Dan Brubeck on Growing Up in a Famous Household, Living in Canada, and Recording a New CD with his Vancouver-Based Quartet
Drummer Dan Brubeck, who lives on the Sunshine Coast, will tour the Island with his Vancouver-based quartet in November to promote his latest CD, The Dan Brubeck Quartet: Celebrating the Music and Lyrics of Dave and Iola Brubeck. The double CD, recorded at The Cellar shortly before it closed, features bassist/vocalist Adam Thomas, saxophonist Steve Kaldestad and pianist Tony Foster. It’s a gorgeous live recording that sheds new light on Dave Brubeck’s compositional brilliance and the unheralded beauty of Iola Brubeck’s lyrics.
Island Jazz recently conducted an email interview with Dan Brubeck. I started by asking him about his childhood and how he ended up in Vancouver.
I’ll give you a brief history of my comings and goings. I was born in Oakland, California – pretty much everyone knows my dad was from the Bay area. We moved to Connecticut, outside of New York City, when I was very young. There were six of us kids and my dad was not getting enough time at home living in California, because he spent so much time traveling to Europe.The move to the New York area cut travel time in half, which allowed him to spend more time with all of us. I think that move was hard on my parents because they’d been in California for generations.
What was it like growing up in the Brubeck household?
People often ask me that. Obviously it was a very different upbringing than most people have had but to me it all seemed pretty normal. All of my brothers are great musicians, and when I was young, we spent a lot of time checking out music and playing together. The house was like a conservatory of music. There were a lot of different bands between all of us brothers and so that brought herds of other musicians around the house. Some of these guys are really successful now like Jerry Bergonzi and John Scofield who was in a high school band that my Brother Chris and I played in.
Then, of course, my dad had a lot of rehearsals at the house and so from an early age I got to hear great drummers like Joe Morello and Alan Dawson. We heard musicians like Gerry Mulligan and Paul Desmond from a very early age. Eventually we got a chance to work with these guys quite a bit. Of course, when I was really young, I had no idea how great these guys were. They were just friends of my dad that all happened to enjoy playing music together. The fact that they were some of the world’s greatest musicians eluded me at a preteen age.These guys were great mentors to all of us and very patient, I might add. They really encouraged us a lot.
How did you come to live in Vancouver?
I spent time in New York City and around Woodstock, New York, and then I got married and my wife at the time was very California-oriented, so we moved around California, up and down the coast, and wound up near Mendocino. After a few summers on the cold California coast we started getting interested in a warmer climate during the summers at least. Several friends I had mentioned Nelson, BC, and so we got a place there and eventually put our kids in school and ultimately got residency in Canada. Once we had our residency we felt like we needed to be closer to an airport and have more education choices for kids, so we decided to move to Vancouver. After about three years in the Vancouver area, I moved back to Nelson for a little while and then to the Sunshine Coast where I reside now. I think I’ve been in Canada at least eight years now – maybe longer. The physical climate and the political climate I guess is what brought us to Canada initially. I started getting active about moving when George Bush got elected for a second time. At that point I figured the chances of America recovering from that were pretty much zero.
How did the new CD come about?
At some point, I realized that there was a hole that wasn’t being filled, especially in the two family groups I work with. I was interested in doing something different with my dad’s compositions and I really wanted to shed some light on my mother’s lyrical contributions. People were not really aware of her. As it turned out, the bassist that I enjoyed working with so much, Adam Thomas, just happened to be a great vocalist as well. We played a whole lotta gigs together before I figured that out. Once I heard him sing, that opened a lot of doors. It’s kind of like having another gear having a vocalist to add to a jazz quartet. I’d never really done this with my dad’s music before. It is a completely different way of approaching his music. It’s also a very accessible way that adds a different dimension to his compositions.
Was there a particular moment you realized you wanted to showcase your mom’s lyrics?
I guess after my dad passed away, there was so much attention being put on him. My mom had put in an enormous amount of energy as a manager of his group in the early days and as a lyricist. My mom did a lot of the text for my dad’s classical compositions. They were a team in every sense of the word, but she always stayed behind the scenes. She passed away about a year after my dad and it became important to me that people realize that he would’ve had an extremely difficult time without her being behind him for seventy years. When she started to get sick, I felt it was important for her work to be recognized. That’s what prompted me to get a move on and get the CD out. It turns out she wrote quite a bit of the liner notes in her last days.
Why did you decide to do a live recording?
We recorded the CD at The Cellar in Vancouver. Adam had said that we could record our concerts with his portable studio. This was very early on in the project. I think we’d really only done one other gig at that point where we were featuring my mom’s and dad’s work. We realized that we needed a tape to get gigs with and to move the project along. I guess what we didn’t realize was how good it was going to come out. I was certainly happier with the results than I expected. I hadn’t done a live album in a very long time. In 1977 I did a Live at Montreux record with my dad and brothers. As a drummer, live or in the studio doesn’t make a hell of a lot of difference because you really can’t overdub to fix anything anyway. In the studio you lose the audience factor which really helps to generate energy and feeling.
Can you talk a bit about the Vancouver musicians on the project?
First of all, this project would really not have happened without Adam Thomas. I think he did a great job as a singer. He brought a soulful sweetness as the voice of this project. He has a great sense of pitch and doesn’t overplay the singing role. Critics have commented on his unpretentious approach to the music. I think that’s quite refreshing to hear from a jazz singer. I think we were all trying to respect and maintain the integrity of each of these compositions. So, it was not a “Look at me I’m singing kind-of-thing.” He simply was trying to convey the message of each lyric in a musical context.
Adam has a minimalist approach to his bass playing. That’s not to say that he is lacking in any ability, it’s a very musical approach. This is exactly how Gene Wright, the bassist with the Dave Brubeck Quartet approached this music. It certainly worked for them. As my dad used to say, “Someone’s got to hold down the fort.” When you hear Adam solo, there’s no mistaking that this guy’s got a ton of chops.
Steve Kaldestad brings a lot of fire to the group. His sax solos launch the band into another gear. It allows me to pick things up a notch as well and we can then create a lot of energy and excitement. You can hear the history of jazz sax playing in Steve, although his sound is completely original. He is certainly not copying anybody out there that I know of.
Tony Foster is a great pianist. He’s one of the most swinging piano players I’ve ever worked with. Tony has a difficult chair in this band since he’s in my dad’s role, but he manages to keep his identity in a music so associated with my dad’s style of playing. I find Tony’s open style really refreshing and relaxing to play with. It’s great to just fall into a groove and let it sit for a while. Tony is the king of that concept.
I guess I could say for all these guys that you can really hear a lot of history in each of their playing. I really love playing with all these guys.
How did you choose the tunes? There must have been a lot of material given the length of your dad’s career.
When Adam and I started looking at material, we were just looking for things that resonated with Adam. It was important to both of us that he could feel comfortable singing the lyrics and the message the lyrics were conveying. He needed a soul connection with each song, so he could really get behind it and be genuine with the music. There is a lot of music to choose from. Some of the songs which had lyrics we decided just to play as instrumentals, mostly for the reasons I mentioned above.
What were your main goals with this project?
One objective was to have the world hear this great group of musicians that I have the honor to work with. It was also important to me to present this music in Canada in a concert-like situation where people would actually listen and appreciate it. I would love to be able to work in Canada as opposed to flying around the world all the time. I also wanted to have my own group and expand as I go. Play whatever kind of music that pleases me. I think the music we are playing now is really important for people to hear. I also think people are interested in the history of this music. They want to know the story behind its creation and I have a lot of stories to tell.
The band is growing into this music and we are continuing to expand our understanding of it. There’s an amazing amount of depth to it lyrically and compositionally. I don’t think I’ll ever get tired of playing it. Of course, it’s always changing and moving and that’s the nature and beauty of jazz improvisation.
Editor’s Note: The Dan Brubeck Quartet plays Hermann’s in Victoria on Thursday, November 12. On Friday, November 13 they appear at the Simon Holt Restaurant in Nanaimo. Many thanks to Kerilie McDowall for setting up the interview.
The Victoria jazz community was very sorry to hear of Hermann Nieweler’s passing on Wednesday night. In recognition of his decades-long support of jazz in Victoria, I’m reprinting my story about Hermann’s Jazz Club that appeared in Boulevard Magazine in 2010.
High on Jazz and Loving It
It’s Thursday night at Hermann’s Jazz Club and the Tom Vickery Trio is deep into an entrancing rendition of My Funny Valentine. Not a single patron is talking. Even the usual background clatter of dishes has stopped. For one sublime moment, the awareness of the entire room is focused on the beauty of this classic tune. It’s pure magic, but only sixteen people, including this writer, are here to enjoy it.
On nights like this, a loyal jazz fan has to wonder what it takes to get more people through the doors of one of the best live jazz venues in the country.
Go anywhere else in Canada, including Toronto, Montreal, and Vancouver, and you won’t find a room like Hermann’s says Sebastian Picard, a 21-year-old University of Victoria student and part-time musician. “We’re so lucky to have a place like this!” Picard and his friends come every few weeks, noting that it’s an inexpensive night out and a really comfortable, spacious place to be.
Gary Telford, 68, a retired librarian, drives in from Sidney most Thursday nights to enjoy the weekly jam session and has been doing so for ten years. “There’s always the potential for a musical surprise,” he says. “It amazes me that a town this size has so many great players.”
Joan Dick and Gary Spence, a middle-aged couple who periodically visit from Salmon Arm, agree. “We’ve never come when the music hasn’t been good,” says Dick.
Victoria is blessed by an unusual concentration of high calibre jazz artists and Hermann’s has been their home for nearly 30 years, making it the second oldest club of its kind in Canada. Only the Yardbird Suite in Edmonton is older and that was established in 1957.
Logic says Hermann’s shouldn’t be here at all. Jazz clubs everywhere have been closing for years under assault from changing (some would say declining) musical tastes and the digital revolution that keeps people glued to electronic devices instead of out enjoying live music.
So how does it stay open?
The musicians credit owner Hermann Nieweler. Tom Vickery, 71, leader of the house band for 24 years, says, “I’m just amazed and I think everybody is, that it’s lasted this long…but he [Nieweler] likes the music…he likes the musicians…he’s just a big fan.” Vickery, a mainstay of the Victoria jazz scene, says the club has “meant everything” to him. “I’m still in awe that I can go down to this jazz club every Thursday and play this wonderful grand piano.”
Sean Drabitt, another prominent local player, says the club is clearly “a labour of love.” Now 40, Drabitt first played Hermann’s when he was only 17. He left Victoria in the 90s, pursuing a career in LA, New Orleans, and New York, where he worked with some of the best jazz musicians in the world, including the esteemed Marsalis family, and so he is well aware of how successful jazz scenes function.
“It’s important for a jazz community to have a meeting place and an outlet,” says Drabitt, noting that jazz is a highly social music. “To have a specific jazz room…is invaluable.”
Ross Ingstrup, the current head of the Esquimalt Secondary School jazz program, points out that Esquimalt students have been performing at Hermann’s weekly for the past 19 years. “Any opportunity you have to put kids in a real life setting [is good],” he says. “It’s a huge boon to the program.” Ingstrup adds that Nieweler and his staff have “tirelessly supported music education in Victoria.”
Nieweler credits others for the club’s longevity. “It’s actually the Victoria fans that have kept this place going and the staff and the musicians,” he tells me one morning as he shows me the memorabilia decorating the walls.
Wearing a black baseball cap and a plaid scarf, the gregarious 74-year-old stands before a photo of the first band he ever booked and proudly recalls how it all started at the club’s original location, a hotel he owned on Government Street (now the Bedford Regency). “This band came along… and people came, and people came, and people came – they were standing on Government Street. I didn’t know what to do!”
“It became a hobby…I was working in construction and hiring bands,” he says, explaining how he juggled operating a jazz club with his main occupation of running his construction business. “It became fun – no heavy duty pressure.”
It wasn’t fun in 2000 when a suspicious fire broke out in the cabaret above Hermann’s at its present location on View St., destroying the club and much of the building housing it. But Nieweler rebuilt it from the ground up, making improvements and doing much of the work himself.
Nieweler’s devotion and personality can be seen everywhere, particularly in the idiosyncratic decor. Wrought iron gates built by a retired blacksmith to invoke the atmosphere of a New Orleans jazz club mark the front entrance. Spoked metal wheels from an antique Alberta haying machine form the handrails for the stairs leading to the small green room behind the stage. Outside the back doorway, a galvanized steel star embedded in a concrete step greets the musicians.
Inside, old instruments he has collected decorate the walls along with numerous framed photos representing the thousands of musicians who have appeared here. In one, jazz icon Wynton Marsalis stands shoulder to shoulder with a group of local players, a symbol of the many famous players who have stood on the bandstand.
But what of the future? Nieweler has been talking retirement for some time. “Friends pass away and I think, Jesus Christ, I’d better do something with this place…but only certain people can do it – you’ve got to have a love with it, too.”
Walking me to the door, he offers one final thought delivered with his trademark laugh. “Like Churchill says, you can’t surrender. Jazz goes in your veins. Once it’s in your bloodstream, you can’t get it out!”
Victoria audiences who recall Montreal pianist Marianne Trudel’s rapturous performances at Jazzfest International, Jazz at the Gallery and at Hermann’s have reason to celebrate.
Trudel returns to Victoria on Wednesday, June 10, 8 pm, at Hermann’s, with her trio Trifolia, an acclaimed project that in 2013 won Trudel her first of two Juno nominations. (The second was for a recent project with trumpeter Ingrid Jensen).
Trifolia features Trudel on piano, Etienne La France on bass and Patrick Graham on percussion. Her Victoria appearance is part of a tour that will also take her to Seattle, Washington, and LaJolla, California.
In describing her project, Trudel’s press material says, “The name “trifolia” is often applied to a plant that possesses three leaves. In the case of this trio, the three musicians of Trifolia form a dynamic, living unit, sharing with audiences everywhere their passion for heartfelt communication through sound.”
Radio-Canada’s Isabelle Craig has said of Trudel, “She takes the piano through all the musical styles, from jazz to classical, including a taste of rhythms from around the world. The pianist-composer-improviser explores and pushes her instrument to its limits and beyond.”
The Gobe and Mail has called her “the hottest young pianist on the Montreal jazz scene.”
I’ve seen Trudel perform at least three times in Victoria and all I can say is don’t miss this show. It promises to be one of the most exciting jazz performances you’ll see this year or any other.
Here’s a taste:
The last two concerts of U-JAM’s Jazz at the Gallery 2015 are slated for Sunday March 29th and Sunday, April 26th at 2pm at the Art Gallery of Greater Victoria.
Please note the artist swap from the original schedule: Dave Keen now appears on March 29th and Jennifer Scott on April 26th. Ticket holders unable to change dates will be given a refund through the Gallery office.
As I write 155 people from the west coast jazz community and beyond have pledged their support for the project on Kickstarter that will see ten Ross Taggart compositions arranged and recorded by the Jill Townsend Big Band in Vancouver. With 8 days to go they are doing well, having reached nearly 75% of their goal.
It would be a shame if they fell short now.
For those who haven’t pledged – fans and musicians alike – here are seven reasons to consider doing so.
1. It’s a good cause. Ross Taggart was a beloved member of the west coast jazz community and this project will honour his name.
2. Under the Kickstarter crowd-funding model, the campaign must be 100% funded to succeed. Otherwise the project will receive nothing.
3. This is the first major Kickstarter Canadian west coast jazz campaign that I’m aware of. If it succeeds it could set a precedent for future campaigns that would see other local musicians receive funding for their special projects.
4. It won’t cost you much; you can pledge as little as a dollar (although I would hope you would pledge a little more than that.
5. Our provincial and federal governments do little for the arts (particularly jazz) compared to European countries like Norway; this is a way for you to support directly an art form that is starved of funding.
6. For musicians: it may seem odd or inappropriate to pledge money to your colleagues when you work so hard yourself to be part of this community and to raise funds for your own projects. But consider this: by adding your name to the list, you help create a groundswell that will see this and other jazz projects succeed under the crowd-funding model. (The list of contributors can be viewed on the Kickstarter site and your name will carry a lot of weight.)
7. For fans: if you pledge at least ten dollars, you’ll receive a wonderful recording of some great tunes and help keep not only jazz but big band jazz alive on the Canadian west coast. What better way to spend the equivalent of two fancy coffees at Starbucks?
I wish them success. You can pledge here.
Note: if you have concerns about the security of the Kickstarter site, read the security notice they issued following the news that they had been hacked recently. It may reassure you.