KASE, Season Two: Full Bloom

Purchase HERE

Imagine the journey of intentionally finding joy
every single day
sifting through all the shit
to intentionally find joy
every single day
like, how do you do that?
how do you empty your mind?
to just focus on that single, solitary piece of joy
it's a choice, right?
a decision that has to be made
to be at peace
to do what you love
to manifest this beautiful vision
that you, only you behold
it's like a seed, right?
what if we all planted one seed,
of one single piece of joy
that we would experience every day
what would our gardens look like?
how would our hearts feel?
it could be so simple as
greeting each other
or smiling
offering a word of encouragement
a little piece of kindness
a "go ahead you can do it!"
you can do it do it!
and do it every day
finding joy
intentionally on purpose
in the same way we find discomfort
in somebody cutting us off in traffic, or
that little piece of trash on the side of the road, or
the way that once person looked at you that one day a long time ago, or
or you could find joy
or you could intentionally find joy
like, what would happen right now if you
intentionally cracked a smile?
cuz you're digging this vibe right now
what would happen?
if you intentionally, everyday
it could be something as simple as making up your bed with all 15 pillows
making breakfast
or making that call to somebody that you missed
that you just wanted to hear the sound of their voice
i mean
you might find joy in that break of sun on a rainy day
in that glimpse of light
you might find joy in hearing from your sister
that its all going to be alright
intentionally finding joy
sifting through the shitstorm that life be bringing sometimes
but something good happens everyday
just as frequently as what we perceive as bad
I am finding joy
everyday that I have life

-Tiffany Miller

(Photo Old Man Malcolm)

released September 2, 2022

JAMIE BREIWICK: trumpet & electronics
JOHN CHRISTENSEN: upright bass
JORDAN LEE: turntables & electronics
*special guest TIFFANY MILLER: spoken word (S2E3)

Engineered, mixed, and mastered by JORDAN LEE
Photography by ANDREW TRIM
Design by JAMIE BREIWICK, B Side Graphics

Episodes 1-4, 6, 7 recorded live at SAINT KATE ARTS HOTEL
Episodes 5, 8 recorded live at THE JAZZ ESTATE
Milwaukee, WI

All music by Jamie Breiwick, John Christensen, and Jordan Lee.
Words by Tiffany Miller


The Jewel


Out 12/17/21 on Ropedope Records
Liner notes by Kevin Lynch

There are a thousand stories in the naked city. Yeah, New York. A fast-maturing musician from the heartland braves the forbidding shadows of Manhattan skyscrapers, showing up at a small Upper West Side hangout, The Dead Poet, which also books live music. The Big Apple competition is fierce, so it's their loss for those music fans who missed this, a deep draft of Wisconsin jazz brew.

Highly-accomplished Wisconsin-based trumpeter Jamie Breiwick is also a gifted graphic designer, which actually opened the door to this live recording. A few years back, he designed the cover for drummer-composer Matt Wilson's Carl Sandburg-inspired Palmetto album Honey and Salt. Wilson had played with Breiwick before, so when the call came for this recorded gig, the celebrated New York jazz veteran gladly complied. However, The Dead Poet is a cozy space, so Wilson brought along no more than his snare drum and ride cymbal. That was plenty, with his resourcefulness and talent, and the gifts of Breiwick and bassist John Tate.

The album ranges impressively across the modern jazz spectrum of composers, but it opens with Breiwick’s title tune, a finely burnished contemplation of a jewel of radiant yet shadowed significance. A stone earth-borne as a field holler yet multi-faceted, able to dazzle, perhaps the jazz tradition itself symbolized? Jamie’s solo heats up with shades of probing textures while still honoring the inspiring talisman. He follows with a jaunty take on Ornette Coleman’s, “Dee Dee,” which shows his mastery of an outre repertoire, as he’s done in full concerts of Coleman music.

Pharaoh Sanders' "Greetings to Idris" is an unearthed gem raised to the light of day by Breiwick and company. Next up is Carla Bley’s “Lawns,” a warm, reflective tune that feels like rolling-in-the-grass pastoral reverie. Guest saxophonist Adam Larson solos with a gruff Rollins-like amiability. Wilson dances on his mini-kit a la Ed Blackwell, and finally a supple counterpoint between the horns. From easy, down-home earthiness we blast into the stratosphere with Sun Ra’s majestically searching “Love in Outer Space.”

Breiwick returns home with a tune by a former Wisconsin resident, pianist Buddy Montgomery. “Ties of Love” engages romance with entwining purpose and assurance. The deft swing boosts an open-armed rhythmic dance over a circling, modern motion. Monk is another “home base” for Breiwick, so “Off-Minor” closes, with all the cockeyed savvy that’s become its own art form.

The Jewel epitomizes the empowering geniality of an artist of uncommon intellectual curiosity and courage, fearlessly forging from naked city shadows to sunlight.

Kevin Lynch has written for Down Beat, Coda, The Chicago Tribune, The Milwaukee Journal and blogs at Culture Currents (Vernaculars Speak).

special guest
ADAM LARSON, tenor saxophone on "Lawns" & "Greetings to Idris"

Recorded Live at The Dead Poet, July 31, 2018
New York City, New York
Produced by Andrew Neesley
Engineered & mixed by Aaron Bastinelli for Fun Sound Studios
Mastered by Michelle Mancini for Demifugue Mastering
Photography by Leo Moscaro
Designed by Jamie Breiwick

Thank you to my family, Jessica, Nathan, Jack, Nolan, and Eliza, and especially Andrew Neesley for the friendship, trust and support. Without you, Andy, this record would not have happened! Thank you to Matt, John and Adam for the friendship and the music. Spaceheater lives!


KASE "Pop Art"

This was the first time we made music together as KASE. The recording is extremely noisy, raw and unpolished – but it is a glimpse into the beginning of an almost two-year residency, ultimately shut down by the pandemic. You can tell we are not only "feeling it out" but also and most definitely feeling "it". I found these forgotten files on an old hard drive, and while not quite "studio quality" or maybe even "releasable" quality, I decided to just slide this one out there without too much ballyhoo. Why not? I couldn't think of a reason not to.

The SCENE: is The Highbury Pub in Bay View, WI. It is a cozy neighborhood haunt nestled amongst a number of restaurants, comic book shops, diners, wig stores and other Bay View oddities. If NYC has the Village or Chicago has Wicker Park, Milwaukee has Bay View – like those other places but smaller and grittier, probably drunker. As is typical of Wisconsin in the winter, the bar slowly filled in and got heated up as the night carried on. The tall windows steamed and dripped with condensation. In this setting we got the sense that experimentation was OK, simultaneously inside and outside the cultural mainstream. That's the point. Hip, without the 'ster. The crowd was mostly neighborhood folks, a few friends, and maybe a dog or two. Some were there for the music, some were there for the beer, some didn't know why they were there. A crowd in the back shouted "Suuuuuuuper Bowl!!!!", oddly in unison. They were most likely oblivious to the music being made. But that's ok. The overly massive painting of A Tribe Called Quest's "Low End Theory" cover faces the band and provided a steady reminder. By the end of the night, we were all friends.

The MUSIC: it developed through many twists and turns and obstacles and glitches and uncertainties over the course of the night. You can sense a direction forming and taking shape, as if being directed by gravity to a common point. knowsthetime (Ian Carroll) orchestrated the rhythms, textures and forms like a master conductor – all ears and reflexes. Ready to pivot and move in any direction or all directions at any time – all the time. Now's the time. He's not just a DJ, he's a drummer, a designer, a composer, a musician. John started the night out on electric bass, but quickly ditched it for the comfort, familiarity, depth, power and history of the upright bass... guttural, ancient and modern. Creatures of creativity exploring the space. For some reason, I brought a larger than normal setup: my trumpet run through a well-worn and squeaky Dunlop "Crybaby" pedal, a DOD delay and a 70's Fender Twin Reverb – more of a guitar setup. Like Miles, Hendrix is an early and important influence on me; not on my trumpet playing necessarily, but deep in my musical DNA.

KASE is an outlet for expression, an outlet for friendship, an outlet for us to be ourselves.

“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.”
― Andy Warhol


released March 1, 2021

Jamie Breiwick, trumpet/effects
John Christensen, upright bass
knowsthetime, turntables/ableton

recorded by Bryan Mir
Live at The Highbury Pub
Milwaukee, WI
Feb 24, 2018

All compositions by Breiwick, Carroll, Christensen
Cover photo by Jamie Breiwick
Artwork by Jamie Breiwick

© 2021 B Side Recordings.

B Side Recordings

I am excited to announce the launch of 'B Side Recordings'! B Side will be the primary outlet through which I will be releasing my own music. It was a decision I came to as a result of being left to my own devices during the Covid-19 pandemic and subsequent quarantine. I am restless, musically and otherwise. I am also an incorrigible introvert and love being left inside my own head to ponder, wonder and wander. There were many sources of inspiration +models +templates for starting my own "label". I am just going to jump in, head first

There will be two components (1) the B Side main catalog consisting of full albums and singles and (2) the B Side Bootleg Series, all of which are housed at bsiderecordings.com masterfully built by John Christensen Web Design.

At the moment, the back catalogue is available, plus the most recent addition of the "Brothers on a Hotel Bed" single from 2010. There will be a whole slew of upcoming releases including new singles, a KASE cassette, new bootlegs, and more!

I appreciate you following along this journey and stay tuned!

"B SIde Recordings was created to support the release of my original material, regardless of style or genre and without concern for the hustle and bustle of the modern music industry. B Side is simply me sharing my ideas with the world."

Awake / the music of Don Cherry

Download liner notes/booklet

“Don Cherry’s music has been left in the more than capable hands of Jamie Breiwick as he delivers a touching tribute to Cherry’s monumental achievements.”-Imran Mirza, UK Vibe

"Awake/The Music of Don Cherry" hopefully will push younger listeners to discover the work of Don Cherry (1936-1995) as well as discover the impressive recordings of Jamie Breiwick.‬‪-Richard B Kamims‬, Step Tempest“

This is an excellent evocation of Don Cherry's spirit, as well as a demonstration of the communication that a trumpet trio can achieve.”-Mark Sullivan, All About Jazz

"On Awake, Breiwick has a little more space to work with, and rather than rushing to fill it, he patiently works his way through gently melodic passages and giddy ripples."-Scott Gordon, Tone Madison

"Then “Brown Rice” grounds us ingeniously with a lumbering bass and uncanny trumpet sounds, almost like a serpentine specter emerging from a rice paddy. Throughout this album, a winged reincarnation – unfettered yet purposive, loving life – pushes the music into earthly fecundity, even as it flies."-Kevin Lynch, Shepherd Express

“Yep, a white cat from semi rural Wisconsin can lead a trumpet trio on the works of Don Cherry and have nothing to apologize for. A wonderful note perfect set that captures the hell raiser on the money throughout, this is a fun set that doesn't let you down or leave you feeling ‘if only he...". A solid work out by a real pro, lefty jazzbos ought to do themselves a favor and check this out.”-Chris Spector, Midwest Record


liner notes:

One of the most important qualities that a practitioner of artistic endeavors can possess is that of curiosity. The spark that impels one to see what’s out there, to find out and to know more is much the same as that impulse that sets the artist on the pathway towards creation.

This sort of inquisitiveness is a quality that Jamie Breiwick shares with the subject of his musical investigations on this recording, trumpeter and multi-instrumentalist Don Cherry. For the peripatetic Cherry, upending the jazz trumpet tradition as musical co-conspirator in Ornette Coleman’s revolutionary quartet was only the beginning of a wide ranging and well traveled arc of discovery; his explorations resulted in an incredible body of genre-defying music that influenced not only jazz musicians but creators in every corner of the music world. Breiwick has been an intrepid explorer in his own sphere, conducting heartfelt and knowing investigations of the intersection where classic jazz vocabulary and contemporary sensibility meet in band projects such as the Lesser Lakes Trio, as well as most convincingly essaying the music of such an iconic figure as Thelonious Monk in his Dreamland project.

Awake, devoted to the compositions of Don Cherry, is another such accomplished foray by Breiwick. In a program that includes both cherished favorites from the Cherry “songbook” such as Art Deco and lesser-known (but no less influential) works such as Brown Rice, Jamie abundantly exhibits the depth of his understanding of Cherry’s music even as he showcases his exuberant skill and creativity as an improvisor. His command of the the jazz trumpet continuum, from vocabulary-based specificity to the gestural and illusive approach pioneered by Cherry, is comprehensive, organic, and swinging! The imaginative treatment of Cherry’s work by Jamie, in the company of the excellent bass/drums duo of Tim Ipsen and Devin Drobka, similarly shows Jamie’s desire to make fresh, non-cliched music using the full range of what he hears and likes.

Whenever I’m in my hometown of Milwaukee, I make it a point to seek out Jamie on one of his gigs, and each time afresh I marvel at how much music he knows, how well he plays, and how dang enjoyable it is to listen to him. Listening to this album, a most worthy addition to his expanding recorded oeveure, pleasantly reminds me of the brilliance of this estimable musician’s work. I invite you to listen to the music of Awake and enjoy its many splendors, as a prelude to a continuing engagement with the art of this important voice from the heartland.

- Brian Lynch, 2019

All compositions by Don Cherry, Unart Music Corporation (BMI) except for "Race Face" by Ornette Coleman, Contemporary Music (BMI)
Recorded May 31, 2019 at Clown Horn Studios
Engineered by Devin Drobka
Mixed by Daniel Holter at Wire & Vice / Milwaukee, WI
Mastered by Brian Schwab / Chicago, IL
Cover painting "Atmosphere" by Jeff Redmon 


released October 18, 2019
Jamie Breiwick - trumpet, pocket trumpet
Tim Ipsen - bass
Devin Drobka - drums

Header image - Don Cherry with his cornet during the recording session for his Where is Brooklyn album. November 11, 1966. © Francis Wolff

Manty Ellis, Midwest Jazz Master

Manty Ellis is certainly what you call a treasure. His perspective on life and music is what we all hope to attain as musicians. He has recently formed a new project - The Milwaukee Jazz Foundation - as a means to invigorate the Milwaukee Jazz scene. Manty is a master musician, and a master story teller.

By Aaron Cohen 1997 Midwest Jazz Masters Journal volume 4, number 3 - Fall 1997, page 29

"Personally, I just like the city," Ellis said recently. "And I have a little more of an attachment. Most people in any city were born in hospitals. I never made it. I was born in a house right here in Milwaukee on North 5th Street. And I can go back there every day of my life and I can sit in front of that front window where I was born. That house has all kinds of memories when I go back over there." These memories include the first musician Ellis heard: his father, Grover Edwin Ellis, a pianist with a strong interest in Louis Armstrong. "I started going to the piano as soon as I could to emulate what he was doing." Ellis said. "He saw this and started directing me a little bit. Pretty soon he started teaching. I knew more about music than the ABC's for some time because that's how I was taught. Just basic theories of how scales are constructed, I learned that before I started school." Under his father's tutelage, Ellis became accomplished enough - at age 9, no less - to be a sideman in bands around Milwaukee.

Read more


If you wonder if Milwaukee can sound like New York, give the latest by this trumpeter a spin and wonder no more. 
- Midwest Record

Jamie Breiwick | Spirits (BluJazz 2013)


Open the album cover and you enter the Jazz Estate, a Milwaukee club that exemplifies a venue that nurtures modern straight-ahead jazz and makes money at it. This recording was made there one night, even if the program has the well-considered sense of purpose of a studio recording.

The melody of the opening “Gig Shirt” has a slightly skewed trumpet-saxophone harmony, recalling Ornette Coleman’s classic/radical quartet, which certainly influenced the album's piano-less instrumentation. The theme bodes well for a musical departure, especially in its expansive rising last notes.

This journey’s departure mean’s arrival at many musical ports, including some adapted pop-rock. “I Will Follow You into the Dark” by Death Cab for Cutie front man Ben Gibbard, is a mournful yet oddly resolute melody. Breiwick’s muted trumpet sounds playful, as if he’s wooing a young woman with a joke. The rhythm players burble along in the same coy spirit, lifting the interpretation’s insouciance and the band ends with an exquisite exhalation.

“Safe and Sound,” by country-pop artist Taylor Swift, is another strong and pliable melody that tenor saxophonist Tony Barba builds from close, pinprick-sharp variations until he unfurls some Joe Henderson-like flag-waving. Breiwick’s own “Little Bill” is a funky, amiable tune that honors the memory of his Grandfather Bill and also refers to a cartoon of the same name, which Breiwick’s children love to watch. “Dad” adopts a slightly gruff tone and Barba is almost flippantly offhanded, befitting the sit-com mood.

This band has a svelte-but-sure grip on the harmonic and rhythmic tension of “Capricorn,” a Wayne Shorter theme that seems to move in two directions at once while flowing as a seamless melody -- characteristic of Shorter’s ineffable compositional genius. If that sounds like a chops-busting practice-room etude, “Capricorn” rises like an indelibly hummable melody. The band swings hard out of the gate, as Barba plunges in with pithy Shorterisms -- slanting shards, open-throated exhortations and quotes of the sorcerer-like theme. Breiwick shifts gears, then creeps into a softly growling, splattered tone that recalls Don Cherry. He’s clearly finding his own forward-pushing place in the trumpet tradition. Bassist Tim Ipsen steps in like a heady middleweight contender, with a sly combination of punchy harmonic intervals.

The aphoristically titled “Walk through Daydreams, Sleep through Nightmares” reflects Breiwick’s magnanimous depth as a member of the jazz community. He leads two jazz bands, including a more pop rock-oriented one called Choir Fight. He’s also an educator, organizer and all-around go-getter, having co-founded Milwaukee Jazz Vision, a musician-run organization that promotes the local jazz scene, especially with an excellent website: mkejazzvision.org. This tune is by one of Breiwick’s own former students, Philip Dizack, a fast-rising young trumpeter of uncommon lyrical strength and compositional maturity. Breiwick acknowledges that crafting a songfully expressive melodic line is a primary concern of his. “I believe the album’s aesthetic intent points to a depth of feeling in the music,” he says. “Beyond technique, which is obviously hugely important, emotional communication is a priority.”

“Walk” opens with swelling mallet rolls and cymbals. The two horns resound like one voice, or mind, experiencing a revelation. Then everyone pulls back, as if in a slight state of awe, to contemplate the implications of the eureka moment. One imagines a lightning bolt having struck the narrative consciousness right at its precipitous leap from daydream to nightmare. It recalls John Coltrane’s more pensive lyrical moments in his late years, when he pushed the spiritual-empowerment envelope like the shaman Dr. King might have met on that windswept mountaintop.

The program follows appropriately with Barba’s title tune “Spirits.” A simple rising interval, extrapolated and harmonized, seems like a wisp of a theme, yet these men plumb its modality as if climbing the branches of a majestic tree. It stands like a spirit, inviting as it is inherently challenging for the earthbound.

Consequently the closing tune, “Sunset and the Mockingbird,” is also apt, from the pen of Duke Ellington, a timeless jazz presence. This is Duke’s indigo mood, and Barba proves he can fabricate a short story whole cloth from textured whole notes, while Breiwick is a mockingbird with genuine feelings. He evokes Ellington trumpeter Cootie Williams’ muted sorrow, as an elegy to whatever the sunset bade farewell, something to cherish, and live up to.

Spirits demonstrates extraordinary range and vision from this new jazz generation, and delivers on promise as if tapped into a musical wellspring flowing through their veins. -- Kevin Lynch

Lynch has written for Down Beat, The Village Voice, CODA, American Record Guide, The Chicago Tribune, The Milwaukee Journal and other publications, and blogs at Culture Currents (Vernaculars Speak).

released 04 May 2013
Recorded live at The Jazz Estate
Milwaukee, WI - Nov 30th, 2012

Jamie Breiwick (trumpet)
Tony Barba (tenor saxophone)
Tim Ipsen (bass)
Andrew Green (drums)

Recorded, mixed, and mastered by Jeremy Kuzniar

"At first, in music, there are open fields, oceans, forests. Later they build structures, edifices of harmonic and melodic materials, walls. Rhythm is solid, inflexible, stone. Oceans freeze, forests are razed for lumber and paper is filled with arcana, math, absolutes are found. Much later, time, duress, the elements and conflicts erode these structures. Cities become ruins, melting oceans create rivers which create new forests of fresh sound from the black soil of The Tradition. The harmonic walls that once stood here are now as lines on the road. Harmonies and melodies go where they will, unimpeded but informed by the past. This is where the Breiwick / Velleman Duo roams. These musicians have passed through evolutions as musicians, personal epochs of musical development. Both are deeply rooted in the holy language of American music. Some call it jazz. Both can hit the changes, any changes at damn near any tempo. Jamie is a master musician who has attained at a very young age for this art. There is nowhere he cannot move in the physics of this world, the world of Music. He will modestly dispute this, but his work causes involuntary profanities to come from otherwise puritanical conversationalists. 'Holy S***'. Barry is an architect. Barry is an intergalactic musical traveller. He has been there, done that, done there, been that. Barry can turn an uninterested, boisterous mob into a congregation of hungry listeners, accepting his phrases and inventions eagerly. Jamie will tell you that Barry is the Master. Jamie is right."
- Steve Peplin

Jamie Breiwick - trumpet
Barry Velleman - piano
recorded 6/19/2011 recorded, mixed, and mastered by Dan Gnader at eDream Studios
Milwaukee, WI
photo, Ari Rosenthal