CHINOOK — I liked the hand signals, passing back and forth stealthily between jazz musicians, and the spirited roar of the drums. These modern ambassadors of an earlier rage in American music did not disappoint.

The expressions on the mouths of the musicians translated into an “O” shape, a “wow,” as Dan Brubeck stampeded the audience with his brilliant drumming, an explosion from his nearly 70-year-old hands. His exquisite timing had the impact of a high-flying fireworks display along side the piercing pitch of the tenor saxophone.

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Dan Brubeck stampeded the audience with his brilliant drumming, an explosion from his nearly 70-year-old hands. His exquisite timing had the impact of a high-flying fireworks display along side the piercing pitch of the tenor saxophone.

And those three fellow musicians that Brubeck claimed had never played with him before — “First time,” he said. And who might believe that? But this is the shape of professionals: Miles Black on piano, Mark Taylor, alto and tenor sax, and that perfectly balanced base, Michael Glenn, stone-faced mostly, a Stonehenge visage molded in musical perfection.

Much of jazz is impromptu. C’est magnifique, as the French say. Back in the thirties and forties when blacks rode in the back of buses and couldn’t use restrooms in the south, France adopted the persecuted and feasted on their talent. “Free,” John Coltraine proclaimed, playing his tenor sax in Paris, rhapsodically, stingingly, spiritually. And here in Chinook, Washington, Dave Brubeck’s son’s quartet was indeed magnifique. His father would have been proud.

Then there were the passionate and contorted expressions on Brubeck’s face, as he launched into his father’s repertoire. The audience couldn’t help but remember Dave Brubeck himself, the white guy who carried the banner of one of the most popular jazz songs ever: “Take Five,” and masterpiece after masterpiece. Those are the ones we hear in shopping malls, background music in movies and radio broadcasts. And that supreme masterpiece, an anthem for a younger America, for an authentic art form ultimately smothered by the Beatles and the 60s generation. Yes, that was me, a fan. But ultimately, I — like tens of millions of others — found religion in this resonating music called jazz. That is, the religion of jazz, the sublime, cool standout of American music. So, thank you, Dan Brubeck, for keeping this vibrant musical machine alive.

Let’s talk about Water Music Society — Diane Marshall, Nancy Allen and a score of other wonderful volunteers, faithfully bring us tête à tête with fine talent. Nearly forty years now, a tour de force several times a year. How lucky we are. Organization takes footwork, long hours, dedication. This is their crowning achievement.

Also of note was the contribution of Rachel Lake’s Ilwaco High School Jazz Band at this Sunday rendezvous. The band teacher admitted to shanghaiing nearly two-thirds of the student-body into her music program. I marveled at the numbers. At their successes. In those long-ago days at Ilwaco High, one either played football or one didn’t date. Apparently, times have changed. Interests have expanded. I toast that and the commitment of a fine teacher. Merci beaucoup.

We carry on, waiting for the Water Music Society to bring us another superb performance. The Chinook School Event Center proved to be a splendid location, and the hall was packed.

There were standing ovations for the Dan Brubeck Quartet, as the crowd paid tribute to the here and now as well as to the legend of an American master, Dave Brubeck.

Trap set. Brubeck. Water Music Society. Gamely talent. Oh boy!