Fall 2008 DBQ Newsletter

the dave brubeck quartet
NEWSLETTER
P.O. Box 216
Volume 26. Number 1
Wilton, Connecticut 06897
A LETTER FROM DAVE
Dear Friends,
We have had an incredibly busy spring and it looks like
we are going to have an equally challenging summer.
Iola will tell you all about the great Brubeck Festival we
had in April in Washington, DC. Every day for a week
was filled with programs and concerts revolving around
the theme of “cultural exchange”.
Our final concert was
with Ramsey Lewis at
K e n n e d y C e n t e r.
Ramsey’s trio and the
DBQ then played a
number of split concerts on tour in the
Northwest.
I usually have a new
recording to tell you
about. The difference
this time is that the
new album, to be
released in August,
consists of old performances. I am talking about 50 YEARS
OF DAVE BRUBECK,
L I V E AT T H E
MONTEREY JAZZ
FESTIVAL 1958-2007.
The entire album is an
eclectic mix and an
aural perspective of my
various groups over a span of 50 years.
In 2007 the Monterey Jazz Festival celebrated and
commemorated a half century of memorable performances by most of the biggest names in jazz. As an outgrowth of their golden anniversary, the Festival has been
Summer 2008
releasing on their own MJF label, performances selected
from their historic Festival archives. Since I was there literally from even before the beginning (when the DBQ
auditioned for the city council to demonstrate the kind
of music the festival would promote), my producer,
Russell Gloyd, decided that rather than choose one
complete set from a particular year, we should showcase
various groups who have
appeared with me at the
Festival, starting with
Paul Desmond, Eugene
Wright and Joe Morello
performing “Two Part
Contention” in 1958
and ending in 2007
with my current quartet,
Bobby Militello,
Randy Jones and
Michael Moore, playing “Margie”.
In
between are Gerry
Mulligan, Jack Six and
Alan Dawson performing “jumping Bean”
and “Sermon” (1971),
the latter piece showcasing Mulligan’s fascinating solo on baritone
sax and a piano solo,
“Goodbye, Old Friend”,
I played as a tribute to
Gerry shortly after his passing in 1996.
In addition to the contrapuntal “Two Part
Contention”, the “classic” quartet performs a signature
jazz waltz “Someday My Prince Will Come” (1962) and,
of course, “Take Five” (1966). One of my favorite
continued on page 2
A LETTER FROM IOLA
pieces, because of it rhythmic complexity and its exploration of the so-called Devil’s Interval, “Tritonis”
(1985) is also included with Bobby Militello soloing on
flute, Chris Brubeck (electric bass), Randy Jones (
drums) and Bill Smith (clarinet). On previous recordings of this tune Jerry Berzonzi on tenor sax was featured, and a later recording was with Bill as soloist.
There is a surprise guest on “I Got Rhythm” (2002)
when bassist Christian McBride, who at that time was
artistic advisor to The Brubeck Institute, joined our regular group. In recent years with the current Quartet of
Militello, Jones and Moore we have reawakened the old
tune “Sleep” (2006), playing at a fast tempo that belies
its association with Fred Waring’s Pennsylvanians
dreamy theme song.
Bob Blumenthal, in his carefully researched notes,
characterized the contents of the CD with these words:
“challenging originals, signature hits, historic partnerships and spontaneous encounters”. Those same words
could be applied to the unique spirit of the Monterey
Jazz Festival founded by Jimmy Lyons in ’58 with the
original vision enhanced and expanded by current director, Tim Jackson.
In late spring and early Summer I will be working with
our cellist son, Matthew, on a recording project spearheaded by Yo Yo Ma. The theme is “joy” and the message universal and ecumenical. I’ll be able to talk more
about it in our Holiday letter, when we hear the results
of our recording efforts.
As I’ve often said, it is a particular pleasure for me to
create music with members of our family. This is equally true for jazz performances such as we have just experienced in Napa, California and Scottsdale, Arizona
with sons Chris and Dan, and with Matthew in Boston,
or sharing composition projects with Matthew on the
Yo Yo Ma album, or working with Chris on a commission for the Stockton Symphony inspired by beautiful
images of nature by photographer Ansel Adams.
Randy, Michael, Bobby and I will be performing at a
lot of festivals in the coming weeks. I hope at least one
of them is in your territory. Enjoy a wonderful summer!
Dear Friends,
I wish you could have been with us in April, (Jazz
Appreciation Month) to enjoy a jam-packed (no pun intended) Brubeck Festival in Washington, D.C. The exciting
events began on April 8
with Condoleezza Rice
presenting the Benjamin
Franklin Award to Dave at
a ceremony in the appropriately named Benjamin
Franklin Room at the
Department of State. The
official wording of the
award states that he is
being honored for “outstanding leadership
advancing America’s ideals
of State, Condoleezza Rice,
through public diplomacy, Dave andAprilSecretary
8, 2008 in Washington, D.C.
by offering a positive vision
of hope and opportunity rooted in America’s belief in freedom,
justice, opportunity and
respect for all.” An impressive gold bust of Benjamin
Franklin that accompanied
the award is now on display
in the office of T h e
Br u b e c k Institute at
University of the Pacific in
Stockton, CA.
In her remarks, the
Secretary of State recalled that Dave’s music was an
important part of her life. Her father loved jazz and
often played Brubeck recordings in their home. We were
pleased we were able to share this event with our daughter, Catherine Yaghsizian; our attorney for over 50 years,
James R. Bancroft; Dave’s producer for over 30 years,
Russell Gloyd; and
Mary Ann Allin,
whom we met in
‘87 when the
DBQ toured the
U.S.S.R. and who
with her late husband, former cultural attaché to the
American embassy Catherine Brubeck Yaghsizian, Condoleezza Rice, Dave and Iola
Photo courtesy U.S. Dept. of State
Photo Credit: Steve Anderson
Photo Courtesy U.S. Dept. of State
A LETTER FROM DAVE cont’d
All the best,
Pose on the Day of the Ben Franklin Awards.
2
A LETTER FROM IOLA cont’d
Photo Credit: Les Mowes
in Moscow, arranged for Dave’s mass to be performed by
then probed Dave about his memories of the Quartet’s
the Orloff Choir and the Russian National Orchestra in
1958 State Department tour. Hedrick’s questions led
Moscow in 1997.
Dave through the countries on the tour that inspired the
The Librarian of Congress, Dr. James Billington, hosted
music for the recording “Jazz Impressions of Eurasia”.
an outstanding evening that celebrated “the real ambassaAfter Dave told the story of being “smuggled” through
dors”, those musicians who toured for the State
the Gate to East Berlin to obtain transit visas so the
Department during the Cold War and who were freQuartet could cross East Germany to enter Poland, the
quently sent to the “hot spots” to cool down tension
Brubeck Institute Jazz Quintet performed
through cultural exchange. Dana Gioia, Chairman of the
“Brandenburg Gate”, a composition inspired by that
National Endowment for the Arts, spoke on the subject
incident.. Dave played “Dziekuye”, the romantic
of cultural diplomacy and talked about the background of
Chopin-like piece that he wrote on the last day of the
the musical theatre piece - The Real Ambassadors - that
Polish tour after he had visited the Chopin museum.
Dave and I wrote
From “Jazz
for
Louis
Impressions
Armstrong.
of Eurasia” the
Chairman Gioia
Institute Quintet
then introduced
performed “The
Dianne Mower’s
Golden Horn”
jazz choir from
(written for
The
Greater
Tu r k e y ) ,
H a r t f o r d
“Nomad” (for
Academy of the
Afghanistan),
Arts (they call
“Calcutta Blues”
themselves
(for India) endThe
Real
ing with Dave
Ambassadors),
joining them on
who sang perti“Blue Rondo a la
nent selections
Turk” based on a
from our original
Turkish
folk
The Greater Hartford Academy of the Arts Singers, “The Real Ambassadors”,
score.
rhythm
Dave
Captivate the Audience at The Library of Congress.
first heard on
t h e street in Istanbul.
“ T h e S t a t e Department has discovered jazz. It reachWhen we attended rehearsals at the Library of Congress,
es folks like nothin’ ever has.”
o u r d a u g h t e r, Cathy and I noticed that the halls
were filled with displays about the career of activist-folk
“Remember who you are and what you represent. Always
singer Pete Seeger. “Times do change”, my daughter said.
be a credit to your government. No matter what you say or
Do any of you remember when Pete Seeger was “blackwhat you do, the eyes of the world are watching you.”
listed” and called before the House UnAmerican
And Satchmo’s favorite line, “ In my humble way, I’m the
Activities Committee? In 1961 he was found guilty of
U.S.A. Though I represent the government, the governcontempt of Congress and sentenced to 10 years.
ment don’t represent, some policies I’m for. Who’s the real
Wisely, the charges were later dismissed. His life story is
ambassador?”
proof that time, perseverance and principles do bring
about change. Pete Seeger was given the Presidential
The young singers accompanied by a swinging trio
Medal of the Arts in 1994, the same year that Dave
captivated the audience in Coolidge Auditorium.
received the honor.
Hedrick Smith, the Pulitzer Prize winning journalist,
A concert at the Smithsonian, emphasized the crossover
3
A LETTER FROM IOLA cont’d
in cultures by featuring Deepak Ram, bansuri virtuoso,
performing in both genres - Classical South Indian
and jazz, accompanied by guitar, bass and drums. Radio
host Dick Golden led a conversation with Dave and
Deepak Ram about jazz in India and the Quartet’s historic tour of that country.
A gentleman who was in Bombay at the time of the
Quartet’s visit attended all the week’s events. He remembered many of the incidents that Dave related about his
visit to India, including the transport of a Boesendorfer
grand piano through the streets of Bombay by a group of
Indian men carrying the piano on their shoulders. He
explained that they had to move in perfect rhythm
because a misstep would cause the piano to shift, get off
balance and crash.
Throughout the week there were numerous symposia on
various aspects of cultural diplomacy. The Elliot School
of International Affairs at George Washington University
hosted a panel that presented papers on The Dave
Brubeck Quartet’s 1958 State Department Tour (Dr.
David Alan Grier), World Events That Shaped
Diplomatic Activity (Hugh L. Agnew), India and
Cultural Exchange (Karl F. Inderforth); Cultural
Exchange and Security Policy (Marc Lynch). One panel
member boldly proposed our sending out hip-hop artists
as cultural ambassadors. He argued that hip-hop holds a
similar place in American culture that jazz had in the ‘50s.
This stirred some reactions from the audience, some negative, but it did make one think about contemporary
American culture, and what kind of music we are commercially “exporting”. From the diplomatic point of
view, how does it affect the way we are perceived by other
cultures? One area where all panelists seemed to agree
was that in the phrase “cultural exchange” the word
“exchange” should be taken seriously
Quite by coincidence, The Meridian International
Center had mounted a major photographic exhibition
chronicling international tours by jazz musicians who
were sponsored by the U.S. State Department. In the
display were iconic images of Louis Armstrong, Benny
Carter, Duke Ellington, Dizzy Gillespie, Benny
Goodman, Sarah Vaughan and many others. The
Institute’s program at the Meridian Center was dedicated to panel discussions focusing on the future of cultural diplomacy with Ambassador Cynthia Schneider, Dr.
John Hasse of the Smithsonian, Ambassador John
O’Keefe and Dr. Charles Webb on the first panel; and
Dr. Penny Von Eschen, author of “Satchmo Blows Up
The World” chairing the second panel that included
Ambassador Kenton Keith, Prof. Dan Morgenstern
(Rutgers Institute of Jazz Studies) and Dr. John Brown.
Dr. Von Eschen was presented the Brubeck Scholar
Award for 2008.
The afternoon concluded with the Polish Andrzej
Jagodzinski Trio performing an intriguing program of
Chopin-tinged jazz. For an encore they played as a tribute to Dave, “Dziekuye”, the piece that Dave had written in Poland in 1958 to thank the Polish people.
Following the concert, we were surprised and overjoyed
to see Annie Ross, that wonderful Annie who sang in the
unsurpassed Lambert-Hendricks and Ross vocal trio
who recorded the original “Real Ambassadors” with
Louis Armstrong and Carmen McRae.
The following afternoon, Dave joined Moderator Gary
Giddens, Ramsey Lewis and Dr. Billy Taylor at the
Kennedy Center Terrace Gallery for a discussion of “the
real ambassadors” from the perspective of musicians who
have dedicated their lives to jazz and promoting world
peace and understanding through music and education.
Wherever we were in Washington that week the
Fellows, as we call The Brubeck Institute Jazz Quintet,
obligingly showed up to play at receptions that inevitably
follow. On Saturday afternoon they finally had the
opportunity to shine on The Millennium Stage at
Kennedy Center. No trying to play over the chatter and
clatter of hors d’oeuvres and conversation this time!
They attracted an enthusiastic overflow crowd that gave
them a rousing ovation.
The final day, Sunday, music rather than discussion
dominated the festival scene. The George Washington
University hosted a daylong festival of student jazz
bands, and that evening the Dave Brubeck Quartet and
the Ramsey Lewis Trio took over the Kennedy Center
stage playing before a completely sold-out house. It was
a triumphant end to an eventful week.
Oh, I forgot to tell you that both Dave and I were interviewed and filmed by the Library of Congress for inclusion in their archives. Nor have I mentioned the delightful dinners we had with friends from San Francisco, Jim
Bancroft, Richard and Rose Jeweler, the Yaghsizian family, and a “banquet” hosted by President Don DeRosa of
the University of the Pacific. The Institutes’ distin4
A LETTER FROM IOLA cont’d
guished Honorary Advisory Board also met during the
week, and on Monday morning before we made our way
to Philadelphia and the next concert, Dave was interviewed on film for the U.S. State Department archive.
2008 has turned out to be the ambassadorial year,
because in November, The American –Russian Cultural
Cooperation Foundation, chaired by the Hon. James W.
Symington, will present Dave an award “for significant
contribution to American-Russian cultural exchange.”
Those who have been similarly honored in the past are
pianist Van Cliburn, Maestro Valery Gergiev, artistic
director Igor Moiseyev, cellist and conductor Mstislav
Rostropovich, Russian scholar James Billington, and
Tatiana Kudriavtseva, translator of major American
works.
For the past three years the Brubeck Institute has played
host to groups of Russian jazz musicians who have come
to the United States under the sponsorship of the Open
World program. In April the Open World Jazz Octet
participated in the Brubeck Festival that was held on the
campus of the University of the Pacific in Stockton, CA.
Saxophonist Bob Mintzer was guest artist at the Festival.
Although we were unable to attend the Stockton programs, we understand that it was quite successful with
interesting concerts by Hiromi’s Sonicbloom (JapaneseAmerican), Pete Escovedo Orchestra (Latin-American)
and several papers and panel discussions on the past and
future of cultural diplomacy. The Festival ended with a
full day of music by jazz groups from San Joaquin Delta
College, the Pacific Jazz Ensemble, Patrick Langham Jazz
Quintet, the Brubeck Institute Jazz Quintet and the
Russian Open World group on Pacific Avenue, in the
same neighborhood where Dave and I both lived when
we were in College.
When Dave left a meeting with a representative from
the American-Russian Foundation he was handed a
strange photo of an unidentifiable round object. Dave
said he recognized what it was once he saw the hole in
the middle, and made out the faint outline of what
appeared to be a ribcage. He realized that he was looking at a photograph of an x-ray plate that had been used
to record music from Willis Conover’s Voice of America
jazz program. We have heard about “bones and jazz” for
years, how everyone would gather ‘round surreptitiously
to listen to the forbidden music of Ellington, Armstrong,
Gillespie, Brubeck et al. Even at the risk of imprisonment, people wanted and needed to hear the music that
symbolized freedom and hope. It was that important to
their lives and to their souls.
Dave has said that he believes that there are times that
music has the power to transform and transcend. I am
reminded of a quote I jotted down from Joseph Addison’s
“Song for St. Cecilia Day”: “Music, the greatest good
that mortals know. And all of heaven we have below.”
I hope you enjoy a bit of that heaven this summer.
A MESSAGE FROM DAVE, REPRINTED FROM THE BRUBECK FESTIVAL PROGRAM
This year marks the 50th anniversary of the Dave
Brubeck Quartet’s first tour outside North America. We
played over 20 concerts in the U.K. (six of them in
London) then performed in Holland, Germany,
Belgium, Sweden and Denmark before going “behind
the Iron Curtain”, entering Poland in March of 1958.
Sponsored by the U.S. State Department in an agreement with the Polish cultural agency Pagart, we played
twelve concerts in Poland, followed by performances in
the major cities of Turkey, India, Ceylon (Sri Lanka),
West and East Pakistan, Afghanistan, Iran and Iraq. The
affect of our first cultural exchange tour has lasted with
me for half a century.
Our contact with music from other countries influenced the creative output of the Dave Brubeck Quartet,
including our experiments in odd time signatures such
as “Blue Rondo a la Turk” and even “Take Five”. The
State Department tour was the wellspring for the entire
“Jazz Impressions of Eurasia” album and later the musical theater piece, “The Real Ambassadors”. It sparked an
interest in ethnic music that continued as the Quartet
toured the world, reflected in such recordings as “Jazz
Impressions of Japan”, “Bravo, Brubeck”, “Brandenburg
Gate: Revisited” and the ballet “Points on Jazz” based on
the theme “Dziekuye”, the Polish word for “thank you”.
We were the first American jazz group to come to
5
A MESSAGE FROM DAVE, REPRINTED FROM THE BRUBECK FESTIVAL PROGRAM
Poland after the ban on such music had been lifted. We
were received with fanatic devotion by those who had
kept jazz alive in underground societies. Many of these
young musicians followed us by train from city to city,
reveling in the freedom to hear and play music that only
two years before would have meant arrest and prison.
To them, our presence spelled freedom. And, our
group, made up as it was with one black man, bassist
Eugene Wright, and three white men - Paul Desmond
face. I’ll explain and make it plain I represent the
human race and don’t pretend no more. Who’s the real
ambassador, yeah? The Real Ambassador.”
I was aware in 1958 that we were being used in the
Cold war propaganda battle, and acutely aware of the
irony that Eugene did not enjoy all the privileges that
the rest of our group did in the U.S., particularly in the
still segregated South. Yet, Eugene and I agreed that our
mission was as President Eisenhower had declared it:
“People to people”. And it was on that level that we
tried to communicate. We found common interest
with musicians from different cultures. In a subtle way,
I believe, this kind of exchange with intellectuals and
fellow artists can lead to gradual political and social
change. Why else do oppressive governments tend to be
closed societies?
Did we impact the audiences who came to our concerts in the same way as we and our fellow musicians
were affected by our exchanges? Probably not, but I like
to think that it opened a few minds, and perhaps gave
to at least some people in the Middle East an impression
of America that did not correspond with the stereotype.
One of the most memorable experiences of my musical life was improvising with Indian classical musicians.
Although our music is based on entirely different systems, without words of explanation, we managed to
communicate. On my 80th birthday (2000) I received
Pianist Dave Brubeck jammed with Indian musicians at the Malabar Hill home of jazz fan a book by Halim Jaffer Khan (“Innovation in Sitar
Prahlad Mehta when he visited Bombay in 1958. His quartet featured alto saxophonist Paul
Music”) with an inscription by him that reads “I always
Desmond, drummer Joe Morello and bassist Eugene Wright.
meet you, on a higher plain of music and I miss you,
and the musical days and moments we spent together.”
(alto sax), Joe Morello (drums) and myself, were symInside he had marked a page with a picture of both of
bolic of the ideals of our free country - equal voices in
us that had appeared in the Delhi newspaper. It was
unity, freedom of expression within discipline.
captioned: “The twain meet in music.”
Flushed with the success of our first State Department
Although my glowing vision of what can be accomtour I wrote an article with Gilbert Milstein for the
plished through cultural exchange has been dimmed
New York Times Magazine titled “The Beat Heard
somewhat by world events, I still believe that our best
Around the world”. On the front page was a photo of
weapon “for winning the hearts and minds” of people
Louis Armstrong being borne in a lawn chair through
who are different from us, is one that does not threaten
the streets of the Congo Republic. Wherever Louis
or intimidate, but reaches out with a gift of the best of
Armstrong went he was greeted with adoration and
our culture and receives the best of other cultures in
adulation. In the musical play that my wife and I wrote
exchange. It can only enrich all who are engaged in the
for him, Armstrong, when challenged by the official
activity and enlighten our mutual understanding of the
ambassador, sings, “Who’s the real ambassador? It is
world we share.
evident I wasn’t sent by government to take your place.
All I do is play the blues and meet the people face to
6
NOTES ON INDIAN SUMMER
And some other opinions:
WHAT THEY ARE SAYING
ABOUT “INDIAN SUMMER”
“Without a vocal companion, Brubeck is a consummate
story teller at the keyboard”
…Andrea Canter, Jazzpolice.com
We were more than a little surprised to read a review
by Douglas Lytle on Bloomberg.com headlined
“Brubeck, Springsteen, Krauss lead 2007 Best U.S.
Rock”. The name Brubeck seldom if ever appears in
the rock news. Believe it or not, Douglas Lytle chose
Indian Summer (telarc) as ALBUM OF THE YEAR.
He wrote, “Brubeck’s solo piano project is so gorgeous,
so full of humanity, so spontaneous and relaxed that it
carried me through the late summer and fall without
being bested by any other rock or pop artist in the running.”
“Reflections on the autumn of his years…File this
under ‘master at work’.”
…The Urban Network
“The highlight is ‘So Lonely’, a gorgeous, tearful tune
written during the period when President Bush sent the
first troops to the Middle East.” …Oakland Tribune
“There are hints of the softer side of Scott Joplin,
reminders of Keith Jarrett’s solo explorations, and
glimpses of Eubie Blake and Fats Waller, but mostly it’s
just Dave at his most reflective, meditating on a mix of
standards, originals and songs he loved long ago.”
...Port Folio Weekly (VA)
Something strange must be happening. On the Play
List of the spring issue of “New Age Retailer” Anne
Williams wrote: “So why is this jazz master’s solo piano
album being reviewed in New Age Retailer? Because
for many solo piano artists, people like Brubeck are
where it all started. For me, the best New Age music is
very visual with a strong melody. It makes us feel, it creates images in our mind…His playing is both visual and
emotional…the sound of an intimate, live, private performance in the home of a musical master.”
“Each interpretation comes laden with memories. And
they’re timeless..”
…Jazz Improv NY
“Indian Summer showcases Brubeck’s spellbinding versatility…bridging the gap between traditional jazz and
folkloric appeal…From powerful crescendos and
thrilling arpeggi, to pensive chord voices and modal harmony, Brubeck’s masterful solo performance will endear
you to his legendary work for years to come.”
…SoundsOfTimeless.Jazz.com
SHORT NOTES
The Dave Brubeck archive at the University of the
Pacific Library in Stockton, California is now catalogued
and accessible for scholars on the internet. It is also
possible to access clips from an oral history interview
with Dave and Iola conducted by Shan Sutton, head of
Special Collections. This can be done by going to
www.brubeckinstitute.org and clicking on Brubeck Archive.
This will take you to the Library’s page. Click on Oral
History Project and hear first hand some of the stories
Dave tells about the State Department tour in 1958.
7
IN REMEMBRANCE
Richard Westenburg, the choral conductor who founded Musica Sacra in 1964 and made it one of the most
prestigious choral groups in New York City, died on
February 20. A memorial service will be held at the
Madison Avenue Presbyterian Church in New York on
May 31 with Musica Sacra singers and Chris and Dave
participating in the service. His last choral assignment
was preparing his church choir to perform our
Christmas cantata “La Fiesta de la Posada”. On the day
of the performance we received word that he had been
taken to the hospital in Norwalk. We spoke with him
shortly after the concert took place. Typically, his spirits
were high and he was sure that he was going to beat the
colon cancer that tests had discovered. We will miss him
and we acknowledge a great debt to Richard, because
early on he championed Brubeck choral works and conducted “Mass: To Hope!” “Voice of the Holy Spirit”,
“Pange Lingua Variations”, and “La Fiesta de la Posada”,
performing them more than once at Lincoln Center,
Carnegie Hall, Berkshire Choral Festival, St. John the
Divine and 5th Avenue Presbyterian Church and as guest
conductor in Honolulu. His Messiah’s were an annual
event in New York, and he commanded a far-ranging
repertory that included such modern composers as
Ligeti, Messiaen and Meredith Monk as well as Haydn,
Mozart and Bach. Allan Kozinn in the N.Y.Times
described Richard Westenburg as “a lively inspiring
director who kept close tabs on changing musicological
notions about the performance of baroque works but
balanced those prescriptions with his own strongly
etched sense of style, usually with stimulating results.”
His bright, shining prescence is sorely missed by all of
us who have made music under his direction.
In February we learned of the passing of Teo Macero,
82, who produced many of the Dave Brubeck Quartet
recordings at Columbia Records including “Time Out”.
His first album with Dave was “Jazz Goes to Junior
College”. A Juilliard graduate, Teo was an avant garde
composer and jazz saxophonist who played with Charles
Mingus and Teddy Charles. He was A & R man for an
illustrious Columbia Records roster that included
Mahalia Jackson, J.J. Johnson, Thelonious Monk,
Johnny Mathis and Miles Davis. He was most noted
for his editing skills, literally creating compositions
from snippets of musical ideas from Miles Davis and his
band. It is said his technique was partly inspired by
works of such avant garde composers as Edgard Varese,
who had experimented in tape editing and electronic
effects as a method of composition, a technique popular today with some of the more experimental rock
groups.
SHORT NOTES
Commandments”, “Mass: To Hope! A celebration”,
“Pange Lingua Variations” and ”Earth Is Our Mother”.
Alfred also has an extensive selection of solo piano
compositions as well as arrangements of some of the
more popular pieces for band and orchestra.
We are delighted that John Salmon will be performing
a recital in the Brubeck Room at the Wilton Library on
July 12. Since Dr. Salmon has recorded many of Dave’s
piano pieces and has been named a Brubeck Scholar by
the Brubeck Institute, it is our guess that some Brubeck
music will be on his program.
Alfred Publishing now has available almost all of Dave
Brubeck choral compositions either in print or for
downloading. There are six new Christmas pieces published including “Christmas Hymn” with words by Poet
Laureate Richard Wilbur. Their catalogue includes
“Hold Fast To Dreams”, a choral setting of ten individual Langston Hughes poems; Psalms 23, 30, 120 and
121 from “Joy in the Morning”; settings of poetry by
two other Poet Laureates Wendell Berry and Robert
Penn Warren, and Robert Louis Stevenson, as well as
Dave’s major choral and orchestral works - “The
8
IN REMEMBRANCE MADELEINE MILHAUD
In the February 6, 2008 edition of the London Times a
long obituary began: “The actress and musician
Madeleine Milhaud was famed in Parisian circles for her
fashionable “salons”, brilliant gatherings of modernist
authors, painters, dancers and musician. Jean Cocteau,
Igor Stravinsky, Fernand Leger, Andre Gide, Paul Claudel
and Erik Satie were regular fixtures, and Pablo Picasso and
the ballet impresario Diaghilev would occasionally make
an appearance. Milhaud was thus one of a dying breed the French Society hostess, who would regularly provide
the setting for a vibrant interchange of philosophical and
artistic ideas and initiatives. She acquired this role
through marrying at the age of 23 her first cousin, the
composer Darius Milhaud.”
Our beloved Madeleine was gone. Dave immediately
wrote a piano piece “Remembrance of Madeleine
Milhaud”. It is reminiscent and musically linked to a
Darius Milhaud piece “Romance” that surely was inspired
by his “muse” of 49 years.
When the Germans invaded Paris in 1940 the Milhauds
knew they were targets of the Nazis, so with their young
son, Daniel, they fled to America, eventually ending up at
Mills College in Oakland, California, where Darius
Milhaud taught composition and Madeleine French literature. That is where our paths crossed. In 1942 Dave
hitchhiked from Stockton to Oakland to meet Darius
Milhaud. Knowing that Dave was soon going into the
Army, Milhaud told him to come back after the war and
he would take him as a student. In January 1946, a few
weeks after Dave’s discharge, he enrolled at Mills College
under the G.I. Bill and became a composition student of
Darius Milhaud.
Dave and I were privileged to live with Milhaud, to cook
his meals and drive him to concerts, when Madeleine traveled from Mills College in Oakland, California to New
York to record Stravinsky’s “Persephone”. She was one of
the very few actresses who could read the musical score
and declaim the poetic lines in the traditional French
style.
During their 49 years of marriage, Milhaud encouraged
his wife’s career and Madeleine acted as Milhaud’s “muse”,
always closely involved in his creative work, often playing
over his new scores on the piano. She served as librettist
for his operas, Bolivar and Medee.
When Madeleine was approaching 100, we visited her in
Paris. She was still living in the same flat that she and
Darius had occupied in the wild and wonderful ‘20s. I
wrote the following article for the Fall 2001 Mills
Quarterly.
A Visit with Madeleine Milhaud, April 19, 2001
by Iola Brubeck
Officially, I was never a student of Madeleine Milhaud at
Mills, and to my everlasting shame I cannot converse with
her in her native language. Nevertheless, I have been studying Madeleine Milhaud since I first met her in 1946. I
made the decision, then, that she was a lady I should aspire
to emulate. I saw in her petite, still youthful body such
beauty, vitality, brilliance and passion that I probably should
have felt quite intimidated by her. I was rightfully humbled, but never intimidated by this powerful personality,
because it was so bountifully leavened with wit, common
sense and compassion. Over the subsequent years my original impression of Madame Milhaud deepened. I observed
the loving relationship in her marriage to Darius, so
unselfishly providing inspiration and creature comfort
throughout his life. Today and every day she continues to
zealously champion his music.
Our first child, born in 1947, was named Darius, and for
good reason. The Milhauds were simply the greatest influence on our lives in those post-war years, when Dave and I
were graduate students at Mills. Had the child been a girl,
no doubt she would have been a Madeleine.
Shortly after her birthday this spring, Dave and I wrote to
Madeleine that we were coming to Paris and called her from
Brussels a few days before our arrival to arrange a visit. Her
schedule, she said, was still in flux, and would we call again
when we arrived, which, of course, we did. Since Dave had
a concert at the Olympia Theatre the following day, I suggested that we go out to dinner that evening.
“Oh, so sorry. I already have a dinner engagement that
night.” “How about tomorrow for lunch?” we asked. “Oh,
my dears! I see that I have a luncheon engagement. Can
you come in the morning around eleven?” “Of course.”
“You know the code number. Just come up the stairs.”
Like school children fearful of displeasing the teacher, we
nervously watched the minutes as our taxi threaded through
crowded Paris streets to the district of Pigalle, where
Madeleine resides. Walking through the doors that have
welcomed the greatest painters, composers, dancers, actors,
poets, and authors of the 20th century, one senses the histo9
MADELEINE MILHAUD cont’d
NEXT GENERATION
ry and conversations that have taken place inside these
walls.
Diminutive, but not frail, she embraced each of us, stretching up as far as her small frame could reach, while we bent
as low as our long arthritic backs could bend. We settled in
our chairs, she seated below a portrait of her husband painted by their artist son, Daniel, and we talked about the current happenings in the world. We exchanged news of
mutual friends, former students, and family, our conversation repeatedly interrupted by the telephone. In response
to each call, Madeleine sprang from her chair. On one such
trip across the hardwood floors, she remarked, “You know,
I pay someone to call so it appears that I am important.”
At one point in our conversation she reached for her
address book at a desk nearby and began riffling through
the pages rapidly. “I want to show you. I have here in my
book a photo of you and all your family.” A quick search
did not produce the picture, and she put down the book
with a sigh. She displayed an open page with blank spaces,
pieces of white tape pasted over old names and addresses.
The expression on her face was a strange mixture of sadness
and amusement. “When you are my age,” she said, “going
through an old address book is like visiting a cemetery.”
I thought to myself, “That must be the one regret of such
a fruitful long life - that so few, who have been challenged,
inspired, and enlightened by her, remain to share the memories of Mills and 10 Boulevard de Clichy.” But, no! That
was a transient thought. Madeleine at 100 years of age is
living, as we all should, in this day, this hour, in this
moment. I am still learning from this magnificent
woman.”
Madeleine Milhaud, actress, musician and legendary
hostess, was born on March 22, 1902. She died
January 17, 2008.
Matthew Brubeck with pianist David Braid returned
recently from a successful three-week tour of China,
Quebec and Eastern Ontario promoting their Juno-nominated CD twotet/deuxtet. Who would have thought
there would be jazz in Beijing’s Forbidden City concert
hall? In addition to concerts, they also gave jazz workshops to enthusiastic students in Hong Kong, Shanghai
and Ottawa.
Matt was recently invited to assemble a quintet for a concert of his compositions as part of a jazz composers series
at the Jazz East Festival in Halifax, Nova Scotia this July.
Additionally, he will be joining the DBQ in Boston on
June 13th and 14th and in Toronto on July 2nd.
Reviews of twotet/deuxtet album continue to come in,
especially after the Juno nomination (Canadian equivalent
of a Grammy). Critic Budd Kopman commented that it was
“a recording to celebrate and become immersed in.
Twotet/deuxtet is music making of the highest order; hopefully this duo will continue its journey.”
Scene Magazine wrote, “With such talent at their disposal, any collaboration between these two seasoned
musicians is bound to produce a singularly distinctive
sound. These compositions integrate elements of jazz,
chamber music, and avant garde motifs with a melodic pop sensibility which is unique and truly enjoyable…the most enduring quality of the music is its
uncommon marriage of styles which are blended
seamlessly in the masters’ hands.”
Madeleine Milhaud at 104 photo by Darius Brubeck
10
THE NEXT GENERATION cont’d
before the Festival. In addition to these performances,
Darius Brubeck, who is a Senior Research Associate in the
Darius participated in the biennial South African Jazz
University of KwaZulu-Natal School of Music, returned to
Education Conference held at the University of Cape
South Africa in March and April for nine performances in
Town.
Cape Town, Durban
and Pietermaritzburg.
Now in London, his
“Darius Brubeck and
quartet featuring Dave
the UKZN Rolling
O’Higgins on saxophone
Reunion Band” was
will be playing a series
showcased at the Cape
of club dates.
Town International
C o i n c i d e n t a l l y,
Jazz festival where the
O’Higgins was recently
performance
was
seen in the British TV
broadcast live nationcomedy series “Love
wide. The festival band
Soup” playing Take Five,
also included saxoalong with DBQ alumphonist Mike Rossi
nus, Alec Dankworth.
and on trumpet alumnus Johnny Mekoa.
Darius and Mike had
“Tugela Rail”, which
played together in
includes favorites from
Memphis
and
Darius’ South African
Louisville in January
repertoire,
was
and gave a separate Darius Brubeck and the Rolling Reunion Band at the Suncoast Casino outdoor stage in
released earlier this year
concert in Cape Town Durban, South Africa.
by Sheer Sound.
C l a s s i f i e d Reviews:
NOTES ON RECORD
“One of the most engaging CDs of the year!” Karl Stark,
Philadelphia Inquirer
“Once again the BBQ attains that rarefied level where music is
both relaxed and expressive, and their joy in its creation is contagious. There’s really nothing out there that comes close to their
unique brand of inventiveness.” Dr. Judith Schlesinger, All
About Jazz
“[A] stellar rhythm section — clean, crisp swing with great interaction between the players, and a very smart use of space.
Sometimes guitar and piano clash in a small combo, but not with
DeMicco and Lamb, who show how these two instruments are
supposed to work together. And the same can be said for the
Brubeck brothers. Dan Brubeck’s drumming is a revelation, and
not just with his solo at the end of the track. Some serious fraternal camaraderie is going down here. This song deserves a double dose of radio airplay.” Ted Gioia, jazz.com
11
LETTER FROM CHRIS
The big news from my perspective is the release of the
Brubeck Brothers Quartet’s second CD on Koch –
“Classified”.
This title refers to the texture of the CD, about 50
minutes of straight-ahead jazz played in our own distinctive style. (Chris Brubeck – Bass & Trombone, Dan
Brubeck – Drums, Chuck Lamb – Piano and Mike
DeMicco – Guitar) Then we are augmented by the
Imani Winds (Valerie Coleman, flute; Toyin SpellmanDiaz, oboe; Mariam Adam, clarinet; Jeff Scott, French
horn; Monica Ellis, bassoon), a cutting-edge woodwind
quintet that joins the BBQ to play my composition
“Vignettes foor Nonet”. This is a classical and jazz hybrid
work in three movements. The Imanis are known for
their adventurous collaborations with such renowned
jazz artists as Wayne Shorter and Paquito d’Rivera. We
are very excited about the opportunity to perform and
record with them. So far the critical reaction to the new
CD has been reaffirming and as we go to press we can
project that more enthusiastic comments will be published in the coming months.
I’m also excited about collaborating with Dave on
“Ansel Adams: America”. Together we are creating a
full orchestral work that will include the projected
images of Ansel Adams’ breathtaking photography.
The premiere will be performed by the Stockton
Symphony Orchestra and conducted by Maestro Peter
Jaffe in April, 2009. Other orchestras will be presenting
the new composition in an extended “premiere” season.
Back to the studio, lots of notes to write!
Chris
LETTER FROM CATHY
ed. Lunch is part of the school program and the report
is that children and teachers are still eating, but the
When my father received the Benjamin Franklin award,
amount has been rationed to about a third of their usual
I was happy that I could attend. Later that week my husportions. They are holding on, hoping for relief.
band Arne Yaghsizian and our children joined me for
Another mission of Jazz’d 4 Life, is to reach urban
many exciting events at the Brubeck Festival in D.C .
American children with cultural opportunities. The day
We had another reason to be in Washington, DC, too.
after the Kennedy Center concert, Bobby Militello, the
My husband and I have established the charity Jazz’d 4
sax player in the Dave Brubeck Quartet, ventured into a
Life to help young children overseas and in this country.
local D.C. public school and held an invigorating Jazz’d
To raise funds for
4 Life workshop. Two high
Jazz'd4Life, we sold
school big bands came
CDs and T-shirts at The
together and you could hear
Kennedy Center. The
the improvement in the two
booth was manned by
hours they worked with
young Yaghsizians and
Bobby. It was fascinating
many
enthusiastic
watching him relate, inspire,
cousins who sold merand pull the best out of
chandise while explainthese young players! I think
ing their mission.
their band teachers were
The food riots in Haiti
very grateful too.
had just started that
To learn more about Jazz’d
week and at the time we
4 Life and the work they do
thought it was a tempohere and abroad, visit
Manning the booth at Kennedy Center, these youngsters are raising funds for Jazz’d4Life to send food to a Haitian
rary situation. We now orphanage and school. Left to Right: Arne Yaghsizian, Dan Yaghsizian, Berj Bayozian, Erin Meegan, Brian Zahn, www. Jazzed4life.org. J4L
realize that the shortage Kristen Meegan, Mariel Yaghsizian, Catherine Yaghsizian
is a 501c3 charity and all
is more permanent. Jazz’d 4 Life is helping collect food
donations are tax deductible to the full extent of the law.
and monies for a shipment to Les Cayes, Haiti, where
there is a school and orphanage we have long supportCatherine Brubeck Yaghsizian
Jazz’d 4 Life On the Move in D.C.
12
BRUBECK BROTHERS ITINERARY (CHRIS & DAN BRUBECK, MIKE DEMICO, CHUCK LAMB)
Gettysburg, PA
June 25
8:00 p.m.
Majestic Theater
25 Carlisle Street
www.gettysburgfestival.org
Philadelphia, PA
June 26
8:00 p.m.
Chris’s Jazz Cafe
1421 Samson Street
www.chrisjazzcafe.com
610-649-1596
Delaware Water Gap, PA
June 27
8:00 p.m.
Deer Head Inn
5 Main Street
www.deerheadinn.com
570-424-2000
Saratoga Springs, NY
June 29
4:00 p.m.
Machias, Maine
July 15
8:00 p.m.
Rockland, Maine
July 16
8:00 p.m.
Charlottesville, VA
October 16
8:00 p.m.
Greensboro, NC
Christ United Methodist Church
410 N. Holden Road
October 17
8:00 p.m.
336-299-1122
Chris & Dan Brubeck w/John Salmon
Clearwater, FL
October 18
7:15 p.m.
Friehofer’s Jazz Festival
Saratoga Performing Arts Center
Centre Street Congregational Church
7 Center Street
207-255-6665
2009
Ketchum, Idaho
January 9
7:30 p.m.
Racine, WI
July 23
7:00 p.m.
Ft. Lauderdale, FL
February 11
8:00 p.m.
Animal Crackers Concerts
Racine Band Shell,
2131 N. Main Street
Flint Jazz Festival
Riverbank Park
www.greaterflintartscouncil.org
810-238-6875
Cooperstown Chamber Music Festival
Otesaga Resort Hotel
917-868-4276
Coral Gables, FL
August 28
8:00 p.m.
Cazenovia, NY
September 12
7:30 p.m
Coral Gables Congregational Church
3010 Desoto Boulevard
305-448-7421
Jazz N Caz Festival
www.cazenovia.edu
315-655-7238
Serenbe Festival
Serenbe Park
404-524-2812
Germantown, TN
Germantown Performing Arts Centre
November 15
1801 Exeter Road
8:00 p.m.
901-751-7500
Chris, Dan & Dave Brubeck
Strand Theater
345 Main Street
207-594-0070
Cooperstown, NY
August 19
6:00 p.m.
Clearwater Jazz Holiday
Coachman Park
727-430-1505
Atlanta, GA
October 19
3:00 p.m.
Rockport, Maine
Rockport Opera House
July 17
6 Central Street
8:00 p.m.
207-236-2514
Dan & Chris in performance of Chris Brubeck’s “Danza del Soul”
Flint, MI
August 2
8:00 p.m.
Paramount Theater
215 East Main Street
www.theparamount.net
434-979-1922
Pittsburgh, PA
February 15
2:30 p.m.
Wickenberg, AZ
February 27
7:30 p.m.
13
Sun Valley Center for the Arts
Church of the Big Woods
www.sunvalleycenter.org
208-726-9491
Amaturo Theater
201 SW 5th Avenue
954-462-0222
Manchester Craftsmen’s Guild
1815 Metropolitan Street
www.mcgjazz.org
412-322-1773
Del E. Webb Center
2001 West Wickenberg Way
www.delewebbcenter.org
928-684-6639
TRIPLE PLAY ITINERARY (CHRIS BRUBECK, JOEL BROWN, PETER “MADCAT”
Lakeside, Ohio
August 6
8:15 p.m.
Freeport, New York
September 13
8:00 p.m.
Wilkes-Barre, PA
September 15
8:00 p.m.
Menominee, MI
September 25
7:30 p.m.
Hoover Auditorium
236 Walnut Avenue
419-798-4461
www.lakesideohio.com
Alexandria, MN
September 29
7:30 p.m.
Freeport H.S.
50 South Brookside Avenue
516-223-2522
Thief River Falls, MN
September 30
7:30 p.m.
RUTH)
Alexandria High School Auditorium
1401 Jefferson Street
763-559-8019
Thief River Falls High School
101 Knight Avenue
763-559-8019
Kings College
133 North River Street
570-208-5900
Dickinson, ND
October 3
7:30 p.m.
763-559-8019
Middle School Auditorium
1200 11th Avenue
763-559-8019
Loveland, CO
October 5
7:30 p.m.
Loveland High School Auditorium
1669 Eagle Drive
763-559-8019
Antigo, WI
September 26
7:30 p.m.
Antigo High School Auditorium
1900 W. 10th Avenue
763-559-8019
New Ulm, MN
7:30 p.m.
September 28
763-559-8019
Pratt, KS
October 7
7:30 p.m.
763-559-8019
DAVE BRUBECK QUARTET ITINERARY ( BOBBY MILITELLO, MICHAEL MOORE, RANDY JONES )
Summer 2008 -Winter 2008
Visit davebrubeck.com
for additions, corrections & information updates.
New York, NY
May 29
8:00 pm
Apollo Theater
Jazz Foundation Benefit
A Great Night in Harlem
Burlington, VT
June 6
8:00 PM
Flynn Center
153 Main St.
802-865-5966
Cambridge MA
June 13
8:00 pm
Boston, MA
June 14
8:00 pm
Highland Park, IL
June 21
7:30 pm
Vancouver, BC
June 23
8:00 pm
Victoria, BC
June 24
8:00 pm
Calgary
June 26
7:00 pm
Saskatoon
June 29
8:00 pm
Sanders Theater
45 Quincy St.
617-876-8742
Berklee College
Performance Center
136 Massachusetts Ave.
617-876-8742
Ravinia Festival
Lake Cook & Green Bay Rds.
DBQ w/ Big Band
847-266-5100
Toronto
July 2
8:00 pm
Montreal
July 4
July 5
For info
14
Orpheum Theatre
Smythe & Seymour Sts.
604-872-5200
Royal Theatre
805 Broughton
250-388-4423
Jack Singer Concert Hall
205 Eight Ave. SE
403-802-4822
Centennial Hall
35 22nd St. E.
306-938-7800
1-800-970-7328
Four Seasons Center
Queen St. & University Ave.
DBQ w/Big Band
416-870-8000
Montreal Jazz Festival
DBQ & Octet
DB Trio & Quartet
Montrealjazzfest.com
1-888-515-0515
DAVE BRUBECK QUARTET ITINERARY cont’d
Manchester, VT
Aug. 1
7:30 pm
Litchfield, CT
Aug. 2
9:00 pm
Farmingville, NY
Aug. 22
8:00 pm
Mackinac Island, MI
Aug. 31
1:00 pm
San Antonio, TX
Sept. 20
7:00 pm
St. Louis, MO
Oct. 4
8:00 pm
Springfield, MO
Oct. 5
7:30
Worcester, MA
Oct. 11
8:00 pm
Detroit, MI
Oct. 16
8:00 pm
Cleveland, OH
Oct. 17
S. Vermont Arts Center
West Road
802-362-1759
San Francisco, CA
Oct. 24
8:00 pm
Goshen Fairgrounds FESTIVAL
Rte. 63, 116 Middle St.
860-567-4162
Los Angeles, CA
Oct. 26
7:30 pm
Brookhaven Amphitheater
Bicycle Path
Tentative
SF Jazz Festival
Masonic Aud.
California & Taylor
866-920-5299
Walt Disney Concert Hall
151 S. Grand Ave.
323-850-2000
Bethlehem, PA
Church
Nov. 1
8:00 pm
Tea Garden
Grand Hotel
Travis Park
E. Travis & Novarro Sts.
Central Moravian
Main & Church Sts.
610-866-4382
Germantown, TN
Performing Arts Center
Nov. 15
1801 Exeter St.
8:00 pm w/ Dan & Chris Brubeck & Bobby Militello
901-751-3510
Sheldon Concert Hall
3648 Washington Blvd.
314-533-9900
New York, NY
Nov. 28,29,30
Shows @ 8:00 & 10:30 pm
Juanita Hammons Hall
525 S. Hammons Pkwy.
Missouri St. University
417-836-7678
Hanover Theater
2 Southbridge
Orchestra Hall
Fisher Music Center
3711 Woodward Ave.
313-576-5100
15
The Blue Note
731 W. 3rd St.
212-475-8592
Cranston, RI
Dec. 5
7:30 pm
Immaculate Conception Church
237 Garden Hills Dr.
“Canticles: In Praise of Mary”
401-942-1854
Foxburo, MA
Dec. 6
8:00 pm
The Patriots Stadium
Showcase @ #1 Patriot Place
Inquiries about bookings for
The Dave Brubeck Quartet should be directed to:
Frank Modica, Jr.
SUTTON ARTISTS CORPORATION
20 West Park Avenue, Suite #305
Long Beach, New York 11561
Phone: (516) 432-1790 • Fax (516) 897-1855
the DBQ NEWSLETTER
P.O. Box 216
Wilton, CT 06897
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