First Annual Chicago Brass Festival

Imagine five white guys donning conservative haircuts and dark suits sitting down to face one another in a circle. Now imagine these same five men holding onto a sea of various gleaming brass instruments. Then there is the music...

On Saturday, March 21, at 8 p.m., Northeastern Illinois University's (NEIU) Auditorium opened its doors to the public in order to showcase this brass ensemble. This is the American Brass Quintet, and they came to perform in the 1st annual Chicago Brass Festival (March 20-21). Referred to as "the high priests of brass" by Newsweek, the group consists of: Raymond Mase and Kevin Cobb on trumpets, David Wakefield on horn, Michael Powell on trombone and John D. Rojak on bass trombone.

Without the use of any microphones, the brass chamber quintet started out the show with a brief bio on the starting set composer Morley, who was a popular composer centuries ago for the English Queen Elizabeth's court. This set exuded a light royal air, while the brass captured every note perfectly. The set transitioned from classic Renaissance pieces such as this one to the next modern pieces for which they claim are key to their performances.

The second set carried a more modern flair consisting of upbeat, dancy and modern rhythms, to slower, muffled sentimental songs of a much later era.

For the third part of the performance, the quintet carried off a composed piece, arranged specifically for the group. One of the band members relayed between sets how the song's composer utilized an unusual methodology, working the effects of brass instruments in a backward fashion. The sound that was created was one of a very cool, almost synthesized feel, which amounts to a very interesting approach to playing brass instruments. The buoyant sound of brass instruments being played this way made me think of echoing bird warbles and whinnying horses.

After intermission, the quintet played a highly spirited yet short piece titled "Exit" which was written specifically for the quintet as a thank you. Originally composed as an encore song, the piece continues to be performed in random order by the quintet.

Flexing their musical adaptability muscle, the quintet next performed pieces by a French composer of the year 1490. This brass music complemented the sounds of animals such as crickets, and though of a forgotten era, captured musically the fast and furious as much as the slow and languid, in a somewhat playful manner.

Besides the earlier mentioned backwards performance, the last set on the list was one of my favorites, along with, apparently, the American Brass Quintet. Through the elaboration of behind-the-scenes information, the quintet informed the audience about the piece and the composer behind its creation. Prizewinning female composer Joan Tower wrote this final piece in 2005, after the quintet approached her to do so. The evidence of why Joan Tower was at the top of the quintet's composer list is proof here. Going from soft, warm and muffled approaches and heating up into frenzied and passionate climbs, there is much density and transition to reward any listener.

Needless to say, after a very professionally polished performance, the American Brass Quintet performed a last encore after a standing ovation. One can only hope that an interest in great brass chamber music can be once again found in the auditoriums of America.