Oboist and composer/performer KYLE BRUCKMANN's creative work extends from a traditional Western classical foundation into genre-bending gray areas encompassing free jazz, electronic music and post-punk rock. He has worked with the San Francisco Symphony and most of the Bay Area’s regional orchestras while remaining active within an international community of improvisers and sound artists, appearing on more the 60 recordings - including nine full albums as soloist or bandleader.
His ensemble affiliations include the San Francisco Contemporary Music Players, Splinter Reeds, Quinteto Latino, Eco Ensemble, the Stockton Symphony, and acclaimed new music collective sfSound. From 1996-2003, he was a fixture in Chicago's thriving underground music scene, with frequent collaborators including Jason Ajemian, Jim Baker, Jeb Bishop, Olivia Block, Guillermo Gregorio, Fred Lonberg-Holm, Robbie Hunsinger, Bob Marsh, Weasel Walter, and Michael Zerang. Long-term projects include Wrack (winner of a 2012 Chamber Music America New Jazz Works award), the electro-acoustic duo EKG, and the avant-punk monstrosity Lozenge.
Bruckmann earned undergraduate degrees in music and psychology at Rice University in Houston, studying oboe with Robert Atherholt, serving as music director of campus radio station KTRU, and achieving academic distinction as a member of Phi Beta Kappa. He completed his Masters degree in 1996 at the University of Michigan, Ann Arbor, where he studied oboe performance with Harry Sargous and contemporary improvisation with Ed Sarath.
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“. . . an artist who is taking his instrument to truly new and wonderful places.” (All About Jazz)
“. . . Bruckmann is an excellent composer, striking the right balance between form and freedom, setting up abundant opportunities for his mates to express themselves.” (Jason Bivins, Signal to Noise)
“. . . Bruckmann has played oboe, English horn, and/or electronics in a wide variety of contexts . . . but it’s still possible to find a single sentence to describe his entire body of his work: he makes creative use of the tension between seemingly irreconcilable musical elements.” (Bill Meyer, Chicago Reader)