Joe Gilman - piano
Joe Sanders - bass
Justin Brown - drums
In November 2001, a local Sacramento jazz group that I perform with called Capital Jazz Project presented a concert of all Dave Brubeck music. The director of the Brubeck Institute, JB Dyas, was in attendance and asked if the group would repeat the performance at the Brubeck festival the following year. He also asked if I would come in and teach Dave's music to the Institute students for a week in December 2002. After teaching Dave's music to the students there, I submitted a report to JB as to my endeavors. JB copied the letter to Dave Brubeck. Dave was impressed, and sent me all of his published music because I thought there might be some other compositions I might like to share with the students.
I thought it was such a nice gesture from Dave and I took many of the tunes over to the Institute to play with Joe and Justin (the bassist and drummer at the Institute). As we read thru the tunes, they instantly sounded modern and fresh because of the approach of the rhythm section. I rearranged the tunes to fit both Dave's ideals and the talents of the band. I thought the least I could do was record what we had done and send it to Dave. His response; "I am truly amazed with the trio’s imaginative interpretations of my music. I laughed and hollered out loud at every track, hearing their rhythmic, harmonic and swinging versions of my tunes."— Joe Gilman
Joe Sanders began his musical training with bassist Catherine McGinn of the Milwaukee Symphony Orchestra and was a member of the Symphony’s Youth Orchestra for five years. One of the finest young bassists in the country, he continues to study both classical music and jazz, currently studying with Christian McBride and Jeff Chambers. Justin Brown has performed at several jazz festivals around the world — as a member of the
National 2002 GRAMMY High School Jazz Combo; the 1999 Monterey and 2002 San Francisco Jazz Festival all-star high school bands; and with Berkeley High’s award-winning jazz ensemble and combo.
Reviews"It isn't every day that an artist devotes almost an entire release to the music of Dave Brubeck, but pianist Joe Gilman did well enough with this studio outing that he delighted Brubeck himself with this recording, the first in what is hopefully a long series. He is joined by two fine young musicians attending the Brubeck Institute at the University of the Pacific, bassist Joe Sanders and drummer Justin Brown (both of whom played in a trio with Brubeck during the Master's Concert at the 2004 IAJE Conference to great applause). Gilman, who is also a full-time professor at the Institute, selected works written through Brubeck's long career, including a few that may not have yet been released by the composer. 'Blue Rondo a la Turk' is full of twists and humor as the trio plays with the rhythm of this famous piece written in 9/8 time. Another well-known song, 'In Your Own Sweet Way' (which has essentially become a jazz standard), matches Gilman's inventive bassline with his turbulent right hand, removing it far from its easygoing ballad origins. 'Weep No More,' written to let Brubeck's young wife, Iola, know that he was glad to be returning safely to her after serving in World War II, is a buoyant bop treatment with intricate basslines by Sanders and cooking piano by the leader. Iola Brubeck is also honored in 'For Iola,' which has a playfulness suggesting a group of children in Gilman's interpretation. Both 'Tender Woman' and 'Recuerdo' date from a long out of print Mexican-flavored LP meeting with Gerry Mulligan called Compadres. 'Tender Woman' was conceived as a mellow ballad at a steady tempo, but the trio liberates it with a bit of adventurous playing by the leader. 'Recuerdo' remains a sauntering, slightly jaunty work. 'Theme for June,' written by Howard Brubeck (Dave's older brother), has long been a part of his concert repertoire. Gilman's dreamy piano is accented by Brown's sensitive brushwork in a moving performance. 'Love and Anger' is a little-known tune that Brubeck may not have yet recorded and released, but Gilman's interpretation is full of tension and sometimes suggests an avant-garde influence. Brown is showcased extensively in the exciting closer, appropriately named 'Curtain Time.' Highly recommended."