone
John Rojak-JR, bass trombone

How would you describe the distinct musical values passed down from the ABQ founding members to the current performers?
When ABQ was founded, the members at that time made it their mission to champion music written for brass instruments and to avoid transcriptions of popular classical music, jazz, and music that had been written for other ensembles. Our current group continues that tradition which has resulted in over 150 pieces from composers of our time, as well as dozens of editions of early music adapted from music written for the predecessors of modern brass instruments. We have always known that a concert of original brass music can be entertaining and leave an audience richer for that experience. JR

How do you view the development of the Brass Quintet in the United States, and the role of the ABQ in that development?
Brass quintets started developing in the mid-20th century and all brass players owe thanks to Robert King, who published a wealth of arrangements and original pieces starting in the late 1930’s. The New York Brass Quintet made an incredible impact with their domestic touring in the 1950’s and ‘60’s, bringing serious brass chamber music to many audiences. (By the way, before Harvey Phillips played tuba with NYBQ, the bottom voice was Julius Mencken on bass trombone!) ABQ came along in 1960 and continued what NYBQ had begun, commissioning new works, touring internationally and showing brass as a viable option on chamber music series. The Eastman Brass Quintet, Annapolis Brass and other groups formed and brass music began to develop a repertoire. When the Canadian Brass changed the nature of brass music in the 1970’s, some of those ensembles had a harder time programming serious repertoire. Many groups emulated the CB model, and ABQ became more unique in the field. Currently, it seems that audiences can accept the ABQ and the CB models and young quintets have been formed that play serious rep, light rep, and a mix of styles.

ABQ’s role in brass quintet development has been long term, and we think deep rooted. ABQ has been highly influential, commissioning leading composers of our time and recording dozens of those pieces, giving audiences and performers access to brass music of Ewazen, Sampson, Druckman, and many others. We have performed on 5 continents, 50 states, and reached many thousands of people. With residencies at the Aspen Music Festival since 1970 and Juilliard since 1987, we have coached many brass players and shared our values about chamber music. Many of those students have become performers and teachers, passing on ABQ traditions to the next generations. JR

How would you describe the access to composers, musicians and cultural influences that have arisen due to your residence in New York City?
New York City is truly a melting pot of all sorts of influences. We are lucky to be rubbing shoulders with both preeminent and aspiring artists on a daily basis, and that continues to inspire us. I absolutely love the variety of experiences the city offers to artists. Just to think that for every event occurring in NYC there are at least another hundred occurring at the very same time-all with different musicians, music and composers behind the music, is truly mind-boggling. If we could only be in 100 places at once! The knowledge that other inspired creators of art are right around the corner, perhaps even on the cusp of writing the greatest brass quintet ever written, drives us to keep on our mission to find them-and to get them to write it. We are in a wonderful place to be able to do that. -ER

Adapting to different styles is arguably the most challenging for a brass chamber music due to the greater span of historical music, and the intensity with which the brass timbres were explored during the 20th century-particularly in jazz. As one of the few groups who excel at each style, how does ABQ maintain artistic integrity at such a daunting challenge?
Our artistic integrity is due to performing music written for brass quintet or the predecessors of our instruments. In early music, that means cornetti and sackbuts, or 5 part instrumental music, and in some cases, vocal music from the Renaissance. We consider our early music performances to be historically informed. We have spent time studying treatises and listening to fine examples of performances by musicians who have dedicated their careers to those styles. Contemporary music is actually easier in many ways. Composers tend to mark the score precisely how they want it heard, and better still, we can talk to them! We always spend time with composers who write for us and make sure we are representing the music as intended. JR

What is it like to tour with the ABQ? On the bus? After the concert? What have been some of your most memorable audiences?
The current members of ABQ are having a blast on tour! Our first major tour with Louis and Eric was 3 weeks in Australia. We spent a lot of time together, eating probably 80% of our meals as a group. We had some wonderful nights after concerts, but we’re a fairly conservative bunch—no wild parties or morning hangovers. We talk! We’ve had many memorable audiences and concerts, but perhaps the most moving in recent memory was in Prague shortly after 9/11. We played “Ah! dolente partita” by Monteverdi, a madrigal with text that refers to painful separation, in St. Bartholomew’s Church. The ambience of the church, the ring off of beautiful harmony, and the hushed, then warm, reception of the full house was stunning. The empathy towards us as Americans in the time following our country’s tragedy was incredibly touching. JR

The ability of brass to radically alter their timbre seems vastly superior to other acoustic instruments, and yet sometimes rarely prized. Can you address the pros and cons of mutes, and whether you think that they are under-utilized?
I’d say mutes are not under-utilized by any means in the ABQ. It’s difficult to navigate the stage setup without kicking one, and some of the trombone mutes I see on stage look like alien spacecrafts!

Indeed, there is always room for more color, it’s just a matter of how the mutes are utilized, by the composer and by the player. The trumpet players in ABQ are continuously getting new versions of similar mutes because they are shaped differently or made of a heavier material or offer different tuning options. It’s a wild world of mutes out there, and the ABQ utilizes most if not all of them. I agree, it’s an amazing thing about brass writing that mutes can so vastly alter the sound and color. The only down side that I can see is carrying the things in our luggage! -ER

What is a quintet warm-up like with the ABQ?
I have been in the ABQ for over 30 years, and there has never been a coordinated quintet warm-up. It sounds like a fine idea for a younger ensemble, however. Even when warming up independently in the same room, acceptable manners absolutely apply: Always be personally and musically polite regarding sound level, intonation, and your own passage-work connected with your warm-up. -MP

With the ABQ it is clearly all about the music, and yet the prominence of the bass trombone (certainly not to the exclusion of the tuba), often gives your ensemble a characteristic sound. How would you describe the ABQ relationship with the bass trombone, and what do you make of the trend for smaller tubas in other brass quintets?
The use of tuba in a brass quintet adds a nice roundness of sound, coupling with the conical French horn in a pleasing way. That said, it’s a bit like using a double bass in a string quartet instead of a cello; certain voicings and instrument ranges leave something to be desired in the middle of the spectrum. In the ABQ, the matching qualities of the two pairs of trumpets and trombones create a nice balance of sound timbre, which I think outweigh the sometimes deeper, rounder quality of a quintet with tuba. As for the popular use of smaller tubas in brass quintet, the often unfortunate trade-off for easier transport is a lack of full, round tuba sound mentioned above, and a wonky low-register, which begs the question, why use tuba after all? Nothing against tuba in brass quintet, it just presents more challenges, including overhead bins. We’re happy with the bass trombone for so many reasons. -ER

Describe the ABQ commitment to new music and composers. How do you find it best to bring challenging pieces before the public?
From the beginning, one leg of the ABQ’s mission is to foster new works for the genre. Having a new work embedded in a mixed program is our method of introducing our audiences to music of our time. In general, the newest work is performed at the end of the first half of the recital, after playing older, stylistically familiar works which more easily connect with many concertgoers. On tour, we always speak from the stage between works, which is undoubtedly helpful in introducing the audience to us and the music-whether old or new. -MP

Which are the chamber music groups that inspire you?
We often say that a goal of the ABQ is to be on the same chamber music series as string quartets and piano trios, and I’d say we are achieving that goal in virtually every venue. In order to be fully aware of what those chamber groups bring to a series, it’s important for us to see them perform. In the last month, we’ve been fortunate to be presented alongside the American and Borromeo String Quartets at the Aspen and Cape Cod festivals, respectively. Hearing and seeing those fantastic quartets perform was truly inspiring. -ER

c. 2015 David William Brubeck All Rights Reserved www.davidbrubeck.com

Photos courtesy of Juilliard and the ABQ

Interested in more “FIVE!” tm interviews?

Canadian Brass 2014, Windsync 2014, Boston Brass 2015, Mnozil Brass 2015, Spanish Brass 2014, Dallas Brass 2014, Seraph 2014, Atlantic Brass Quintet 2015, Mirari Brass 2015, Axiom Brass 2015, Scott Hartmann of the Empire Brass 2015, Jeffrey Curnow of the Empire Brass 2015, Ron Barron and Ken Amis of the Empire Brass, Meridian Arts Ensemble 2015, Berlin Philharmonic Woodwind Quintet 2015, American Brass Quintet 2015

David Brubeck asked me about the trombone climate that I found myself in around the L.A. area during my time. What follows is kind of a train of events that got me where I wound up along that meandering stream in the music business.

Q1. California and LA are know for innovation. From Olds to Minick, Earl Williams to Burt Herrick, Kanstul, and George Strucel, what has your involvement been with CA/LA “customizers”?
A: When i was coming up through the ranks of practicing trombone players, the norm for a bass trombonist was a single valve, Bb/F horn and an actual, not faux, “E” pull technique. After hearing George Roberts I knew I wanted to ‘play like that’ only in a Symphony setting. After using school horns for a few years, namely an Olds Ambassador, and a Reynolds Contempora, I decided to graduate to a real instrument. A guy named Si Zeldin was a local LA trombonist that had a Bach 50B bass trombone that he wanted to unload on a talented student. Somehow we got together, but he needed to hear me play to see if I was good enough for his prized Mt Vernon Bach. It was an early 50’s vintage, serial no. 1183, or something. I fooled him enough that he sold me the horn for $300, U.S., and it was a gem. This very horn solidified the tonal direction I would take for the rest of my time in the bone biz.

I’m often asked the name of my most important teacher, and I have to admit that it was that Mt. Vernon Bach 50B. My main teacher was Robert Simmergren. It wasn’t long before I was experimenting with leader pipes and mouthpieces made my local craftsmen. My first experiments were with “old-tyme” brass repairman, Burt Herrick. He was a true craftsman and made me some bass trombone lead pipes that I treasure to this day. Every one who tried these pipes loved them too and wanted to buy them from me. But no, I used one of his for decades on several different horns. Eventually, experimenting with lead pipes lead me to a collection of about 30 lead pipes of all descriptions. Burt also made mouthpieces and they were very good. I still have a trombone stand that he made in 1962 that has a cymbal stand base and after he took measurements, a mandrel turned wooden head made from a used bedpost covered with felt ( and a succession of black socks) that fits a b. trb. bell perfectly. I also had dealings with Earl Williams who made trombones in his shop in Burbank. I loved his bass trombone but it was still not as good as my old Mt. Vernon. Dick Nash played a Williams and so did Phil Teele for decades. George Strucel had a small shop right downtown L.A. He was the first of the genius-class horn builders that I was happy to have run into. I asked him to add a second valve, stacked to my Bach 50B but using only one lever. No problem. I still have the guts to that job and it worked like on a universal joint, pushing thumb straight down for F and sideways at a diagonally down for Eb (eventually D).

https://www.youtube.com/watch?v=qhQZn2MWhR8

The most important collaboration I was involved in was with the fabled horn builder, Larry Minick. We were the same age within a week and played in the All Southern California High School Honor Band together, him on Tuba next to me on bass trombone. We were like brothers. The guy was simply a genius. He could solve any problem. About the time I meet him for the second time (since H.S.) I was already thinking about making a better mousetrap. He re-arranged Stucel’s handiwork to include 2 independent levers which, in the long run worked better. Larry was the first one to do this and the open wrap on a bass trombone. We tried all kinds of odd-ball ideas like:
Converting a Conn 60H, single valve horn into a double valve/stacked horn with no F-attachment. Huh? Yes, Bb/G/D, side by side. It really worked well fixing the resonance woes with the F attachment.

Another idea was to build a Great Bass Trombone in G. I had bought a Boosey and Hawkes G trombone while we were on tour in Manchester (UK) and got to choose from dozens of obsolete G trombones. I think I paid $100, U.S. for the horn with case and mouthpiece. But, this purchase got the ball rolling to have a lower pitched trombone that could do KontrabaB Posaune duties in the orchestra, and without a handle or double slide. So, Larry made the first of six Great Bass trombones for my perusal. It was an in-line rotor horn using Bach valves and 50B slide with custom neck pipe and hand hammered and formed, two piece soldered bell, the shape extrapolated out about 20% from the dimensions of a Bach 50B bell. With the addition of a European K-baB posaune mouthpiece it was a great instrument.

The pitches were: G/Eb/D/B and later G/D/Eb/B in first position. G, thumb D, 2nd valve E, both-C and the second set: G, thumb D, 2nd valve Eb, both-B. The horn wound up having only 6-1/2 positions, but that was enough with all the valve combinations. Only low Ab, using all the tubing the horn possessed was a little stuffy. It has a great double pedal G.

This is a clip with the Phil with Carlo Maria Giulini playing the Schumann 3rd. Part of it includes the great chorale with Ralph on his Conn Eb alto, Sonny on his 88H, and me playing the Minick G Great bass, so, 3 sizes of trombones.
Editor’s note: Trombones featured at 23:20

I learned how to play this horn by practicing the Vaughn Williams Tuba concerto and it took 6 months of actual practicing to get it down so it was automatic. Before this instrument, I was locked into playing Roger Bobo’s 1909 Conn BBb, double slide, double-clutching, contra. I was never enamored of the tone as it did not sound like a trombone; it just looked like a trombone.

Larry also made a double slide contra in CC/GG for the Moravian Trombone Choir in Bethlehem which had the best sound ever of any double slide trombone. We also experimented with in-line instruments and I played the prototype valve Ed Thayer made. Because I have a wide jaw and play downhill slightly, I could never get it around my face. Too bad. I was never really happy with the constrained sound of an in-line rotor horn, even thought I owned a couple and tried like mad to make them work, all to no avail.

Spoiled by the Bach 50B, yet again.

In the meantime, after trying a lot mouthpieces, I asked Larry to make a mouthpiece to my specs. No problem. It would involve a deep, but cup shaped cup as I had had it with cone shaped cups-check; a rather wide rim for endurance -check as I had had it with cookie cutter rims; a rather tight backbone for more middle overtones coming out the bell-check. He wound up make hundreds of them. I still play one that I found on his shop floor, unplated. I asked him if I could try it and noticed it had a ding on the side of the rim-the reason it was on the floor. I played it and asked if it could be plated. No problem.
I’ve owned some famous horns over the years including a 1921 Fuchs model, tuning in the slide, Conn Bass Trombone owned by Ralph Sauer’s teacher, Bob Harper. It had a very special sound. Minick made a valve that went into the F-pull slot so as not to ruin the instrument. It was actuated by a long stem and lever. Lew Van Haney sold me a couple of his old horns including a series 1, N.Y. Bach 50 Bass trombone built as one of the first of six by Vincent Bach in 1933. The serial number was 598 or there about. The bell was only 9-1/4” across but it had that big throat. Great horn. As Harper tells the story, Vincent borrowed his 1921 Fuchs model so as to make dimensional plans for his first foray into the world of bass trombones. So this gives one the Alpha for Bach Bass Trombones.

Now a word about the instruments of the Downey Moravian Trombone Choir. This year will be 50 years since I started this strange ensemble. At the beginning, I had a Mirafone Soprano; a Mirafone Eb alto; and found a couple guys to play in a quartet. Gene Pokorny was also in the band on my Conn 72 H bass trombone. As time passed, I needed to expand the instrument supply for this Baroque Trombone group, so I called Olds, and they happened to have four F-alto trombones already made up with a .455” bore. Just right. A very lightweight sound and half way between soprano and tenor in sound. So, I bought those and looked around for sopranos. I contacted Getzen and talked to MR. Getzen about having some good sopranos made. No problem. So he cranked out a dozen or so of which our players purchased with abandon. Along the way I bought a 1910 Conn slide cornet and own it to this day. What a great sound. In the meantime, I asked Larry to make a Minick Eb sopranino trombone and I own it to this day. Some very good trumpet players wound up playing the ‘Eeffer”. We also used Conn, Bach, Minick, and other Eb altos which were somewhat more readily available. I bought a couple more BBb contras by Mirafone to use with the big groups. The largest trombone choir ever for us was at Christmas in 1979 when we sported 97 players at our Advent program, including five contra players, with case and mouthpiece. Tommy Pederson wrote some special music for the occasion and played in the band along with half of the players in L.A.

Above, in about 1966, is the first gig I ever played with the L.A. Phil. Byron Peebles on 2nd and Robert Marsteller on 1st. They needed a quick replacement for Charlie Bovingdon and I got the call. Right place. Right time. Right stuff. Right people. I had taken lessons from both of these guys.

Q2. Please reflect on the most memorable conductors you have performed with, and their characteristics.
A: In no special order: Zubin Mehta (he hired me, and that’s worth something), Itsvan Kertesh, Salonen, Boulez, and very specially C.M. Giulini. Oh, I’ve got stories, but that’s all ancient history now.

Q3. In televised broadcasts of the LA Phil it has appeared to me and sounded as though it is a remarkably relaxed orchestra physically. How does the LA Phil approach music differently?
A: I don’t know. I think Tom Stevens put it the best when he answered that question to a management person, “We just take care of business.” It didn’t hurt that everyone in the hard brass could pull their own weight. Nothing is more cancerous that trying to cover for a weak colleague.

Q4. From solo recordings to excerpts you have taken on several special projects. Which were most enjoyable? Which seemed to have the greatest impact?
A: Putting an album together is work no matter how you do it. Since the brass were on a perpetual roll with the recording industry at our doorstep it was easy to put together a recording project in terms of logistics. Also, if you have the stuff, record it, quick before you don’t have the stuff.

Q5. How did you become associated with the Moravian church, and how has it enriched your life?

A: My first wife, Judy, played organ at the Moravian Church and we were married there. They needed a choir director and she asked me if i could do the job for $50 a month and all you could eat-(enter the starving trombone player). Sure! I conducted the choir there for decades to good avail. It made me a better musician, with them occasionally bringing me to my knees. Within 2 years, Judy was dead of Hodgkin’s disease. Only after a couple years did I find out that the Moravians had historically used the full consort of trombones for their services. Thus started a collaboration with the old and the new in terms of slip-horns.

Above is the Moravian trombone choir about 1967. Gene (Conn 72H bass) and brother Bob Pokorny (Mirafone Eb alto) played in this octet. You can see the two Mirafone sopranos on the right. I’m on the left, next to the would-be tuba player in the Chicago Symphony.

Q6. Please describe your success as a teacher, which has included remarkably diverse students. Which are most memorable at this point?
A: Some of my best work was not with trombone players at all. I’ve had very good luck with every trumpet player I have taught, every horn player; and most, not all, tuba players. Really, my least success has been with tenor trombone players who think it’s the same as playing bass trombone. It isn’t.

Q8. What is the best bass trombone playing you heard?
A: A few not-so-famous hero bass trombonists come to mind, but I’ll keep that to myself. They know who they are. Generally, George Roberts was my hero at the beginning. I got to play next to George on recording dates in Hollywood and have a little story to tell:

One day recording at Disney Studios on one of the VW Herbie movies, there were 5 trombones: Dick Nash, Lloyd Ulyate, Ed Kusby, myself, and George Roberts on last trombone. The tenors fed into one mic, and the bottom two fed into one mic.

After the first set of takes, a few of us went into the booth to hear the playbacks. Tenors got on great. George Roberts sound jumped on the mic. My tone was non-existent. George said he was used to this, and said I should move up closer to the mic.

I got right up on the mic with George several feet away.

More playbacks.

No change in balance.

George says, “play louder”. I did that and finally got on but with none of the sizzle that George had. Tommy Johnson who was on the call, confided in me that George had what he called “the mystery tone”.

He could get on any microphone, no matter how distant.

Q9. Please recall your favorite stand out performances.
A: Probably the operas we did with the Philharmonic. Falstaff with Giulini was a pinnacle set of performances. I played the trombone basso part on the G Great Bass. Before the rehearsals started, Bobo and I had a meeting with the maestro to decide what instrument he wanted to play the bottom part. Roger had his F-tuba along, and I brought a bass trombone and the G Great Bass for him to hear, or not and decide. One look at the Great Bass and Giulini exclaimed, “Deese one! I like deese one.” So, that’s how the instrument selection was settled.

I was also fond of doing Wozzek (A. Berg) on the G Great Bass, in this case with Simon Rattle. Just right. Also the Berg Violin Concerto with different fiddle pickers.

The Symphony of Psalms is right up there, with its mystical aura.

After 22,00 services with the band, nothing sticks out any more.

In my declining years I conduct and arrange music for four Compline Choirs.

A Comprehensive Workbook for Bass Trombone & Trombone with ‘F’ Attachment, by Jeff Reynolds.

c. 2015 David William Brubeck All Rights Reserved. www.davidbrubeck.com

Photos courtesy of Jeff Reynolds.

Interested in more “Seve Positions” tm interviews?

Charlie Vernon of the Chicago Symphony, James Markey of the Boston Symphony and New York Philharmonic, Chris Brubeck Jazz Great, Doug Yeo of the Boston Symphony, Jeremy Morrow of the New World Symphony,Tom Everett of Harvard University, Gerry Pagano of the St. Louis Symphony, Ben van Dijk International Soloist, Randall Hawes of the Detroit Symphony, Denson Paul Pollard of the Metropolitan Opera Orchestra, Thomas Matta, Chicago Jazz Man, Fred Sturm Matrix Bass Trombonist, Bill Reichenbach, King of the Jazz Bass Trombone, Massimo Pirone Brilliant Improviser, Erik Van Lier Jazz Great, Jennifer Wharton NY Studio Cat, Matyas Veer Classical Soloist, & Stefan Schulz of the Berlin Philharmonic.

Stereogram No. 3, Words and Music by David William Brubeck, Dedicated to George Roberts.
Published by the International Trombone Association Press, and available from Hickey’s Music.

This is the only Stereogram that started out with accompaniment. The chords I originally selected had been lost, but I added new chords. The accompaniment was beautifully realized by Tom, after a few brief suggestions, and one rehearsal.

Kindly click on those of these links to play the video-thanks!

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If you are familiar with the story of George Roberts’ first performance of “September Song” with the Stan Kenton Orchestra, it was in that spirit that this piece was composed.

If you haven’t heard the story…
“It was George Roberts’ first night as bass trombonist with Stan. The corn-fed Iowan had left the employment of Gene Krupa (where his section-mate had been the great Urbie Green), and moved to California.

As the evening progressed, the electricity failed and the lights went out. Stan announced that the bass trombone feature, “September Song”, would have to be skipped over, because it was the new bass trombonist’s first night with the band.

George said he had memorized the feature and, with Kenton’s blessing, played it note-for-note, in the dark!

Please see the lyrics for my original below:

I Didn’t Love You Girl
Words and Music by David William Brubeck
c. 1993/2015 David William Brubeck (ASCAP)
All Rights Reserved

I didn’t love you girl, the moment we first met.
And when I heard your name, it was a name I could forget.
Not when you “claimed the room”, not caught by your perfume;
not kiss, nor this.
No look into your eyes, not captured by your sighs.
No bliss. No tryst.
No, none of these were how, ’cause I didn’t love you girl…
’til now.

This recording appears courtesy of composer Federico Bonacossa.

Enjoy!

Words and Music c. 1993/2015 David William Brubeck (ASCAP)
All Rights Reserved www.davidbrubeck.com

Having been some days in preparation
A splendid time is guaranteed for all!!!

DUO BRUBECK is celebrating the life and music of John Lennon in a special concert for for the young at heart. Our observance honoring Lennon will include the reading of “Lucy In The Sky With Diamonds” as a children’s book while free copies of Brubeck’s introduction to the musical instruments entitled “Violin Violin, What Do You Hear?” are given away to young readers in the audience.

For the young at heart, DUO BRUBECK will present musical renditions of “Lucy in the Sky” as well as Beatle hits “And I Love Her” and “She’s Leaving Home”.

Several children’s songs will be sung and then given an original jazz treatment as only DUO BRUBECK can, while introducing elements of music. These include: “Go Tell Aunt Rhody” a la Desi Arnaz, “The Itsy Bitsy Spider” a la Bob Marley, “The ABC Song a la Sinatra”, “You Are My Sunshine” in the style of New Orleans Funky Jazz, and “Yes Jesus Loves Me” in the style of DUO BRUBECK!

In honor of the 100th anniversary of Miami Beach, Jackie Gleason will be honored with the world premiere of David William Brubeck’s song “I Dream of Miami Beach”.

Join us, won’t you?

Having been some days in preparation
A splendid time is guaranteed for all!!!