ironlips

Vincent DeRosa ! For many years he was the "first call" French Horn for virtually every recording requiring that instrument. In 1980, it was my great privilege to produce the outstanding Brazilian guitarist, Laurindo Almeida. It was to be the very first release on the new "Concord Concerto" label, an offshoot of Concord Jazz, and the score called for a chamber orchestra. Vince was the hornist at the session. It was all done live. I had never produced a classical date and knew I was in 'way over my head. I needn't have worried around these pros. The record scored a Grammy Nomination that year. Here's a little taste. Vince has only a few notes here, all in support of the guitar, but they positively sing. The best example from this movement is between 5:05 - 5:20 or so: What a career Vince has had, across so many genres ! A "player's player".

Cymbal crash.

Let me be clear in stating that the following is in no way directed towards any individual on this platform, nor a response to a particular posting. It is directed towards our entire community. If we're going to move forward, we'd better learn how to do two things: 1. Face facts 2. Engage in dialog I have been involved in this drum corps "activity" since 1960. If someone established a Museum of Racism, there have been some corps whose history could fill an entire gallery. Failure to acknowledge that doesn't help. An organization making a public statement about fairness {and establishing a group to monitor that} just might. Drum Corps has always been a microcosm of and a metaphor for "real" life. As my former boss, Jerry Seawright, was fond of saying, "If you're marking time, you're going backwards."

He was, indeed, a master. It's no coincidence that, like it's predecessor opera, the best film music is visually evocative, hence, ideal for drum corps. And it only requires a couple of notes to set the scene. Case in point: that poignant whistle theme. Genius revealed in simplicity.

Once upon a time, I could march and play at the same time. I wouldn't risk that now.

Sure, and if we all trace our roots back far enough, we'll find immigrants, some legal, some not. Some would go so far as to say earth's original settlers were interplanetary aliens. Considering some of the folks I have met in Drum Corps, I can believe that.

Forget the "rockets" and the "bombs". This tune (and this version) should be our new National Anthem. The Troopers have always known how to make a statement.

Feel free to add your own suggestions for celebratory Independence Day music. Here's mine: Jazz is the music of freedom. It's one of the things we got right in this country. It doesn't get much more patriotic than Preservation Hall.

I have to agree we won't be seeing the old touring model for a good while, if ever. It's barely sustainable for most corps, even under ideal conditions. Of course, it is possible that friendly aliens will arrive on the planet and cure all our viruses,... or bring us new ones. Time will tell.

"There were exceptions to the difficulty of the concert music. " If we were just two dinosaurs sitting together shooting the bull in the back of the bus, I would humbly suggest to my esteemed colleague and student of the great Jerry Shellmer that speed and rhythmic complexity are not the only determinants of difficulty. Cambridge's "Malaguena" is more exposed than any other production in the show, at least in terms of brass: isolated conducted attacks, balance, blend, intonation, antiphonal voice entrances, dynamics...etc. There's simply nowhere to hide. Granted, there's little "rudimental" drumming, but even the percussion entrances were very exposed. On paper, the whole thing looks simple from a construction standpoint, it's true. But in practice it was the single most judge-able couple of minutes in the show. Besides, Jerry's drum writing provided plenty of "old school" throughout the rest of the routine. As for the Troop piece, pretty much the same things apply, though there is more traditional drumming therein and a few meter and tempo shifts. I was in the stands at Roosevelt Stadium when Barbara Bergdoll conducted "South Rampart Street Parade" the day that SKEK recording was made. Even though the tempo (not to mention title) would suggest it was "march-able", I was glad we could hear every single note from horns and drums as they stood in that concert formation. Unforgettable. Kevin's won the Dream that day by just over 3 tenths. It was the first time a non-Jersey corps had placed first in the history of that show.

Re Parking and Barking: Some of us remember when all corps stood stationary for 2 -plus minutes right in the middle of the show. It was called "The Concert". Most of the time this section consisted of music that would have been nearly impossible to "march" to, given the tempo requirements and skills of the time. Nobody complained since it was also usually the production that actually sounded best. For the audience, it was tantamount to being inside a full ensemble arc in the parking lot. Here's an example. Scroll ahead to 5:30 or so:

Sometimes, things turn out to be even better than advertised. Case in point.

This is almost too good to be true. Picture this: Einstein, Aristotle, Shakespeare, Mozart and Da Vinci walk into a bar and ask you to sit at their table. (Note: Check local times. I think the promo should read 8:00 pm EDT)

I remember the Nautical Cadets well. The Sunrisers marched in numerous parades with them on Long Island. They had a unique style and presence. Hicksville was notable for strong music programs, both scholastic and private. The St. Ignatius Girls D&B Corps hailed from there and was a superb group, taught by drum corps legends Hy Dreitzer and Carman Cluna.

Thank you, Mike. We all appreciate your perspective. Frank