The Empire Brass, at City Hall, Hamilton, wraps up its Bermuda Festival run tonight, 8 p.m.

I had originally turned down this assignment -- chamber music -- what could be more boring, I thought.

Then I remembered the words of George Clinton in the song `Cholly;' "I dug jazz, I dug rock, and Beethoven was my thing anything with a swing...'' Under advisement from George, I rethought the assignment. After all, isn't music but an international language, and each value relative? I would just have to learn the "grammar'' of the music.

It was fitting then, that Boston-based Empire Brass opened its three night Bermuda Festival stand on `Thank a Teacher Day'.

There were a few empty seats as the quintet and percussionist took the stage.

With two trumpeters, a trombonist, a tuba, and a French horn I assumed the sound would be light.

The beauty of arranging music is that it is as much an art as the original act of composing and, by using an unconventional combination to present familiar songs, we get to hear the instruments anew.

The quintet includes Bermudian Kenneth Amis, his funeral director father and family in attendence.

Empire Brass founder and trumpeter Rolf Smedvig told the audience: "We think Kenney A. should be declared a national treasure.'' I agree, on the strength of his arrangements of classic and modern music Amis should take his place as one of our great musical products now, not in the murky future.

(You can see for yourself at his website http:www.amismusicalcircle.com) Brazillian, Luiz Garcia, produces such a warm-round sound it reminds one of the dulcet tones of a BBC news reader.

Empire Brass began with "March,'' by Henry Purcell, and "Danse Bergeret'' by Susato, both from the period in music history when folk themes were being formalised.

Salterello was introduced by Smedvig as a fiery Italian dance. It featured deft tempo changes around a complex theme.

Hans Weck's `Hopper Dance' began with a drum solo by Steve Wilkes that was surely as loud and inventive as Ginger Baker, of the rock group Cream at the Royal Albert Hall.

Mozart's `Rondo Alla Turka' featured a fleet and nimble solo by Bermudian Kenneth Amis on tuba, imagine that!.

When modernist, Aaron Copeland, used folk melodies from the Apalachian Mountain white folk -- otherwise known as hillbillies -- he was completing a circle back to the origins of classical music.

His `Simple Gifts' was based on an old American melody that was certainly an adaptation of some ancient English one.

The Pops half of the evening began with two Leonard Bernstein compositions, `Something's Coming' and `Presto Barbaro,' both good examples of the use of volume and inventive counterpoint.

For the jazz fan, `Summertime' from Gershwin's Porgy and Bess, is the finest example of the blending of the African and European music.

To hear it the Empire Brass way is refreshing and, as good a teacher, the band allows one to see their music in whole new light.

The obligatory encore was Ravel's `Bolero' and the Brass did not disappoint.

Ravel's long, sinewy lines -- executed with precision and flair -- was the perfect finish -- allowing each instrument to musically shine.

The Empire Brass gave a lesson Monday night, and I was their willing student.

Patrick Burgess BOLERO YOU OVER -- Boston based Empire Brass Quintet (from left to right), founder Rolf Smedvig, Scott Hartmann, Marc Reese, Bermuda's Kenneth Amis, and Luiz Garcia.

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