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The Brubeck Octet Project Strikes Again!

Jon De Lucia

Label: Musaeum Clausum Recordings
Released: 2026
Views: 44

Tracks

Goodnight Eileen; Happy in Love; Tea for Two; By Heart; Lullaby in Rhythm; Stardust; Fugue II; Body and Soul; Chorale; Kon-Tiki; Perdido

Personnel

Album Description

In 2024, Jon De Lucia released The Brubeck Octet Project. This was a recreation and rearrangement of the recorded output of the original Dave Brubeck Octet, a lesser known group that rivaled the Birth of the Cool Nonet in 1948-49. Even less documented is the fact that the Brubeck Octet in fact lasted until 1953, and recorded a number of charts that have never been heard, most of which is lost. Through archival research, De Lucia has unearthed 11 more arrangements for this release, and recorded them with the same stellar lineup that includes Brandon Lee, Scott Robinson, Becca Patterson, Jay Rattman, Glenn Zaleski, Daniel Duke and Keith Balla. The Brubeck Octet Project Strikes Again! is a spectacular and thoughtful reimagining of the original group.

The album opens with “Goodnight Eileen” a fascinating polytonal blues by Octet tenorist Dave Van Kriedt, followed by “Happy in Love,” a Glenn Miller hit in which De Lucia has worked in the shout chorus to George Wallington’s “Godchild,” capturing the essence of 1949 in one chart. Zaleski leads off an epic arrangement by clarinetist Bill Smith of “Tea for Two,” which includes an uptempo feature for Birdland and Village Vanguard Orchestra trumpeter Brandon Lee. Smith’s writing incorporates all kinds of triad layerings in the style of Stravinsky, ahead of its time.

New to this album is the inclusion of an original arrangement by De Lucia. “By Heart,” is a contrafact on “My Heart Stood Still,” and employs many of the devices of polymeter and counterpoint used by the original octet. Multi-instrumentalist Scott Robinson plays an excellent tenor solo, and drummer Keith Balla (Samara Joy, Pasquale Grasso) leads the end of the tune.

Then it is back to two unique arrangements by Bill Smith, the only member of the Octet that had spent time on 52nd St before the formation of the group, and it shows. His take on “I Want To Be Happy,” features Robinson again, and and twisted solo from Glenn Zaleski, who actually knew and studied with Brubeck. “Lullaby in Rhythm” takes the Benny Goodman hit and warps its melodic rhythm, adding folk themes (Mairzy Doats) in true modernist fashion, as Smith would do on later Brubeck albums like The Riddle. Lee is the star soloist here. “Stardust“ was originally a feature for Paul Desmond, written by Smith. The parts were incomplete, so De Lucia carefully reconstructed this to feature the sweet tone of his own alto playing. The group operates in concerto fashion, responding to De Lucia’s solo lines with clever interjections.

No Brubeck Octet album would be complete with out a jazz fugue. Though only "Fugue on Bop Themes” was released, Van Kriedt actually wrote 5 fugues for the group. This one is simply called, “Fugue II,” and again features the sprightly alto of De Lucia, while the difficult clarinet lead is held down by Jay Rattman, who then takes us into another charming and strange ballad performance of “Body and Soul,” originally written to feature trombonist Bob Collins, here featuring the warm sound of Becca Patterson. Note at the end how the trumpet and trombone melodies deliberately clash, another trademark trick of the Octet writers.

The Octet lasted until the end of 1953, and their repertoire grows more varied, embracing the trends of the time, including latin rhythms! "Kon-Tiki" is a charming tune by Dave Van Kriedt, who ended up leading the Octet in the end. This was added at the end of a long day of recording, without rehearsal, and it turned out to be one of the stand out tunes of the session.

The album closes with bassist Jack Weeks arrangement of “Perdido,” know by later Brubeck Quartet recordings with Paul Desmond, but originally done for the Octet. Balla’s playing is superb, and he holds up the session throughout, along with bassist Daniel Duke.

It should be mentioned also that the cover art for this album was provided by nonagenarian and original Brubeck cover artist, Arnold Roth. De Lucia has corresponded with “Arnie” and was delighted to be given permission to use this Loch Ness monster as the cover.