Patrice Brun
Waltons New School of Music Faculty
Saxophone • Clarinet • Jazz Theory & Improvisation • Contemporary & Jazz Harmony & Composition • Jazz Ensembles
Patrice is a French saxophonist based in Ireland since late 1990s. Classically trained at a young age, he started his professional career in 1996 performing with L’Orchestre International Bernard Becker as well as local bands such as Mr Pitiful (R&B, Blues). When he came to Ireland he developed his passion for jazz and received a Licentiate Diploma in Jazz Performance from Newpark Music Centre in 2004. While at Newpark he participated in masterclasses with such jazz luminaries as Michael Buckley and Tommy Halferty (Ireland); Steve Coleman, John Patitucci and Benny Goldson (USA); and Ramesh Shotam (India), among many others. More recently, he completed a MA degree in Music at Dublin City University, specialising in Composition under the supervision of Irish composer Ronan Guilfoyle. Patrice currently plays with his own trio Par Trois, the four-piece band Hype performing jazz standards and original compositions, and the renowned salsa band Havana’ Ché. He also regularly performs with Irish bands Stars from The Commitments and The Stunning. Over the years, Patrice has appeared in numerous venues around the country, including 3Arena, Whelans, the Helix, Sugar Club, Vicar Street and the Olympia Theatre, as well as Cork’s Metropole Hotel and Belfast’s The Empire. His previous projects and collaborations include the Patrice Brun Quartet & Sextet, Bop 5, Migration, legendary Irish jazz guitarist Louis Stewart, the Dublin Symphony Orchestra, A Night in Havana Orchestra, Fuzzy Logic Ensemble, Jerry Fish and The Mud Bug Club, and Westlife. In addition to teaching with the New School for a a number of years, Patrice currently teaches saxophone and lectures in contemporary harmony and composition, arranging, ear training and jazz improvisation for the BA degree in Jazz and Contemporary Music Performance at Dublin City University. ‘I believe that a high standard of instrumental performance – as well as competence in related musical skills such as harmony, ear training and composition – form the fundamental equipment of the contemporary student. Twenty years of teaching and performing experience have helped me to develop a pedagogical model that is comprised of creative approaches designed to engage students physically, technically and emotionally to affirm and enrich their musicianship.’
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