Hot 8 Brass Band

Founded by Bennie Pete (tuba player) Jerome "Bay Bay" Jones (trombone) and Harry “Swamp Thang” Cook (bass drum) in 1995 from two earlier bands, The Looney Tunes Brass Band and The High Steppers Brass Band, their music is described by Bennie Pete “Hot 8 music is feel good music…music with a message. It’s life music.”

Hot 8 Brass Band from New Orleans, Louisiana, United States and they cut their musical mustard in traditional second line parades in the streets of their home town. The line up usually will have eight or nine players, bringing the passion and noise via trombones, saxophones, trumpets, snare and bass drums, all held together by the earth rumbling tuba baselines of band leader Bennie Pete. Their music was used in features by CNN, Nightline and The New York Times in media coverage of the aftermath of Hurricane Katrina and was used in Spike Lee’s documentary of this disaster “When the Levees Broke: A Requiem in Four Acts” (highly recommended viewing b.t.w)

They are currently signed to the U.K's Tru Thoughts label, having previously been signed to Louisiana Red Hot label, which was wiped out by the hurricane. Interest in the band grew over in the U.K in 2007 onwards with features on the BBC's The Culture Show , a session recorded for Gilles Peterson’s show on BBC Radio 1 and a couple of tracks with recorded with Basement Jaxx; their music has also featured on a Volkswagen advert. On a personal note, whenever this track comes round on my mp3 player, it's never skipped and quite often the repeat button is pressed, "feel good music" for sure!

Hot 8 Brass Band - Sexual Healing cover of the Marvin Gaye classic - Live in Paris 2008 buy it here



http://www.hot8brassband.com/

http://www.myspace.com/hot8brassband

http://en.wikipedia.org/wiki/Hot_8_Brass_Band

http://www.tru-thoughts.co.uk/artists/hot-8-brass-band

Hypnotic Brass Ensemble

My field reporter at the annual Womad Music Festival held in Reading U.K was asked who made the biggest impression on the crowd, she reckoned that the stand out performance of the day was from these guys - Hypnotic Brass Ensemble, from the south side of Chicago. Judging by the youtube footage, I have to concur, that this is top drawer stuff full of dazzling tight grooves, that make me want to simultaneously chillax to the bone, yet fug like an eight legged groove machine.

This song was originally released as a single in 2007 and features on their self-titled May 2009 album, out via Honest Jon's. This is Damon Albarn's independent record label (parent distribution company Parlophone) Buy the vinyl here or buy the mp3s here.

Hypnotic Brass Ensemble - War



http://hypnoticbrass.net/

http://www.myspace.com/hypnoticbusiness

http://hypnoticbrass.blogspot.com/

http://en.wikipedia.org/wiki/Hypnotic_Brass_Ensemble

Blood, Sweat and Tears - No Sweat

Now, here we have a prime example of why buying vinyl albums can be such an enriching activity, adding to core experience of listening to music product. Blood, Sweat and Tears were a pioneering prog jazz rock band who pushed the envelope of this genre, back in the late sixties, early seventies. No Sweat was released in 1973 and is one of the finest examples of gatefold fold packaging of this period. The band must have been smoking some heavy gear to have agreed to this particular concept that the cover designers pitched to the record company.

I can only imagine that the meeting went something like this:

Designer: O.K guys, now the title is gonna be 'No Sweat' so we have chucked the concept around with our brightest sparks and after some serious deliberation, thinking waaaay out of the box, the boys have come up with a sauna theme!

B S & T: uh huh, we're cool with that.. Are there gonna be like, nakkid chicks, all lubed up huh?

Designer: Err, not quite, we were thinking more on the the lines of you all dressed up in tux'n'tails.

B, S &T: Classy! we like it... but then we get to strip off next to some broads, yeah?

Designer: Your batting in roughly the right ballpark, but we were imagining a steamy room packed with some guys! fab eh!!

B, S & T: oh guys...

Designer: Yeah old guys..

B,S & T: ole geezers!?

Designer: For sure..all of 'em just wearing towelling.

B, S &T: flabby nakkid ole guys.. !!

Designer: fab ain't it, but you've yet to hear the best part; on the picture on the inner covers, you take your clothes off as well, looking like your taking orders from a guy whose a dead ringer for Uncle Junior off The Sopranos (artistic licence here, stick me me folks)

B, S & T: I'm not feelin' it maaan, sounds like we're going to look pretty daft...

Designer: Guys, guys, it's high concept stuff here, the message is the MAN is having to accept you rebellious longhairs. It's a statement, your fans will love it, yer speaking their language..total street cred, in fact, by the third picture, the ole boys are not just accepting the new world order, but they actually look like they are lovin' been surrounded by you longhairs, you've totally turned em maaaan, they've tuned on, turned on and dropped out! WOW!

B, S & T: I hope the soap ain't being dropped at this point!

Designer: By the final image on the back, you've swept away the old order, leaving just the band members hanging out together soaking up the atmosphere, all just through the power of your presence and some strategically placed towels.

B, S & T: We err.. look manly here, um right? not like we're enjoying each others company, too much?

Designer: Of course..Greek gods

B,S & T: The chicks will still dig us right? we won't look slightly daft, or be portrayed in any manner at all that gives the impression that we're a little bit, well you know, camp?

Designer: Of course not, this'll be the the making of the band, that cover will be the iconic cover of the Seventies like 'Sgt Peppers' you boys will be stellar once everyone sees this, you can trust me on this, after all I am a designer!

B,S & T: Well in that case O.K. let's roll with it, no sweat!

http://www.bloodsweatandtears.com

wikipedia.org/Blood,_Sweat_&_Tears

Chicago II (Chicagothon Part 2)

It's the dawn of a new decade and our windy city boys, meaning windy instruments rather than flatulence, are hot on the heels of their debut releasing another double extravaganza contained within a gatefold sleeve, plus the logo is bigger and actually legible this time around.

They have shortened their moniker though, as Chicago mayor Richard Daley took offence to the name of the city's public transit system being hijacked by hairy rock upstarts. Thus The Chicago Transit Authority was streamlined and the band had to call themselves just Chicago from here on.

Chicago II

Side 1
Moving In (4:06)
The opening salvo has our chaps in fine fettle with this track with a strong hook and a definite The Band like vibe in the singing department. The biting brass is back baby.

The Road (3:10)
A lighter, less blended vocal, together with a less memorable hook make this a bit filler.

Poem for the People (5:35)
The mood goes downbeat, with a piano led introspective ballad with lyrics that reflect on the state of the folks.

In the Country (6:35)
Surprise surprise: more overbearing trombones, along with many key changes make for confusion it’s all over the place and I thought the country is supposed to be tranquil.

Side 2
Wake Up Sunshine (2:32)
An poppy upbeat sunshine tune that refreshes like standing under a sprinkler.

(Ballet for a Girl in Buchannon) this is in seven sections written by James Pankow
a. Make Me Smile (3:15)
The drums are let loose on this hit song. Terry Kaff's gravely singing reminds me of Joe Cocker fruit-looping it at Woodstock or Barry McGuire's voice on 'Eve of Destruction'

b. So Much to say, So Much to Give (1:12)
A change of pace.. there's everything but the kitchen sink in this segment.

c. Anxiety's Moment (1:00)
Let's slow this baby down to bridge the gap with a nervy minute.

d. West Virginia Fantasies (1:33)
instrumental Hammond action

e. Colour My World (3:00)
One of the others hits off the album, it goes all moody with some piano led flute action to soothe me, Terry Kaff sings as he yearns for his 'ole lady'

f. To Be Free (1:15)
Ooh, those heavy brass and drums are back, it's been a while..

g. Now More Than Ever (1:25)
Crosby Stills & Nash trademark vocals are plundered in the grand finale, I've noticed the drummer has got more leverage in this album and is making sure everybody can hear him.

Side 3
Fancy Colours (5:09)
I know why your seeing those fancy colours lads: lay off the doobies, Chiccy go samba! Perhaps the most fun song on this album.

25 or 6 to 4 (4:58)
This was the big pop hit and it sure does stand out. It’s a fresh and pacey song with an urgency in the tempo. You can feel the influence of the West Coast relocation working here. The title refers to the time in the early hours when the songwriter was penning the tune.

Prelude (1:09)
The eclectic influences of Terry Kaff shows up here with a mini-suite that has classical pretensions. The chamber music makes me feel like I'm in a costume drama dinner dance, competing for the attentions of Miss Buckleberry, the vicar's daughter, against the advances of slimy Mr Lucian Fothrington-Smythe.

A.M. Mourning (2:05) P.M. Mourning (1:58)
These middle sections transcend into incidental music, I'm falling asleep now.

Memories of Love (3:58)
We wind up with a 'Hamlet' moment with this mournful lullaby, that is genuinely beautiful.

Side 4
It Better End Soon
I know the feeling! It's Robert Lamm's turn to lay an epic on us, in four parts no less, angry young men laying out their ideals about the state of the nation.

1st Movement (2:33)
A pulsating horn riff underpins those sun drenched 'West Coast' harmonies.

2nd Movement (3:40)
A pastoral flute Jethro Tull stylee that becomes more urgent with a chugging riff holding it together.

3rd Movement (3:18)
Raff is singing an anti war rant, remember, the man may have the guns but the 'long hairs' have got the tunes.

4th Movement (0:55)
Time to clear up with a bleeding horn solo, that’ll teach the fuzz. Well, there you go, more movements than from my bowels on the morning after a curry and lager night out..

Where Do We Go from Here? (2:53)
Peter Cetera get a writing/singing credit at the final furlong and his commercial sensibilities are glimpsed in this downbeat country tinged tune.

To sum up, this is more focused and confident offering than the predecessor. As a collection, it knows when to let go and when to pull it back in whacking us with those tight acid-jazz-rock riffs that Chicago were famous for. It's an exhilarating ride save for occasional sequences that over reaches their ambition.

http://www.chicagotheband.com/

http://en.wikipedia.org/wiki/Chicago_(band)

The Chicago Transit Authority (Chicagothon Part 1)

Introduction
I had always passed over Chicago records before, due to their notorious reputation of producing sickly overblown wet AOR. However, in a magnanimous moment of open mindedness, I decided to procure a whopping six albums all in one go, shelling out three of my hard earned pounds for the lot. The portents were promising for a reappraisal, as they were released from 1969 through to 1974, thus missing out on Peter Cetera's blow dried songwriting from the Eighties. I have found from experience, as a general rule, the earlier the release in a band's career, the safer the bet. I am staring at serious slice of a band's output wandering where to start, well there's only one thing for it, review every glorious note, chronologically, day by day, track by track. This is going to turn into a CHICAGOTHON.. raising money for charideey! erm.. well, three pounds as already mentioned. I declare this week to be CHICAGO WEEK!

The Chicago Transit Authority 1969
Let's start with the cover, which has to be one of the worst in rock history, all black except for the logo in the middle that's to small to read. The same logo is on the back, covering the whole space, yet is still impossible to make out the words due to the graphic designer's insistence on using a vinyl wood grain fill effect. They had a bad day at the office, methinks! Inside, things improve as we are treated to pictures of the shaggy haired band members within a lovely gate fold sleeve (always a promising sign) The image of Andy Williams makes a welcome appearance on the inner sleeve covers.

The band were...
Daniel Seraphine on drums
James Pankow on trombone
Peter Cetera bass and lead vocals
Walter Parazaider woodwinds and vocals
Lee Loughnane trumpet and vocals
Terry Kath guitar and lead vocals

Side 1
Introduction (6.35)
We are straight into background music for an American 70's detective t.v programme. I’m thinking Columbo here, during a car chase scene. It’s funky, it’s fruity, it’s trombonetastic, it’s giving me the horn!

Does Anybody Really Know What Time It Is? (4.33)
A piano lead in breaks into loungy effort, providing a jaunty feel good vibe, like driving in a Mustang down the freeway with the sun beating down, wind in your hair and not a car-jacker in sight.

Beginnings ( 7.58)
This is the big one, working up to some Crosby Stills & Nash blended vocals, then winding down with clacky percussion, that goes on just a bit too long, like the technique that Family Guy deliberately uses to make the gag scene painfully uncomfortable. Chicken Fight anyone?

Early impressions: their motto should be "Never knowingly underbrassed!"
'If you find another band who out trump us, we will give you double your trombone quota back!'

Side 2
Questions 67 and 68 (5.04)
More brassy loveliness from the first single.

Listen (3.22)
Woahh! here’s where our boys get seriously Starsky & Hutch funky, working up a good groove. There is a definite Cream influence as well.

Poem 58 (8.37)
This is the point where Terry Kaff lets loose with some guitar licks with interesting key changes and there’s a Frank Zappa vibe going on.

Side 3
Free Form Guitar (6.53)
It does what it says on the tin, indulge yourself Terry, Hendrix would approve.

South California Purples (6.10)
A Hammond heavy romp, that's slightly menacing, there's a hook line that I immediately recognise It’s like a pub quiz question, that’s on the tip of my tongue..

I’m A Man (7.40)
The only cover version on the album, of Spencer Davis Group's 1967 hit. The tightness of Steve Winwood’s songwriting reaps rewards, as their indulgent streak is kept in check. It's like a flabby stomach that’s been given a corset to hold it all in.

Side 4
Prologue, August 29, 1968 (0.57)
The Transit get political, with a clip of the crowd at the Democratic Convention. The sleeve notes explain that black militants exhort demonstrators: "God give us the blood to keep going" the march begins, police attempt to disperse marchers "The whole world’s watching" they chant. Stick it to the man!

Someday (4.13)
There’s high tempo guitar in the now familiar recipe of funk rock brass fusion.

Liberation (15.41)
Time for a freak out finale and true to form, the guys stretch it out for a mind blowing fifteen minutes of parping perfection. In the parlance of film making, nothing is left on the cutting room floor, the only four letter word that upsets these boys is EDIT.

One down, five to go: Overall, I would say this is a meaty effort, a brave experimental work, from a band finding their feet, some fat could have been chopped off the edges but you can’t argue with a band that gets your toes 'a' tapping with brass beats.

http://www.chicagotheband.com/

http://en.wikipedia.org/wiki/Chicago_(band)

Coco Briaval Quartet

As he will readily admit, Scratchy don't do jazz. Over many years now some of the best players in Europe have tried to bend his avowedly discerning ear to the subtle delights swinging below the streets of Soho, but oh no, he ain't having any.


Which is a shame as there is little slicker, daddy-o, than busying yourself around the house to the hip sound of the Coco Briaval Quartet, here represented by their 1968 offering, Lazy Night In Paris. Twelve tracks of continental cool beaming at you from the right side of the left bank, if you catch my drift.




Cards on the table now; this ain't Coltrane. And it's true to say that Django has a lot to answer for when it comes to this sort of thing, but hey! Coco Briaval has a charm of his own. Gypsy guitar filtered through the cigarette scented confidence of a city about to convulse in paroxisms of social and intellectual revolt. And let's face it, from my corner of the boulevard, when it comes to the soundtrack for student insurrection, this sure beats Rage Against The Machine.



Briaval continues to play, as far as I can tell, and there is a typical example of his craft posted here:


http://www.youtube.com/watch?v=RtGaWJNOtqg