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P.O.

Box 216

NEWSLETTER
A LETTER FROM DAVE

the dave brubeck quartet

Wilton, Connecticut 06897


Summer 2008

Volume 26. Number 1

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. Ramseys 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

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 Mulligans 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
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pieces, because of it rhythmic complexity and its exploration of the so-called Devils 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 Warings 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. Ill be able to talk more about it in our Holiday letter, when we hear the results of our recording efforts. As Ive 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! All the best,

A LETTER FROM IOLA


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 Americas ideals through public diplomacy, Dave and Secretary of State, Condoleezza Rice, April 8, 2008 in Washington, D.C. by offering a positive vision of hope and opportunity rooted in Americas 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 Daves 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; Daves 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 attach to the American embassy Catherine Brubeck Yaghsizian, Condoleezza Rice, Dave and Iola
Photo Credit: Steve Anderson

Pose on the Day of the Ben Franklin Awards.

Photo courtesy U.S. Dept. of State

Photo Courtesy U.S. Dept. of State

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in Moscow, arranged for Daves mass to be performed by then probed Dave about his memories of the Quartets the Orloff Choir and the Russian National Orchestra in 1958 State Department tour. Hedricks 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 Mowers 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 pertiBlue 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 Satchmos favorite line, In my humble way, Im 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 dont represent, some policies Im for. Whos 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
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Photo Credit: Les Mowes

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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 Quartets historic tour of that country. A gentleman who was in Bombay at the time of the Quartets visit attended all the weeks 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 Quartets 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 Institutes 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
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OKeefe 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 doeuvres 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 distin-

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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 Hiromis 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 Conovers 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 Addisons 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 Quartets 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.
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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

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. Ill explain and make it plain I represent the human race and dont pretend no more. Whos 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, Whos the real ambassador? It is world we share. evident I wasnt sent by government to take your place. All I do is play the blues and meet the people face to
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WHAT THEY ARE SAYING ABOUT INDIAN SUMMER

NOTES ON INDIAN SUMMER

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, Brubecks 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. 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 masters 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 mindHis playing is both visual and emotionalthe sound of an intimate, live, private performance in the home of a musical master.

Without a vocal companion, Brubeck is a consummate story teller at the keyboard Andrea Canter, Jazzpolice.com Reflections on the autumn of his yearsFile 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 Jarretts solo explorations, and glimpses of Eubie Blake and Fats Waller, but mostly its just Dave at his most reflective, meditating on a mix of standards, originals and songs he loved long ago. ...Port Folio Weekly (VA) Each interpretation comes laden with memories. And theyre timeless.. Jazz Improv NY

And some other opinions:

Indian Summer showcases Brubecks spellbinding versatilitybridging the gap between traditional jazz and folkloric appealFrom powerful crescendos and thrilling arpeggi, to pensive chord voices and modal harmony, Brubecks 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 Librarys page. Click on Oral History Project and hear first hand some of the stories Dave tells about the State Department tour in 1958.
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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 Messiahs 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.

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 Daves major choral and orchestral works - The

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 Daves 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.

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 Daves 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 Stravinskys 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 wifes career and Madeleine acted as Milhauds 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
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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 histo-

MADELEINE MILHAUD contd


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.

NEXT GENERATION
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 Beijings 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 enjoyablethe most enduring quality of the music is its uncommon marriage of styles which are blended seamlessly in the masters hands.
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Madeleine Milhaud at 104 photo by Darius Brubeck

THE NEXT GENERATION contd


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 OHiggins 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 OHiggins 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.

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. Theres really nothing out there that comes close to their unique brand of inventiveness. Dr. Judith Schlesinger, All About Jazz

C l a s s i f i e d Reviews:

NOTES ON RECORD

[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 Brubecks 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
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The big news from my perspective is the release of the Brubeck Brothers Quartets 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 for Nonet. This is a classical and jazz hybrid o work in three movements. The Imanis are known for their adventurous collaborations with such renowned jazz artists as Wayne Shorter and Paquito dRivera. We

LETTER FROM CHRIS

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. Im 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

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 Jazzd 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 Jazzd 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 Jazzd 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 Jazzd 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 Jazzd4Life 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. Jazzd 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 Jazzd 4 Life On the Move in D.C.
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LETTER FROM CATHY

BRUBECK BROTHERS ITINERARY (CHRIS & DAN BRUBECK, MIKE DEMICO, CHUCK LAMB)
Gettysburg, PA June 25 8:00 p.m. Philadelphia, PA June 26 8:00 p.m. Delaware Water Gap, PA June 27 8:00 p.m. 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. Majestic Theater 25 Carlisle Street www.gettysburgfestival.org Chriss Jazz Cafe 1421 Samson Street www.chrisjazzcafe.com 610-649-1596 Deer Head Inn 5 Main Street www.deerheadinn.com 570-424-2000 Friehofers Jazz Festival Saratoga Performing Arts Center Centre Street Congregational Church 7 Center Street 207-255-6665 Strand Theater 345 Main Street 207-594-0070 Ketchum, Idaho January 9 7:30 p.m. Ft. Lauderdale, FL February 11 8:00 p.m. Pittsburgh, PA February 15 2:30 p.m. Wickenberg, AZ February 27 7:30 p.m. Charlottesville, VA October 16 8:00 p.m. Paramount Theater 215 East Main Street www.theparamount.net 434-979-1922

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. Atlanta, GA October 19 3:00 p.m. Clearwater Jazz Holiday Coachman Park 727-430-1505 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 2009 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 Craftsmens Guild 1815 Metropolitan Street www.mcgjazz.org 412-322-1773 Del E. Webb Center 2001 West Wickenberg Way www.delewebbcenter.org 928-684-6639

Rockport, Maine Rockport Opera House July 17 6 Central Street 8:00 p.m. 207-236-2514 Dan & Chris in performance of Chris Brubecks Danza del Soul Racine, WI July 23 7:00 p.m. Flint, MI August 2 8:00 p.m. Cooperstown, NY August 19 6:00 p.m. Coral Gables, FL August 28 8:00 p.m. Cazenovia, NY September 12 7:30 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 Congregational Church 3010 Desoto Boulevard 305-448-7421 Jazz N Caz Festival www.cazenovia.edu 315-655-7238

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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. Antigo, WI September 26 7:30 p.m. New Ulm, MN 7:30 p.m. September 28 Hoover Auditorium 236 Walnut Avenue 419-798-4461 www.lakesideohio.com Freeport H.S. 50 South Brookside Avenue 516-223-2522 Kings College 133 North River Street 570-208-5900 Middle School Auditorium 1200 11th Avenue 763-559-8019 Antigo High School Auditorium 1900 W. 10th Avenue 763-559-8019 763-559-8019 Alexandria, MN September 29 7:30 p.m. Thief River Falls, MN September 30 7:30 p.m. Dickinson, ND October 3 7:30 p.m. Loveland, CO October 5 7:30 p.m. Pratt, KS October 7 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 763-559-8019 Loveland High School Auditorium 1669 Eagle Drive 763-559-8019 763-559-8019

DAVE BRUBECK QUARTET ITINERARY ( BOBBY MILITELLO, MICHAEL MOORE, RANDY JONES )
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 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

Summer 2008 -Winter 2008 Visit davebrubeck.com for additions, corrections & information updates. New York, NY May 29 8:00 pm Burlington, VT June 6 8:00 PM Cambridge MA June 13 8:00 pm Boston, MA June 14 8:00 pm Highland Park, IL June 21 7:30 pm Apollo Theater Jazz Foundation Benefit A Great Night in Harlem Flynn Center 153 Main St. 802-865-5966 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

DAVE BRUBECK QUARTET ITINERARY contd


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 S. Vermont Arts Center West Road 802-362-1759 Goshen Fairgrounds FESTIVAL Rte. 63, 116 Middle St. 860-567-4162 Brookhaven Amphitheater Bicycle Path Cleveland, OH Oct. 17 San Francisco, CA Oct. 24 8:00 pm Los Angeles, CA Oct. 26 7:30 pm Tentative

SF Jazz Festival Masonic Aud. California & Taylor 866-920-5299 Walt Disney Concert Hall 151 S. Grand Ave. 323-850-2000

Tea Garden Grand Hotel

Bethlehem, PA Church Nov. 1 8:00 pm

Central Moravian Main & Church Sts. 610-866-4382

Travis Park E. Travis & Novarro Sts.

Sheldon Concert Hall 3648 Washington Blvd. 314-533-9900 Juanita Hammons Hall 525 S. Hammons Pkwy. Missouri St. University 417-836-7678 Hanover Theater 2 Southbridge

Germantown, TN Performing Arts Center Nov. 15 1801 Exeter St. 8:00 pm w/ Dan & Chris Brubeck & Bobby Militello 901-751-3510 New York, NY Nov. 28,29,30 Shows @ 8:00 & 10:30 pm The Blue Note 731 W. 3rd St. 212-475-8592

Worcester, MA Oct. 11 8:00 pm Detroit, MI Oct. 16 8:00 pm

Cranston, RI Dec. 5 7:30 pm

Immaculate Conception Church 237 Garden Hills Dr. Canticles: In Praise of Mary 401-942-1854 The Patriots Stadium Showcase @ #1 Patriot Place

Orchestra Hall Fisher Music Center 3711 Woodward Ave. 313-576-5100

Foxburo, MA Dec. 6 8:00 pm

15

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

PRSRT.STD U.S. POSTAGE PAID MONROE, CT PERMIT NO. 100

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