FOSTERING BRASS CHAMBER MUSIC
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The Brass Chamber Music Society of Annapolis

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ARTIST SERIES CONCERT
APRIL 28,1985

featuring
​T​HE CHARLIE BYRD TRIO

Charlie Byrd, Guitar     Joe Byrd, Bass     Chuck Redd, Drums
CHARLIE BYRD:  Few artists have succeeded as well as Charlie in connecting the world of classical music with that of jazz.  After establishing himself as a jazz performer, he studied the classical guitar with Andrés Segovia and then made the acoustic guitar a viable jazz instrument.  He is generally considered the principal instigator of the bossa nova craze that swept North America in the 1960s. With Byrd & Brass he again forged a link between jazz and the world of chamber music.
Charlie Byrd - Classical & Latin Jazz Guitarist
Joe Byrd was Charlie's younger brother, and played rhythm guitar and bass on Charlie's 1962 "Jazz Samba" album - Charlie became a jazz star and Joe happily backed him up for four decades.  After Charlie died in 1999, Joe stepped into the spotlight - his 2001 debut album "Basically Blues" led to five more albums in seven years.  His bass playing has been described as "warm and full, with a sharp, precise attack that reflected his classical training",  Joe Byrd died on March 6, 2002 from injuries in a car accident that day.
Joe Byrd - Bassist
Chuck joined the Byrd Trio at the age of 21 - member of the Great Guitars, and was awarded  "Best Vibist in NYCity's Hot House Jazz Magazine.  In 2019 Chuck became musical director of the Oregon Festival of American Music. Visit @ www.chuckredd.com
Chuck Redd - Drummer and Vibraphonist


and
THE ANNAPOLIS BRASS QUINTET
Dave Cran, trumpet;  
Wayne Wells, trombone;  Arthur Brooks, horn;  Rip Posten, bass trb & tuba;  Bob Suggs, trumpet

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First Collaborative Performance
April 28, 1985 

A note of thanks from the ABQ
We thank former Naval Academy Band trumpeter Nathan Wilensky for providing us with the following recordings
which he had taped from the 1985 WBJC FM broadcast of this concert.  
​The ABQ is especially grateful to have a recording of the world premiere of "Byrd & Brass" by Warren Kellerhouse.

And now, we invite you to listen to a sampling from this historic concert:  "Salutations" by Jack End for brass quintet; "Spanish Renaissance Suite" in a setting for guitar & brass; and the ANNAPOLIS BRASS QUINTET & CHARLIE BYRD TRIO world premiere of C. Warren Kellerhouse's "Byrd & Brass" written especially for this performance.

SALUTATIONS
by JACK END

for brass quintet
​ Slowly & Briskly
Read More: Jack End​

To hear Salutations ​TAP > AUDIO BAR BELOW 
(There may be a 10-20 second delay before sound begins.)​​

SPANISH RENAISSANCE SUITE 
Guitar & Brass


Pavana (1552) by Diego Pisador  (c.1509 - c.1557)
Pavan (1536) by Luis Milán (c.1500 - c.1561)
Danse Chantée (1581) by Mateo Flécha (c.1530 -1604)
Pavan (1536) by Luis Milán
Pavan (1536) by Luis Milán
Galliard (1546) by Alonso Mudarra (c.1508 -1580)

Read More: Spanish Renaissance Music
​

​To hear Spanish Renaissance Suite TAP > AUDIO BAR BELOW 
(There may be a 10-20 second delay before sound begins.)​

World Premiere
of 

Warren Kellerhouse's
BYRD & BRASS 
Written especially for the
CHARLIE BYRD TRIO & ANNAPOLIS BRASS QUINTET 
1.  Allegro Bossa
 2.  Nostalgia        
         3.  Silopanna  Samba


To hear Byrd & Brass TAP > Audio Bar Below 
(There may be a 10-20 second delay before sound begins.)​

The composer offers the following notes.  

​Byrd and Brass 
is a suite in three parts for brass quintet, jazz guitar and rhythm.  

​The first part, "Bossa Nova," is a lyrical medium tempo piece in A minor, employing the Brazilian rhythmic theme that is the basis of many Latin/rock Bossa Nova and Rockanova tunes.  The basic feeling of "2" is an ideal, unencumbered vehicle for jazz improvisation, realized here by the guitar.  The ensemble introduces the theme (AABA), and the guitar develops it in the improvisational sections.


The second part, "Nostalgia," is a slow melody, bitonal piece in 3/4 pitched in B flat major.  The melodic ideas developed contrapuntally by trumpet and guitar are supported by a harmonic framework based on shifting tonal centers.  The piece ends on a rather ambiguous D flat sonority, standing in dominant relationship to the third section, and the ensemble restates it ending quietly on an A minor major seventh sonority.

“Bright Samba” in a very fast “2” features guitar and horn stating the theme, followed by an extended improvisational section performed by guitar, bass and drums.  Guitar and horn in unison then trade comments with the remainder of the ensemble, and all forces join to finish the suite in a dramatic climax.  
​

Read More: C. Warren Kellerhouse 

POSTING PREVIEW
April 25, 2020
​

 BYRD & BRASS Concert - January 27, 1987 - Reston, Virginia
 Live Broadcast on ​National Public Radio 
Jazz in Performance Series

Byrd & Brass
1985 - 1994


 35th Anniversary of the first ABQ/Charlie Byrd Trio
​Collaborative Concert

April 28, 1985
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FOSTERING BRASS JAZZ CHAMBER MUSIC

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