A feature by Whitney Curry Wimbish
Flautist and composer David Bertrand plays the flute like an invitation: come hear this instrument for what it is, not for what you might believe it to be. It’s a welcoming approach that not only demonstrates something of the flute’s innate fine character and ability to blend with all other instruments, but it also rejects the idea that the instrument may only be played by certain people.
“I was told in no uncertain terms: ‘The flute makes no sense. You should play something else. You should be a saxophonist. If you play this much flute, you should have no trouble with sax. The flute is a white people thing. It has nothing to do with jazz,’” Bertrand recently told me. “But in Trinidad, we talk about oppression as a fight dog. Either you bow down and acquiesce, or you fight back. I’m playing the flute to fight.”