P r e s s

...the quintet (Imani Winds) settled into “Variations on an Afro-Cuban Lullaby.” Written for Imani Winds by DuFord, its languid melody wanders through the personas of a hoedown and the dry ironies of a 1920s music-hall piece, then settles in the loosely groomed rhythmic clapping and rattle-shaking of an African dance. - Joan Reinthaler: The Washington Post Composer Brian DuFord was on hand to introduce his Variations on an Afro-Cuban Lullaby.  He did so by playing the source material on guitar and reminiscing about his baby daughter’s fondness for the tune.  The variations were more of a dream world than a lullaby, with irregular phrasings and winding dark alleyways. - Joseph Dalton: Times Union - Albany, NY Composer Brian DuFord played the sweet Cuban lullaby “Drume Negrita” on his guitar, on which he based his Variations (on an Afro-Cuban Lullaby) for the quintet. These moved from slow to fast to slow in various forms, some with funky rhythms that had clapping hands or a rattle added, or more speedy sections. - Geraldine Freedman: Sunday Gazette - Schenectady, NY Brian DuFord’s “Harlem” (from New York Streetscapes) had a rhythmic undercurrent in the piano that was juxtaposed with constantly flowing passages that were played by flutist Janet Bebb and oboist Ann van Bever. - James Bash: The Oregon Music News The closer, a breezy, jazzy streetscape called Harlem (from New York Streetscapes) by New York composer Brian DuFord and crisply performed by the Moussai Ensemble, made me want to hear the whole piece. - Brett Campbell: Oregon Arts Watch