The Voice of Brubeck, Vol. 1

Song of Hope and Peace

Brubeck Brothers Quartet
Chris Brubeck bass/trombone
Dan Brubeck drums
Chuck Lamb piano
Mike DeMicco guitar

The Paul English Quartet
Paul English piano
David Caceres saxophones
Rankin Peters bass
Tim Solook drums

Horace Alexander Young

Houston Chamber Choir | Robert Simpson conductor

Release Date: August 30, 2024
Catalog #: NV6668
Format: Digital
20th Century
Classical
Jazz
Vocal Music
Flute
Saxophone
Voice

From the iconic groove of his Take Five to the infectious melody he composed in Blue Rondo à la Turk and beyond, Dave Brubeck was an innovative musical figure who left an indelible footprint on the history of jazz. His groundbreaking approach to composition stretched far beyond the barriers of genre, however.

THE VOICE OF BRUBECK, VOL. 1 from Navona Records showcases the legendary artist’s contributions to symphonic, chamber, and sacred vocal music, and explorations of new musical forms. Spearheaded by producer Arthur Gottschalk and the Lago Vista Community Concerts Foundation, this album offers a diverse palette of celebrated and previously-unrecorded choral and orchestral works that Brubeck regarded as some of his finest.

Featuring the GRAMMY® Award-winning Houston Chamber Choir alongside a 19-piece orchestra and the Brubeck Brothers and Paul English Quartets, THE VOICE OF BRUBECK, VOL. 1 carries on the legacy of the widely influential pianist and composer’s body of work so that future generations may enjoy his music for years to come.

Listen

Hear the full album on YouTube

Track Listing & Credits

# Title Composer Performer
01 Boogie 1 A.M. Dave Brubeck, inst. arr. Horace Alexander Young Langston Hughes, lyricist; Robert Simpson, conductor; Houston Chamber Choir; Paul English Quartet 3:30
02 Forty Days Dave Brubeck, inst. arr. Chris Brubeck Dave Brubeck, Iola Brubeck - lyricists; Robert Simpson, conductor; Houston Chamber Choir; Brubeck Brothers Quartet, Orchestra 11:11
03 It’s a Raggy Waltz Dave Brubeck Iola Brubeck, lyricist; Chris Brubeck, additional lyrics and new choral arrangement; Robert Simpson, conductor; Houston Chamber Choir; Brubeck Brothers Quartet, Orchestra 5:56
04 The Desert and the Parched Land Dave Brubeck Dave Brubeck, Iola Brubeck - lyricists; Robert Simpson, conductor; Houston Chamber Choir; Paul English Quartet, Orchestra 6:23
05 Festival Hall Dave Brubeck, inst. arr. Horace Alexander Young Robert Simpson, conductor; Houston Chamber Choir; Paul English Quartet, Orchestra 5:11
06 Two Part Contention Dave Brubeck, inst. arr. Chris Brubeck Chris Brubeck, lyricist; Robert Simpson, conductor; Houston Chamber Choir; Paul English Quartet, Orchestra 7:14
07 Take Five Paul Desmond, inst. arr. Paul English Iola Brubeck, lyricist; Robert Simpson, conductor; Houston Chamber Choir; Brubeck Brothers Quartet, Paul English Quartet, Orchestra 8:42
08 Are You Now or Have You Ever Been a Democrat or a Republican? Dave Brubeck, inst. arr. Paul English Dave Brubeck, Iola Brubeck - lyricists; Robert Simpson, conductor; Houston Chamber Choir; Orchestra 6:41
09 Blue Rondo à la Turk Dave Brubeck, inst. arr. Chris Brubeck Chris Brubeck, lyricist; Robert Simpson, conductor; Houston Chamber Choir; Brubeck Brothers Quartet, Orchestra 7:46
10 Once When I Was Very Young Dave Brubeck, inst. arr. Paul English Michael Brubeck, lyricist; Robert Simpson, conductor; Houston Chamber Choir; Paul English Quartet, Orchestra 7:25
11 Autumn In Our Town Dave Brubeck Iola Brubeck, lyricist; Robert Simpson, conductor; Houston Chamber Choir; Brubeck Brothers Quartet, Orchestra 8:22
12 Weep No More Dave Brubeck, inst. arr. Chris Brubeck Brubeck Brothers Quartet 5:02

Recorded June 2-5, 2024 at Stude Concert Hall, Rice University in Houston TX
Recording Producer Arthur Gottschalk
Associate Producer Bob Lord
Executive Producer Aleks Savitski
Technical Director Brian James
Recording Engineer Andrew Bradley
Editing & Mixing Andrew Bradley at Wire Road Studios
Mastering Melanie Montgomery

Photography by Jeff Grass Photography

Staff
Tish Brubeck, Brian Miller, Kristina Brzezinski, Kaitlin DeSpain, Ashley Stouffer, Carol Brejot, Alex Moreno

Sponsors
The Shepherd School of Music, Rice University
The National Endowment for the Arts
Lago Vista Community Concerts
Alta Arts
Eggersmann Home Living
The David Toy Law Firm
Fiora’s Bottle Shop

Supporters
Robert Fusillo, Karen George, Daniel Hyde, Adele and Tony Gorody, Alan and Nancy Shelby, Brian James, Arthur and Shelley Gottschalk

Sponsor logos

Executive Producer Bob Lord

VP of A&R Brandon MacNeil
A&R Chris Robinson

VP of Production Jan Košulič
Audio Director Lucas Paquette

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Aidan Curran, Kacie Brown, Chelsea Kornago
Digital Marketing Manager Brett Iannucci

Artist Information

Chris Brubeck

Bassist, Composer, Trombonist

Chris Brubeck is a GRAMMY®-nominated composer who continues to distinguish himself as a multi-faceted performer. A talented bassist and trombonist as well as an award-winning writer, Brubeck is tuned into the pulse of contemporary music. The respected music critic for The Chicago Tribune, John von Rhein, calls Brubeck: “a composer with a real flair for lyrical melody — a 21st Century Lenny Bernstein.” Brubeck has created an impressive body of symphonic work while maintaining a demanding touring and recording schedule with his various groups. He was a member of the Dave Brubeck Quartet for 16 years, and a frequent guest artist with the Quartet before and after that time period.

Paul English

Composer, Pianist

A small Gulf Coast Texas town was not a likely place for a future jazz musician and composer to grow up, but Paul English’s father was an accomplished jazz trombonist and a respected music educator and band director. Early on he introduced his son to Dave Brubeck, J. J. Johnson, and Count Basie (in that order) as well as Bach, Beethoven, and Stravinsky. This magical world fascinated Paul, and almost before he could speak, he was banging out sounds on the piano that must have been painful to others but glorious in his own mind.

Brubeck Brothers Quartet

Brubeck Brothers Quartet

Ensemble

Chris and Dan Brubeck have been making music together all their lives. Drummer Dan and bassist, trombonist, and composer Chris cut their first record together in 1966 — nearly a half century ago. They’ve subsequently played a variety of styles in a number of different groups, as well as with their father, jazz giant Dave Brubeck, and with their own Brubeck Brothers Quartet. With Dan and Chris as the foundation, guitarist Mike DeMicco and pianist Chuck Lamb complete this dynamic quartet.

They perform at concert series, colleges, and jazz festivals across North America and Europe including the Newport, Detroit, Montreal, Playboy/Hollywood Bowl, and Monterey Jazz Festivals. The Quartet’s album LifeTimes was a hit on the Jazz Week radio chart where it made the Top Ten list as one of the most played jazz recordings of the year. 

“The playing that takes place on LifeTimes — the wondrous combination of swing, melodic majesty, masterful arrangements and a truckload of truly inspirational solos — just adds a vibrancy and color to songs I thought I knew and loved on a deep level. It turns out that there was still plenty of depth I could have discovered. I just needed someone to point the way and that is exactly what these four gentlemen have done through LifeTimes.” – The Seattle Times

These versatile musicians also collaborate with or­chestras all across the United States as well as internationally, including performances with the Singapore Chinese Orchestra and the Russian National Orchestra. With Chris Brubeck’s compositions as a vehicle, the BBQ has joined with chamber groups to collaborate with musicians from the St. Paul Chamber Orchestra, the Philadelphia Orchestra, and the Russian National Symphony Orchestra.

Although the Quartet’s style is rooted in “straight-ahead” jazz, their concerts reveal an inherent ability to explore and play odd time signatures while naturally integrating the influences of funk, blues, and world music. The group’s creativity, technique, and improvisation can be heard in their uncompromising music, which reflects their dedication to melody, rhythm, culture, and the spontaneous spirit of jazz.

Chris Brubeck is a GRAMMY®-nominated composer who continues to distinguish himself as a multi-faceted performer. A talented bassist and trombonist as well as an award-winning writer, Brubeck is tuned into the pulse of contemporary music. The respected music critic for The Chicago Tribune, John von Rhein, calls Brubeck: “a composer with a real flair for lyrical melody — a 21st Century Lenny Bernstein.” Brubeck has created an impressive body of symphonic work while maintaining a demanding touring and recording schedule with his various groups. He was a member of the Dave Brubeck Quartet for 16 years, and a frequent guest artist with the Quartet before and after that time period. He is a much sought-after composer, and his latest work, a double guitar concerto for blues and classical guitarists, commissioned by the Memphis Symphony, premiered to excited standing ovations in the fall of 2023.

Daniel Brubeck has toured the international music circuit as a drummer for more than five decades. He is the rhythmic force of the Brubeck Brothers Quartet, touring with his brother Chris, Mike DeMicco, and Chuck Lamb. He also tours the United Kingdom with the group Brubecks Play Brubeck, with brothers Darius (piano) and Chris, as well as Dave O’Higgins (saxophone) and plays with his Vancouver-based Dan Brubeck Quartet. Brubeck also enjoyed many years of performing and recording with his father, the legendary Dave Brubeck. As a featured soloist with many of the world’s top jazz artists and symphony orchestras, Brubeck’s original drumming style and use of odd-time signatures have earned him international acclaim. As a stylistically versatile musician, he’s toured and recorded with artists from various genres including the classic rock group The Band, pioneering blues guitarist Roy Buchanan, singer-songwriter Livingston Taylor, jazz guitar legend Larry Coryell, as well as with contemporary jazz artists David Benoit, singer Michael Franks, and traditional jazz artists Gerry Mulligan and Paul Desmond.

Mike Demicco has been guitarist and composer with the Brubeck Brothers Quartet for more than two decades. Demicco’s expansive embrace of music has led him to work with prominent artists in many genres, and he has toured the world extensively since 1980, performing and recording with a diverse cross-section of jazz, blues, and popular artists, including Dave Brubeck, Jack DeJohnette, Nick Brignola, Warren Bernhardt, Lindsay Webster, Lee Shaw, Rory Block, James & Livingston Taylor, and many others.

Chuck Lamb has been pianist for the Brubeck Brothers Quartet since 2002, and is not only an exciting and emotive pianist in his own right, but also a prolific composer of jazz, fusion, classical, and world music. Lamb is currently artist-in-residence for the popular monthly “Jazz at Caffe Lena” series in Saratoga Springs, where he has hosted and performed with guests such as Joe Locke, Chico Freeman, Dick Oattts, Vic Juris, and many more. One of Lamb’s mentors, the legendary Dave Brubeck, writes “Chuck is an extremely creative, harmonically interesting, rhythmically exciting pianist and one of the best improvisers I’ve heard in recent times!”

www.brubeckbrothers.com

Paul English Quartet

Paul English Quartet

Ensemble

The Paul English Quartet features long-time Houston jazz leader and pianist, Paul English, along with David Caceres on saxophone and vocals, Rankin Peters on bass and vocals, Tim Solook on drums.

Paul English, well known to Texas audiences as an outstanding jazz pianist, has performed and recorded with jazz greats Arnett Cobb, Dave Liebman, and Dizzy Gillespie, but he credits his earliest jazz influence on the great Dave Brubeck. A prolific composer, he enjoys writing in various styles from jazz to classical, pop, and country and his catalog includes works for orchestras, choirs, theater, and mixed genre ensembles. He is an alumnus of The University of Miami and The Shepherd School of Music at Rice University (B.M, M.M.), where he studied composition with the late Dr. Paul Cooper. English is a registered Steinway concert artist.

David Caceres is a saxophonist and vocalist — easily the most sought-after jazz musician in Houston. He earned his B.A. at Boston’s prestigious Berklee College of Music. After a consummate schooling, Caceres headed to the Big Apple to cut his musical teeth. Yet, with his native roots, it is no wonder he returned to Houston to stake his musical claim. Now he has become a veritable Texas Tradition juggling an incredible performance, recording, and teaching career, having 4 CDs under his belt.

Rankin Peters was born and raised in San Antonio and began his professional career as a bassist at age 15. He attended the University of Miami and Sam Houston State University. He currently works in the studios in town and surrounding areas, and is active in the music scene in Houston. He is the Music Director for the Lone Star Cowboy Church in Montgomery TX.

Tim Solook is a drummer native of New Jersey. Solook studied music in Philadelphia and New York City, receiving his B.M. degree from the Manhattan School of Music. He has studied privately with the great jazz drummer Joe Morello of the Dave Brubeck Quartet as well as with vibists David Friedman and Dave Samuels. Solook’s performances have taken him coast to coast from the Newport Jazz Festival to the Roxy in Los Angeles and European stops at the Jazz Keller in Frankfurt, Germany, and more. Solook has 4 CDs of original compositions, Ability, Comfortable Blues, Jacksonville Rd., and his latest, Delete Event, released in 2020.

Horace Alexander Young

saxophones

Horace Alexander Young is a 21st Century musician whose combined saxophone, flute, and vocal styles revisit the sensitivity and grit of Lester Young and Cannonball Adderley, and the smoothness and grace of Nat King Cole. For more than four decades, he has maintained a career as an accomplished musician (multi-woodwinds, keyboards, percussion, and vocals), educator, composer/arranger, and recording and touring artist. While he has spent most of his 40+ years in the music business playing, arranging, composing, and recording music for other artists (Abdullah Ibrahim, McCoy Tyner, B.B.King, Bill Withers, Regina Belle, et al), he also spent a significant number of years serving on the music faculty at such colleges and universities as Texas Southern, Washington State, Sonoma State, Rutgers, Houston Community College, and Santa Fe University of Art and Design, where he served as Chair of The Contemporary Music Program. In recent years, his “voice” has become a more prominent character in his personal musical journey, which was one of the resonating elements that drew his interest as a member of the arranging team for this project.

Robert Simpson

conductor

Robert Simpson is the Founder and Artistic Director of the Houston Chamber Choir. He also serves as Canon for Music at Houston’s historic Christ Church Cathedral, and Lecturer of Church Music at Shepherd School of Music at Rice University. He is the recipient of both Chorus America’s Michael Korn Founders Award for the Development of the Professional Choral Art and the American Prize in Choral Conducting. Choirs under his direction have toured the United States, Europe, and Mexico, and performed before national conventions of Chorus America, the American Choral Directors Association, The American Guild of Organists, The Association of Anglican Musicians, and The Hymn Society of America. They have appeared nationally on CBS-TV, ABC-TV, and American Public Radio. Simpson is married to Marianna Parnas-Simpson, the noted children’s choir conductor.

Houston Chamber Choir

choir

Houston Chamber Choir, founded in 1995 by Artistic Director Robert Simpson, received the 2020 GRAMMY® Award for Best Choral Performance for its recording of the complete choral works of Maurice Duruflé. Other honors include Chorus America’s Margaret Hillis Award for Choral Excellence, and the American Prize. Dubbed by Jamie Bernstein as “the choral equivalent of the Harlem Globetrotters,” the Houston Chamber Choir delights in singing a wide range of styles from early music to jazz. Eager to promote the music of our day, the Houston Chamber Choir regularly commissions, performs, and records works by today’s leading composers. Its latest CD, released on the Cappella label, is Two Streams, a major new work by Daniel Knaggs inspired by the message of hope seen through the eyes of the extraordinary Polish nun Maria Faustina Kowalska. It features soprano Caitlin Aloia, mezzo-soprano Sasha Cooke, tenor Christopher Bozeka, baritone Mark Diamond, and the string ensemble Kinetic.

Choir Members

Robert Simpson, choir director

SOPRANOS
Elizabeth Tait, soloist
Rebecca Castillo
Mariam Haider
Amy Kerswell
Melanie Piché Miller
Jade Pañares

ALTOS
Natalie Broussard
Clipper Hamrick
Marianna Parnas-Simpson
Emily Premont
Ryan Stickney
Lauren Suchy

TENORS
Wayne Ashley, soloist
Jeffrey Ragsdale
Alphonso Seals
Justin Shen
Paul Steffan
Phillip Velarde

BASSES
Rameen Chaharbaghi
Greg Goedecke
Ben Kerswell
Randy Murrow
Corey Swann
Joshua Wilson

Orchestra Members

Patrick Moore, contractor
Tim Peters, concertmaster

VIOLINS
Tim Peters
Matt Lammers
Nick Lindell
Emily Richardson
Jonathan Godfrey
Marisa Ishikawa
Jaya Varma

VIOLAS
Katie Carrington
Matthew Carrington

CELLOS
Patrick Moore
Ben Stoehr

DOUBLE BASS
Austin Lewellen

HORN
Emily Nagel

TRUMPETS
Robby Yarber
Gary Weldon

TROMBONE
Thomas Hulten

PERCUSSION
Jeremy Davis

WOODWINDS
David Caceres, clarinets and saxophones
Horace Alexander Young, flutes and saxophones

Notes

It may come as a surprise to those familiar with Brubeck’s jazz stylings that he also composed sacred music. Did he ever! Brubeck’s sacred compositions are text-driven and include orchestral and choral works, oratorios, and cantatas in which he managed to unite jazz and classical styles. His Christmas cantata La Fiesta de la Posada and Mass To Hope! A Celebration have been performed across the world. Each work offers Brubeck’s authentic musical voice, which houses messages of hope and “exuberance that masks the rigors of counterpoint and all the other technical stuff that went into his writing.” The flexibility, charm, seeming simplicity, and the sheer joy of Brubeck’s La Fiesta de la Posada and To Hope! have allowed the pieces to be performed by opera companies, symphony orchestras, music festivals, professional choruses, church choirs, community choirs and orchestras, as well as theater troupes.

— Arthur Gottschalk

Brubeck masterfully adapted the words of Langston Hughes to create an exceptional new choral work, one of four adapted from his larger work Hold Fast To Dreams, premiered in the fall of 1998 in Princeton NJ. Inspiring and wonderful music!

— Chris Brubeck

“Forty Days” is an evocative movement from my father’s first oratorio, The Light in the Wilderness. Our entire family attended the 1968 world premiere in North Carolina. This major work had been germinating in Dad’s heart and soul since he witnessed the mass destruction of Europe during World War II. He made a huge commitment to his classical composition career by disbanding, in 1967, what was arguably the most popular jazz group in the world — The Dave Brubeck Quartet, which featured Paul Desmond on alto sax, Joe Morello on drums, and Eugene Wright on bass. These all-stars were our honorary musical “uncles” and shaped my brothers’ and my playing from “rug-rats” to young musicians sharing the stage in our teenage years and beyond. The Quartet could not believe that Brubeck was prepared to walk away to pursue “serious” composition. Brubeck continued to feature a jazz element in his 20+ classical cantatas, as he felt the inclusion of contemporary improvisation over notated choral music would keep the music fresh and alive for the future.

Brubeck grew up as an isolated cowboy kid roaming a huge ranch in northern California. Imagine riding the range in the 1930s and 1940s with huge open tracts of land, and then being uprooted and thrown into General Patton’s Army as a young man. What shook him to the core was the cruelty of mankind as he witnessed men willfully violating God’s law, especially “Thou shalt not kill.” My father vowed to himself: “If I ever live through this thing, I want to write a major piece to try to remind humanity of what the essential teachings of Jesus’s life is all about.” “Forty Days” is a contemplative piece that describes Jesus’s sojourn on the desert, and his quest to find himself, resist temptation, and crystallize his relationship with God. Like many of Brubeck’s great compositions, it is not overly complicated; it is highly sincere, relatable, and moving.

— Chris Brubeck

It’s A Raggy Waltz is probably one of my father’s sunniest tunes. Wynton Marsalis sums up the joy Dad could infuse into his playing. A reflection of his positive personality, “Dave had rainbows in his pockets. You always felt better after any time you met him, and you felt better than you did before seeing him.” Our talented mother, Iola, wrote the upbeat lyrics which tumble off the tongue and kick the accents of this tune, which Brubeck described as “half Ragtime and half Waltz,” and I’ve always wanted to write a choral arrangement of their song. In the middle of this arrangement, the quirky tune takes another “left turn” as the melody is presented instrumentally in three keys at the same time. This is a salute to Brubeck’s experimentation with polytonality, which he worked into his innovative style of jazz. Dad’s great teacher, Darius Milhaud, encouraged his ideas of polytonality and polyrhythms. In this catchy song you can hear both of these musical techniques intertwine throughout, and joyfully.

— Chris Brubeck

“The Desert and the Parched Land” is the 3rd Movement from Dave Brubeck’s acclaimed concert mass To Hope! A Celebration — A Mass in the Revised Roman Ritual. The words, based on Isaiah 35, offer images of hope, nature’s glory and abundance, and a call to rejoicing with joyful song. In the concert mass setting, the beautiful melody is sung by the female cantor, but in a normal concert it is sung by a lyric soprano. For this special program, Paul English created a new arrangement that involves the choir, the orchestra, and his jazz quartet to accompany the melody. This piece is effective and projects a feeling of serenity to the audience when sung to the congregation.

The mass To Hope is one of Brubeck’s strongest large-scale compositions. Quite often, when a composer is restricted by the structural traditions of a venerable musical tradition like the concert mass, it can be nonetheless liberating. “The Desert & The Parched Land” is a beautiful blend of innovation and tradition coming together in a truly harmonious way.

— Chris Brubeck

Chris Brubeck says, “The background story for the tune Festival Hall is that Brubeck used to utilize the excellent local high school choir as a testing ground for new things he was writing. The Wilton High School Madrigal Singers were well known in the Northeast for having a top-notch choir every year, touring and participating in competitions. Brubeck wrote Festival Hall with those students in mind. Horace Alexander Young’s exciting new arrangement conveys that youthful energy and more.”

My thoughts, when working on this arrangement, recalled the sounds of The Nederlands Congresgebouw in The Hague, when I performed at the North Sea Jazz Festival in 1993 with Abdullah Ibrahim and Ekaya. So many rooms and halls, filled with different kinds of music, playing all at once. That mixture is evoked at the end of this arrangement, and the various styles in the closing sequence are reminiscent of a New Orleans Second-Line Promenade!

— Horace Alexander Young

My father wrote Two Part Contention after studying composition, after WWII and on the G.I. Bill, with the innovative and world-renowned French composer Darius Milhaud. Dad recorded the tune at home in the wee hours, when us kids were asleep, and it made its debut on his solo piano LP Brubeck Plays Brubeck, released in 1956. In addition to being a performer and a composer, I am also a producer with the family record company, Brubeck Editions. Our latest release, Dave Brubeck Quartet Live in the Northwest: 1959, features a spectacular rendition of Two Part Contention. Remixing and editing the recordings along with other family members, I learned every measure, and determined that the highlight of the performance was how Brubeck — and alto saxophonist Paul Desmond — could improvise stunning counterpoint. For this world premiere choir arrangement, I transcribed their spontaneous instrumental solos and made them the basis of the contrapuntal choral parts. I added lyrics to the initial statement of the melody that I thought were germane to the composition, the process, and the technique involved in approaching a musical piece of this complexity. Now Brubeck’s original counterpoint “exercise” and the Desmond/Brubeck improvisational genius, has been transformed and performed by a new generation and assemblage of talented musicians. Great music is timeless.

— Chris Brubeck

Take Five, written by Paul Desmond and made famous by The Dave Brubeck Quartet, has been given a new arrangement by Paul English for this Voice of Brubeck Concert. The lyrics were penned by Iola Brubeck, our remarkable mother, back in the early 1960s. At the time, Take Five was becoming a worldwide hit, and the Dave Brubeck Quartet was about to record a live album with the top jazz vocalist Carmen McRae; thus, words were created for the occasion. Around that same time, our parents were working with Carmen McRae and Louis Armstrong on the musical written by my parents, The Real Ambassadors. It is a very interesting record with strong themes that explored racial equality. Armstrong played the lead, a world-renown trumpeter who is mistaken for an actual Ambassador of the United States. This musical was inspired by real life events from the Dave Brubeck Quartet’s State Department tour of 1958… the same tour that took them to Istanbul where Blue Rondo a la Turk was inspired.

Take Five and Blue Rondo À la Turk were flip sides of the same hit single, released by Columbia Records at the time. My brother Dan and I, and our pianist brother Darius, played this tune everywhere in the world with Dad. Over the decades, Dan developed a unique approach to soloing on this piece, utilizing mind-boggling polyrhythms during his solo excursions. As our father said, “Dan doesn’t mind playing Take Five every concert, because this is jazz and we improvise something different every performance.” Like jazz, Take Five is always reinventing itself.

— Chris Brubeck

Are You Now or Have You Ever Been a Democrat or a Republican? is a curious piece by Brubeck, one of a handful for which he wrote both the music and the lyrics. Paul English discovered this piece and campaigned for it to be part of THE VOICE OF BRUBECK repertoire. Brubeck was prescient about the future of politics in America, probably because he lived long enough to have “seen it all.” My parents were married for over 70 years. As children, they personally knew people who fought in the Civil War and World I. Their own families lived through the misery of The Great Depression, World War II, McCarthyism, and the Red Scare, as well as the Korean and Vietnam Wars. In the amazing arc of their lives, they were invited to the White House, where Brubeck performed for and was honored by many different administrations over the decades. Brubeck also was an official cultural Ambassador for the United States. Though an optimist by nature, Brubeck could sense there was more negative energy on the horizon for our upcoming politics. He wanted to write a piece that warned about the slippery slope of judgmental and restrictive reasoning. Dad jumped in with a passion, hoping to pierce the armor of prejudice. Brubeck was a great talent, but he was also a man with a strong moral center. He knew right from wrong and he used music as a means to search for truth. The coda for this piece, from Brubeck’s 3rd major cantata, Truth Is Fallen, was a reaction to the shooting of college students at Kent State and Jackson State in the early 1970s. The Biblical opening text is “Truth is fallen in the streets and equity cannot enter.” If he were alive today, my Dad would despair that our society has devolved to the point that we don’t even have an agreed-upon concept of what “truth” is. Dad lived a life in which he always treated others as he would wish to be treated himself. This excerpt is from the last minute of a movement of Truth is Fallen. It is beautiful choral writing and conveys a profound sense of sorrow. I am deeply moved whenever I hear this. I sincerely hope that others feel similarly.

— Chris Brubeck

This new choral arrangement of Blue Rondo à la Turk is a sprawling, tricky, tongue twisting “tour de force” for the chorus. The lyrics describe the history of how this composition came to life. In 1958 (on a legendary State Department tour for Uncle Sam with The Dave Brubeck Quartet), Dad witnessed street musicians in Istanbul playing a beat he had never heard before. Listening with great fascination, he realized that the rhythmic cycle was a compelling and unusual time signature to American ears — 9/8. He created a corresponding melody, and borrowed the Rondo structure from Classical music. He realized this composition was straying far from Jazz so he decided to contrast the 9/8 theme by integrating good ol’ American Blues. Somehow this musical “patchwork quilt” resonated with jazz fans around the world in the early 1960s.

Future generations, such as Keith Emerson, Al Jarreau, Bette Midler, The Swingle Singers, and, most recently, The New York Voices, recorded fresh versions. I myself recorded a version with opera star Frederica von Stade in 1996 on our Telarc collaboration Across Your Dreams. I have now re-written the lyrics for the Houston Chamber Choir, who will sing these challenging rhythmic acrobatics tonight for the very first time. The Brubeck Brothers Quartet plays this tune at nearly every concert we give, and often with a full orchestra. All musicians seem to love playing this composition — its musical momentum is undeniable!

— Chris Brubeck

Once When I was Very Young is very significant to my family because our brother Michael wrote the lyrics, along with his friend John Jenney. Michael was the only brother who did not become a professional musician; He leaned more into our father’s cowboy heritage, and was an expert horseman. Michael was also an avid reader, and often wrote poetry. This poem struck Dad as a beautiful reflection of Michael’s perspective on life. This musical setting of Mike’s thoughts features beautiful choral writing, and a new arrangement with improvisations by Paul English and his Quartet.

— Chris Brubeck

Autumn In Our Town is one of my father’s most enduring melodies. My mother, Iola, wrote these lyrics, which fit the contours of the tune and match it with imagery of vividly colored leaves drifting down on gentle breezes over the small town where we lived in New England. Brubeck wrote this choral arrangement and as was his tradition, The Brubeck Brothers Quartet will improvise over the beautiful chord changes Brubeck composed. I love this song so much that, as a tribute to my late father in 2014, I incorporated this alluring melody into the slow middle section of the concerto (Affinity) I wrote for GRAMMY®-winning guitarist, Sharon Isbin.

— Chris Brubeck

Even though he mostly worked in combos, Dave Brubeck recorded four solo piano recordings in his six-decade career. Many of the tunes he recorded on these albums were show tunes from the 1930s and 1940s, but he also revisited his own tunes, including the heartbreaking Weep No More, written in 1945, with the romance and melodic resonance that could only come from a true master of American music.

— Chris Brubeck