American Brass Quintet

I originally purchased this album in the 80's and was amazed at the PJBE's total understanding of every style of music. When you get this album you will be amazed at Frank Lloyd's ability on horn and the support from the other players as well as the "fun" they have with him and the music. Originally composed for cornet and piano (Band) the ability to perform this on horn is stunning. The Koetsier Circus March is an absolute joy and one of the best, most interesting compositions ever written for Brass Quintet.

I originally purchased this album in the 80's and was amazed at the PJBE's total understanding of every style of music. When you get this album you will be amazed at Frank Lloyd's ability on horn and the support from the other players as well as the "fun" they have with him and the music. Originally composed for cornet and piano (Band) the ability to perform this on horn is stunning. The Koetsier Circus March is an absolute joy and one of the best, most interesting compositions ever written for Brass Quintet.

Distinct from traditional brass quintets, High Bridge Brass performs on instruments usually associated with brass bands-cornets, alto (tenor) horn, euphonium, and tuba. The homogenous timbre created across five octaves enables High Bridge Brass to create a seamless sound that richly bridges the ensemble together.

Gaudete Brass gives here an exceptionally clean performance of wildly difficult and stylistically different musical compositions, and it’s hard to stress enough just how important that is for new commissions. Much can be made of the musical content within these new pieces of music specifically because of the strength of this ensemble’s performances. Between sections of deeply emotive, soloistic playing, we are also treated to completely off the cuff technical wonders in virtuoso ensemble playing. The American brass tradition is thriving in this recording on all fronts, and that fact in itself is truly worth celebrating.

Sampson (b. 1951) belongs to a small group of contemporary composers who have followed an autonomous path to success, recognition and, most importantly, the admiration and respect of the musicians performing and championing their work. Eschewing prescribed late 20th-century paths to success has led Sampson on an uncommon, richly rewarding avenue refreshingly individual in many aspects.