Since his 1982 arrival on the Los Angeles scene, Brad Dutz has parlayed impeccable musicianship, questing intellect and natural collegiality into an evolving musical micro-community, equally at home in improvisational genres from rhythmically propulsive jazz to sonically adventuresome post-serial explorations, traversing a spectrum of traditional and graphic notations, additionally rooted in world music for percussion, winds and strings from every continent.
Since 1985 Dutz has produced over thirty-four CDs as a leader and composed the entire body of music on more than twenty of those CDs, from solo works to larger ensembles. Throughout, Dutz has amassed a core of thoroughly eclectic musicians, melding ensemble intuition, earned by years of collaborations, with the intellectual quest to traverse new sonic spaces. The kaleidoscopic skills, aesthetics, instruments and temperaments of the ensemble is matched by Dutz’s, eclectic array of found and traditional percussion instruments and compositional curiosity.
Such diverse artists as ALANIS MORRISETTE, KISS, WILLIE NELSON, MICHAEL WOLFF, TRIBAL TECH, DAVID BENOIT, RICK BRAUN, VINNY GOLIA, LEE ANN RYHMES, MITCH FORMAN, TERENCE TRENT DARBY, RICKIE LEE JONES and HANDS’ONSEMBLE rely on Dutz’s vast percussive vocabulary and sensibilities to enhance their personal visions. Every year he travels to colleges and stores to do clinics and concerts about hand percussion and mallets.
Since becoming part-time faculty of Cal State Long Beach in 2000, Brad has finished three books: “Practicing Music on Hand Percussion,” “Manipulations in Time” and “Duos,Trios,and Quartets for Percussion."
Dutz’s musical studies commenced at age seven. After high school, he studied at the University of North Texas and Berklee College of Music.
Now comes the BRAD DUTZ TENTET, a personal culmination and breakthrough, expanding improvisatory functions within notated frameworks, opening new options for his creative colleagues while exploring the transition from composition as springboard for improvisation into composition and improvisation as inseparable continuum.