David Gluck and Tom Brantley are friends and colleagues in the chamber group Rhythm & Brass. David is on the music faculty at SUNY-Purchase college, and Tom is on the music faculty of the University of South Florida. This project started as a collaboration between these two musicians who answer the question "Jazz or Classical?" with "Neither and Both." The title track, Obsessed With Treasure, is a David Gluck composition that ignited the journey of this recording. This evocative concept became the basis for the entire recording. Most of these tracks started as trombone quartets, with Tom recording all of the parts with overdubs. But then David went into the studio and used that experience (along with some guest artists) to turn each track into something quite different, while still retaining the original character of quartets. Painted Mermaid and Mermaid Parade are both weirdly connected with David's childhood memories of Coney Island. Gloria Gorda y Grande refers to a big fat Gloria, which is a big fat cigar (not a woman)-La Gloria Cubana. Carter's First Painting is part of the next generation series-Carter is Tom's son, and the Awaiting Julian tracks refer to David's eldest boy. Lobster Telephone was inspired by the Salvador Dali surrealist object also called Lobster Telephone, which is on display at the Dali Museum in St. Petersburg, Florida. Bailamos, or "we dance", is another trombone quartet-someone referred to this as the Sergio Leone piece-with a spaghetti Western feel. Clearly, it was influenced by that same stark, simple, rugged approach. SRV for D&C came about when then-5-year-old Carter Brantley wanted to write a rock'n'roll piece for Dad's friend David. He put together the basics of this tune, and then David fleshed it out and gave it a fat sound. Coldshot also references Stevie Ray Vaughn, an all-time favorite guitarist and all around amazing musician. Nascar Pigeon is from the patchwork quilt school of thought-it's comprised of bits and pieces from all the other tracks. This is a jambalaya sensibility applied to music making-throw a little bit of everything into the pot and add enough rice to make it all stick together. For trombonists who may be listening to this CD, or working on some of these charts for their own performances- it's important to remember: these tracks have more in common with Steely Dan or Beck that they do most other trombone recordings. Stay true to the character and style of the works- Don't approach them from a "strictly" jazz or classical interpretation or point of view- and you'll capture something special.