Mike Ferlazzo

In this day and age when there are only 22 Division I corps and only 19 that tour full-time (The Academy, Mandarins, and Pacific Crest opt for partial tours), I don't think we're in a position to be so selective. The best 12 corps deserve to be in finals, and if that happens to be someone who is able to overcome the risk of not touring full-time -- more power to them. The last thing we need is yet any more corps folding because they're forced into the financial burden of full-time touring just so they can be competitive with the others who do. I remember -- and marched -- in a day when first tour WAS a regional tour, and then you went out on a more national tour for second tour. There seemed to be a lot more corps back then. However, I respect everyone's opinion on the judging. If you don't believe The Academy is good enough to be in finals, you're certainly entitled to say so. In fact, I find it interesting how the corps' who have seemed to become the top three contenders -- Blue Devils, Cavaliers and Cadets -- have shows that don't seemingly appeal to the masses as much as corps ranked four through seven. And yet Devils, Cavies and Cadets dominate in general effect -- by more than a point over the next closest competitor. The judges apparently get something more from the "Big 3" in terms of "general effect" than the majority of the reviewers here. I guess there is truth to the old notion that it's OK if you don't necessarily connect with the audience, as long as you connect with the judges. I'm not saying the big three aren't great. They certainly are in their own way -- as are all 22 Division I corps this season. But should they seemingly be pulling away from the next four? I think not!

Indeed, it is all subjective and that's why scores fluctuate over the course of the year. In this case, my point is that two musical judges saw the Bluecoats as not only being in the same league with the Devils, but slightly better. The third, however, felt that they weren't even close. Three musical judges on the same night reading the same corps quite differently -- and the one who made the boldest stroke changed the whole outcome of the musical caption. I could understand if he had the Devils slightly ahead of the 'Coats, but not down nearly an entire point -- particularly after they won brass and percussion on that same night. That's all. It just seemed rather odd. I couldn't say who is better or worse because I haven't seen the Devils and the 'Coats head-to-head -- at least, not yet. I will say, however, that the 'Coats new look and sound reminds me a lot of the Devils. But that's just one man's opinion.

I just checked out the recap from the Tupelo, Miss. show last night and saw that the Bluecoats beat the Devils in both brass (17.3 to 16.9) and percussion (17.8 to 17.6), but lost the music caption because the ensemble judge had them down by almost a point (17.7 to 16.9). It doesn't seem to make sense that the 'Coats were rated by two judges as having the best brass and percussion sections -- which no doubt took into consideration the musical accuracy and projection within the ensemble -- and yet were seen to be woefully behind the Devils in musical ensemble. It shows, once again, how one judge can really change the outcome with one simple stroke of the pen. Of course, we all know the judging system is not perfect because it is ultimately subjective and not objective. Corps' can't take matters into their own hands, like a baseball team coming back from a two-run deficit in the ninth. Like fans who look at the same shows and see them very differently, so too do the judges -- and they're the ones who ultimately determine placement. I just hope you don't get some rogue judge who feels like he's right and everyone else is wrong once you get to the championships, because that's when it becomes an issue of fairness. I welcome your comments.

If some of you are Drum Corps World subscribers, you'll see my full review of the Annapolis season opener, and also a brief review of the Ankeny standstill. I've also written stories on the Colts full run through during their pre-season Cornfield Tour, and from the rebirth of the Troopers from a weekend I spent with them in Cheyenne during early June. So after all that, here are a few early impressions to chew on. The Cavaliers -- As always, they're technically flawless in much of what they do -- even during the first contest -- but the music of Billy Joel is a bit too "light" to be a championship vehicle. Of course, the word is that they had a whole new ending to add, but the show didn't seem to be edgy or break new ground. It's nice, and bright and pleasing to see and hear, but it just didn't say "championship" to me. However, these are the Cavaliers and nobody does better making changes on the fly than them. But right now, I'm not sure it has enough depth to finish any higher than third. I guess time will tell. The Bluecoats -- While I also very much enjoyed the Bluecoats' show and know that it was far from complete too -- particularly in the guard, which didn't have its costumes for this show or do work for the final segment -- the whole new look and approach just made me think Blue Devils. Maybe that's a good thing since the Devils have consistently finished in front of them, including last year. But after just watching the show again from DCI's high angle video camera, the look and feel of the show just seems like a BD knock-off -- particularly since the Devils have done some successful crime-related programs in the past. But the 'Coats reportedly have a veteran corps with a lot of talent, so maybe they can beat the Devils at their own game. Still, I guess I liked their classic look of ther past few years, even though it was more exposed with all that white. But maybe that's just me. Phantom Regiment -- I know that I only saw them in a standstill concert (Ankeny contest was rained out and turned into a standstill) and performing without their uniforms -- or their guard for that matter -- but what a tremendous musical package. If the visual package coordinates well and matches this level of excellence, it would seem like this is a show capable of winning a title. But that's unfair because I haven't seem them march, and with those all-white uniforms, they're exposed visually like no one else in the top three. But the "People's Champs" the last two years seem well on their way to making it a three-peat in that area. It certainly "sounds" like a championship-caliber program. I can't wait to see the whole thing. The Cadets -- You just knew that George Hopkins and his staff would have a strange new twist to the concept of "a traditional show," didn't you? And if you can get by all the narration, it is a traditional drum corps show -- three numbers that don't really connect with a visual program that features far more liniear forms than past Cadet shows, all while wearing the new "old" Cadet-style uniforms. But there is that issue of the narration throughout, and the great twist that the Cadet staff actually built the musical show around that narration. They chose to literally "tell" their story rather than let the audience figure it out itself. I don't know how to feel about all that. At times, it all seemed to work. At other times, it just seemed to be too busy and annoying. But always the Cadets, expect a lot of changes to this production before Pasadena. Maybe they'll even have a far different tale to tell by then. Carolina Crown -- I confess, I not only thought they won the new DCI "Hot Chops" brass award, I thought they very well could have won the whole show at Annapolis -- or at least been much closer than they were. Was it me, or did they seem the most prepared for the opener in terms of musical and visual excellence and the shaping of the whole package? I was moved emotionally by the show and believe Crown's percussion -- its Achilles Heel in the past -- has taken a real step upward and now gives the corps no weaknesses. They took a real visual gamble by keeping the unit in cream with their new uniforms, but I like it since it makes them distinctly different. They chose to build on their own identity rather than join the darker crowd. It might cost them in the end, but in Annapolis, I thought the "Triple Crown" program powerfully screamed that it was a championship vehicle. I know, that's a lot to ask for a corps that has never finished in the top six and is wearing uniforms that make it more visible that much of the competition. But I still get chills watching it online, and that was just their season-opening show too. Blue Knights -- Once again, I only saw them during a standstill in Ankeny -- although they did wear their uniforms -- but musically, they have a mature excellence that will make them a top 12 contender again. I believe their battery -- a weakness in the past -- has also caught up with the brass in terms of performance. They do continue to have a lot of tacit time during the show, but if you get the chance to check out their field warm-up, do it. They have a crisper more precise style this year. As for the show, it really has the same distant musical feel to it as other BK productions of this decade. And, as a matter of fact, I believe there was a lot of 2002 in that book. For that reason, it may not only come off as unapproachable, but a bit stale to the audience -- kind of like been there, done that. But again, without seeing the visual package, it's impossible to make that blanket statement. I did enjoy their professional approach to the standstill. Glassmen -- You got to love the gypsies and their color guard captivates throughout. Musically, it's also nice to know that the G-men seem to now favor fan-friendly productions with recognizable music. That's a real departure for a corps that had some of its most successful years while -- like the Blue Knights -- playing contemporary, more abstract pieces. This show has a look and feel to it like last year's Beethoven classic -- in the gypsy kind of way. But that also means there are many standstill moments and a visual program that probably lacks some of the depth -- at least right now -- of some of their other Top 12 bretheren. Still, the G-men have chosen to become the great entertainers now of late and just how well they "sell" the concept may determine whether "Gitano" finds its way back into the Sat. night show in the Rose Bowl. Spirit of JSU -- Talk about a corps that's taken a big risk, Spirit's look and sound is quite a departure from the baby blue, fan-friendly approach its taken to finals since moving to Jacksonville. Fans of those shows -- which, in some cases, were more contemporary Spirit of Atlanta-like productions -- may have a hard time even recognizing Spirit in those new uniforms. You have to look hard for the delta on the right shoulder, although the left wrist on the new uniform kind of looks like the old Spirit uni. In Annapolis, the program -- while nice -- didn't really connect, with the exception of the beautiful ballad featuring a kind of urban Asian percussion jam and singing from the marching unit in the far right corner of the field. But Director Ken Bodiford said that the show is about a week earlier than Spirit has traditionally come out and it had just run it without the Dr. Beat for the first time two nights before. So give it some time. I kind of think it might grow on me as the season progresses, although I did miss the rich baby blue unis and some "Georgia" tag in the production. Colts -- The Colts too are trying to break free from the "Americana" style that's bound them in the past with a more serious production that they, quite frankly, hope will take them at least one step higher and into finals after finishing 13th the last two seasons. The corps is mature -- with most of the members in the 20-21 range -- and the show well-designed with the "Equinox" theme and readable storyline. And apparently they're much more "colorful" across the board with the new red uniforms. I was really looking forward to seeing them in Ankeny, but they chose to perform the standstill in just their black bibs and t-shirts. But I've seem them online and if the color guard and its reported numerous costume changes and corresponding silks add the right touches to the color pallet, the Colts just may rejoin the finals' crowd in Pasadena. Like Carolina Crown, they appear to have no weaknesses. But therein lies the problem, few do in today's Top 12 and having not seen all the competition, it's hard to know who they might "bump." Still, bravo to the Colts staff for tweaking their program just enough to make them more of a serious player, without losing much of their fan-friendly charm. Blue Stars -- This might be one of the most dramatic uniform changes of the year -- with the exception of the much talked about new Madison look -- given the detail that includes having the right shoe even be two-tones white and navy blue. They wore them for the Ankeny standstill, minus the hats, but I was glad to see that the white pith helmets remain in place. I kind of wish there was still a red plume instead of white to add a little more splash of color, but based on the fact that they're using white drums too, I assume that was designed to contrast the difference between "Power and Grace" -- the name of the program. This show works very well for them musically and -- like last year -- is very well composed for the corps, with enough recognizablr selections for the audience to enjoy too. While the unit packs the field with some 70 brass, it may not be quite getting the projection right now of some of the corps just in front of them -- namely the Colts -- but that too could come. Nonetheless, the Blue Stars exhibit a higher level of musical maturity and if the visual program matches that -- and it sounds like it may -- Lacrosse could also be among the finals' contenders again. Troopers -- This year's "Cinderella" feel-good story is the reborn Troopers, which are fielding their biggest corps since their last finals' berth in 1986 -- in their first year back from a DCI-imposed hiatus, no less. It seems as if the year off to reorganize and retool has done them extremely well. They've retired a large debt and still managed to buy all new brass, percussion and uniforms. Along the way, they've also developed a more contemporary program with teaching methods to match, while still keeping enough Trooper trademarks to appeal to their long-time fans. They have a color guard largely composed of a members from the successful Code Black winter guard around Houston, and a percussion staff that has brought the trendy titlted snares and musically-expressive style to their performance. The corps is young -- with the average age around 18, with about 75 percent being new members -- but watch out as they grow. While finals' is probably a reach this year, Casper could be a serious contender for semis by season's end -- just like the Blue Stars were last year. That's my take in the early season. I'd love to hear what you think, and actually have by reading some of your reviews thus far.

I didn't stay for the show, but I was doing some "homework" for covering the Ankeny show Tuesday for Drum Corps World, so I stopped by the Blue Stars rehearsal site Saturday afternoon. And those who are looking forward to the Blue Stars' return to Division I will be pleased. They definitely have Division I numbers -- presently 66 brass (with six holes), 27 percussion (8S-4T-4B-11PP, with a bass five hole), 32CG, and 1 DM -- and have a more polished and fan friendly show for this time of year. The 61 in their first show was probably a pretty accurate reflection of where they are right now. As many of you have no doubt heard by now, the show is “The Gift of Freedom,” featuring music expressing the freedom from want, of speech, to worship and from fear. It has many drum corps favorites interwoven throughout -- particularly "Simple Gifts" from "Appalachian Spring." There are also many patriotic themes -- likes excerpts from "Amerca the Beautiful" and "The Star Spangled Banner" -- but they are wonderfully arranged so they don't sound stale or cheap imitations. That said, the show will remind many of cross between the 1992 Star of Indiana "American Variations," 2002 Boston Crusaders' "You Are My Star," and "Blast" -- having several members of the staff from that production -- except not quite on that level of performance, at least not yet. From a performance standpoint, the corps reminds me a lot of what Magic looked like after it returned to the competitive field after a hiatus in 2002. The Blue Stars have definitely made the transition to a Division I-type show, although the corps is still much younger than most Top 12 corps, so how fast its performance level grows with the members' maturity will determine where they finish. At this kickoff stage, however, I'd guess that the Blue Stars will be in the hunt for semifinals at the very least. They actually open the show with the sound of chimes into the beautiful, and subtle, "Grover's Corners" -- slowing building the tempo through the pit into interwoven melodies from Appalachian Spring. The first full impact comes with a multi-meter segment that moves a four-pointed star from stage right at halftime with the battery double-timing in "Merry-Mixers" behind to strains of "America" with the midrange playing "Simple Gifts" underneath. Incidentally, one of the highlights of the show is when the corps proper does the vocal rendition of "Simple Gifts" -- ala "Blast." There are other memorable moments, particular the climax of an expanded five-point star to big impacts from a patriotic medley. The strongest element of the corps is definitely the brass, which has a much more mature sound then the age of its members, particularly at its impacts. They play a lot of running notes in the trumpets and mellophones too. The drill--while relatively safe in nature in terms of its complexity--moves well, and is appropriately written for the level of this corps. The colors guard -- which wears classy-looking dresses (they wore them for the final run-through) in teal, sky blue, orange, and purple with navy blue accents, with the four men wearing either purple or sky blue tops with navy pants -- appears to have its work done, but still has a way to go in terms of performance, particularly when dealing with any wind. The percussion appears to be the weakest section right now. The book appears relatively safe -- with nothing too difficult either in the legline, or the pit -- and the new Ludwig drums and Musser keyboard equipment seem to lack some of the physical projection of other corps. That may be intentional right now, given the performance level at present. That's not to say they're bad. Rather, they support the program quite well. It's just that they probably have the longest way to go in terms of performance maturity. Of course, they've got plenty of time to bring it out of them. Remember that I believe this corps reminds me a lot of Magic 2002, and that corps' show was pretty "safe" in the early season, and really started to take off with the growth of the members, and the show's development by the staff. This show also seems to have a lot of room for growth over the course of the season, in my opinion. There's definitely a lot of upside with this corps. And the bottom line is that they're already more enjoyable than the past two years in terms of how approachable the show is, and how much farther ahead the corps is in terms of performance. They'll be on early in many shows this season, and they'll definitely grab the crowd's attention with their first big impact near the front sideline. Kudos to the staff for putting together a great vehicle for the corps' return to Division I, and having the show finished nine days before the unit's first competition.

After assessing the 2005 season in DCI Division I, there's been much debate over which way the activity is headed. The Cadets' victory has some fearing the worst, while others are concerned that the quality is down from past years. However, using no scientific method, I decided to rate the 24 Division I corps' programs and direction they seemed to be heading this year when compared with 2004 -- you know, whether they were better or worse, up or down. As you can see, my personal assessment found it to be a very good year! Of course, this is just one man's opinion. I'm sure others have differing views. I will, however, tell you that I shared lunch in Foxboro with three long-time drum corps fans -- two who were members of the Chicago Royalaires. They were in consensus that they found this year's Division I Quarterfinals to be one of the most enjoyable drum corps shows they've attended in some time. Please note that my assessment doesn't simply rate corps on their placements. I figured that in along with program design, excellence of the performers, and execution. Cadets (much better) Cavaliers (slightly down -- only because they were so good the year before) Phantom (much better) Blue Devils (down -- in design, not performance) Bluecoats (better) Madison Scouts (much better) Carolina Crown (better) Santa Clara Vanguard (down -- although I still enjoyed them very much) Boston Crusaders (slightly better) Blue Knights (same) Glassmen (better) Spirit of JSU (slightly better) Colts (better) Crossmen (slightly down) Capital Regiment (slightly down) Southwind (much better) Mandarins (slightly better) Seattle Cascades (same) Pacific Crest (same) Esperanza (same) Magic (slightly better -- at least in my opinion) Troopers (slightly better) Pioneer (better) Kiwanis Kavaliers (down) 14 better or slightly better 4 same 6 slightly down or down

When engaged in debate like this, we need to remember that drum corps -- and the whole marching musical activity as a whole -- is an art form. And like a piece of art, some people are going to look at a certain show and consider it to be brilliant, while others might find it disturbing or even ugly -- particularly something new or "cutting edge." That's the great thing about any art form, it's all about creativity and trying to expand the imagination. Some people are excited about something fresh and innovative that's "out there," while others would prefer a Norman Rockwell. There's no right or wrong answer when it comes to peoples' tastes. Since drum corps is a competitive activity -- just like art shows -- it's all good as long as they all play by the same rules. Some who have "pushed the envelope" involving those rules have taken the activity in a bold new direction, while others have failed. Ultimately, just like that piece of art on display, the final verdict will be in whether people want to buy it -- and in the case of drum corps, that means whether judges give the group the credit it deserves, the audience appreciates it and helps fund the corps and/or comes back for future shows, and performers and staff continue to join to keep the organization thriving. But one thing's certain about the most controversial shows -- and I'm going to see one tonight with my first look at the Cadets (other than online, of course) -- they do tend to generate the most discussion. I haven't seen the Cascades yet, but will be seeing them three times before the season's out. And because of all that's now been written, I can't wait to see them so I can make up my own mind on whether I like the direction they've taken, or not.

Thanks for the informative review. It is well-written and I appreciate the detail. I'm going to be seeing these corps' tonight in Cedar Rapids, Iowa, and will be writing a story on that show for Drum Corps World -- and probably DCP too. Your review has helped me prepare. Good job and thanks again.

That's a shame, since you would think that DCI Championships aren't going to get much closer to Phoenix than Denver -- and it sounds like they would have been a major player.

Don't forget about Arizona Academy in the race for the D-II crown too. They apparently are full -- by D-II standards -- and have already beaten Vanguard Cadets and Fever regularly this season. Thanks for the review. I always love reading about the D-II and D-III shows -- particularly since I'll be going to the grand championships in Denver.

This, indeed, is a great review. It's well-written and informative. Thanks for detailing your observations. I now have a guide of some things I should look for in my next viewing of these corps. This is one of my favorite reviews thus far this year too.

OK, I'm done, and I apologize to all that I've offended. I will point out, however, that the freedom to express one's opinion doesn't just rest with the reviewer, but also those who read the reviews -- and feel the need to comment. I'm sorry to WorkingStiff for picking on your review. I just get my dander up, sometimes, when I read such critical comments about some of the world's greatest drum and bugle corps. When I read that you decided to take a pit stop in the middle of the Glassmen's show because you just didn't get it -- well, that kind of set me off. Please know that I haven't found the G-men to be very approachable in recent years either, but I try to understand and appreciate. I haven't found any of those performances to be so terrible that I needed to leave. The kids still play and perform well, even if we don't like what they're trying to perform. On that note, I'd like to also just add that we all are in agreement that the kids are working very hard to do what they do. But we all need to keep in mind that the staffs and management teams are doing the same -- and many of them are not getting paid that much to do it either. They're all trying to do what's right for their organization. I agree, it doesn't always work, and you're free to comment as such. However, please know that they're spending all that time creating, writing and teaching the show. I don't think any of them would design something that they thought would cast a poor image on their corps. Their efforts should be worth something too. As I've said, you are entitled to your opinion, and I do appreciate your expression of thoughts. I'm sorry that I took such offense.

Complete sentences just help provide clarity to your thoughts. I guess it's kind of like comparing a "fan friendly" show to an "abstract" show. It's generally announced at shows that it's poor conduct to get up "in the middle" of someone's show to go anywhere. It certainly shows disrespect to the kids. I wonder how the people behind feel when someone gets up "during" a show -- particularly when those people may actually be enjoying that show. Something to think about -- particularly since it's not much to ask to stay seated for 10-12 minutes. It appears to me that the products "most in question" from the creative staffs seem to be doing quite well actually. Boston is scoring in the lows 80s -- pretty good for this time of year. So is Crown. And while the Glassmen are once again fighting for a finals' spot, they're in contention. So, I'm guessing that the creative teams haven't done that poorly. In my book, any corps that's in contention for DCI finals is a very good drums corps. I realize, others may have a different view. Correct. However, it's probably good to reminded of that from time to time, before we're ready to be so critical. The biggest penalty for corps with "entertainment deficient" shows are that they plummet in the competitive ranks, and eventually start stuggling with recruiting. That's when they need your sympathy. Remember, what's one man's entertainment is another man's garbage. If memory serves, the highest scoring show in DCI history -- the 2002 Cavaliers -- had quite a mixed "opinion" among fans and reviewers. In the end, I guess they didn't need much sympathy.

First, it would be helpful if reviews would have complete sentences. That makes them easier to read, like your daily newspaper. Second, everyone is entitled to their opinion. However, I have little interest in taking someone seriously who goes to the concession stand during one corps, and the restroom in another -- and then tries to tell me how good or bad they are. Third, and most important, the kids and staffs are out there busting their humps to try and maximize their shows -- and yes, entertain too! They do 10 to 15-hour practice days a lot of the time. These talented people deserve more appreciation than criticism. This isn't professional sports and they're not getting paid tons of money to perform. In fact, they're paying for the privilege to toil and sweat and make the best field shows in the world! Let nobody forget that these are the greatest musical marching units in the world, and that's what makes this activity as great as it is -- and the competition so intense. That part of it hasn't changed through the years! Freedom of the press is certainly one of the most cherished amendments in our country's constitution. So people are entitled to write what's on their mind. I appreciate that you took the time to write down some of your random thoughts on the show. But I, for one, would like to read a review from somebody who appreciates the kids and people in the activity. They need to realize that different corps try to create different identities -- some that people like, and some they don't like -- otherwise, it would be pretty boring if they all looked the same. But ultimately, it's those risk takers (i.e.: The 1983 Garfield Cadets, The Santa Clara Vanguard in various years, The Cavaliers in various years, Star of Indiana 1991 and '93, The Blue Devils various years) that have redefined our beloved activity into what it is today. And whether you like amplification or not -- and I, like most of the reviewers, don't believe it's necessary -- don't let that cloud your appreciation of what these young people are trying to do. After all, there were a lot of people who were predicting "death to drum corps" back in the late 1970s when the decision was made to create "the pit." I haven't seen the controversial amplified shows yet (Boston, Carolina Crown), but will be soon (Allentown, Denver). When I do, I'm sure I'll also judge whether it adds or detracts from their show -- but that won't keep me from standing and applauding the effort in the end. Ultimately, that's the greatest reward you can give these kids -- so they hopefully will keep coming back, and bringing others. I come to praise drum corps, not bury it!

Thanks for the info. They didn't have a write-up on the corps in last night's program, so I got the 2004 show info. off the corps' website. They probably need to update it too. I should have known that, but I simply couldn't remember what they played, since it was my first viewing of their show. It's a good one too!!

LEWISBURG, Pa. -- The famed Cavalcade of Champions made a successful return to the Drum Corps Associates' competition line-up at Bucknell University's Christy Mathewsen Memorial Stadium, and Rochester's Empire Statesmen captured the large crowd and the judges in an absolutely perfect night for drums corps. In their first competition of the 2004 season, Empire looked in mid-season form as it swept the captions and scored an impressive 76.263 to 73.313 victory over the second-place Reading Buccaneers. Raleigh's Carolina Gold bested Florida Heat Wave, 65.175 to 62.388, in the second-tier battle from DCA's blossoming southern ranks. Among the exhibitions, Mighty St. Joe's and the Hawthorne Caballeros Alumni brought the house down, and had many fans reminiscing about past memories from this storied show, which began in 1949 and ran uninterrupted for 24 years. Fans also got a taste of contemporary junior corps with an exhibition by the DCI Division III contender Lehigh Valley Knights. The massed bands of the show hosts Lewisburg and Mifflinburg High Schools kicked off the show with a pair of standstill selections. This was Empire's (52B-32P-32CG-2DM) first competition of the new season, but you wouldn't have known it by the performance level of their "City of Angels: Statesmen Style!" production. The show is well-conceived, easy to read, exciting, and has all the demand and showmanship to make the perennial DCA power contenders for the top spot again this year. Part of the reason it's so easy to follow is that the designers help the audience -- unveiling signs on David Bruni's drum major's podium for the different sections -- "Adventure," "Romance," "Murder Mystery," and "The Big Finish" -- while large paintings representing those elements are turned around from among the three large scaffoldings that frame the field along the back. The Statesmen are also apparently looking for the Hollywood black-and-white look in their uniforms this year, which have ditched the teal accent and continue to features the white dinner jackets, now with black pants and shoes and silver sequined accents. The flat black and chrome Yamaha drums accent the look nicely. "Adventure" is depicted by a picture of Indiana Jones. It opens with Empie's phenomenal soprano soloist leading the corps into its first big impact. The selection features fast-paced, very integrate drill -- with some counter motion between the musicians and color guard. There's also a snare feature with some cool backsticking phrases, that are played well right now, but with some room to grow. The opener is a rousing start, that also puts on display the large and talented color guard, that has been strengthened in the weapons area by the demise of Rochester's DCI Patriots. "Romance" features a painting from Bogey and "Casablanca," and some great staging -- particularly during an emotional impact -- framed by the guard on teal-colored flags (and one royal blue flag). There's also a talented solo dancer in a white dress that's featured throughout. The picture for "Murder Mystery" had the crowd guessing. It was learned that it's actually from the "Black Dallion." The crowd may have a harder time understanding that rather obscure Hollywood reference, but it doesn't really matter with the excitement of the number -- which features the main "City of Angels" melody. The guard accents the murder mystery theme with red outfits -- which look similar to Carolina Crown's "Jekyll and Hyde" outfits when Mr. Hyde made his transformation -- and they are featured in those uniforms with some brilliant high tosses. The selection also has a well-executed trademark Empire fast-paced percussion (8S-4T-5B-5C-10PP) feature. The line looks solid in all areas, with maybe the basses still with the most area to grow. "The Big Hollywood Ending" is pretty much the corps' curtain call, and doesn't need pictures. It starts with a funky little jam section, but gradually kicks in the ensemble. It features big bold rotating blocks, to a company front, to a difficult pass through with counter motion between the battery and brass, resolving into the powerful standstill, accented by multi-colored neon flags in the guard. The ending had the desired effect with the crowd -- which gave it a rousing standing O. The Empire sweep was impressive, particularly given the quality of the Buccaneers (2DM-44B-35P-28CG-3HG), who followed Empire's Hollywood glitz and glitter with a serious classical show featuring the music of Dmitri Shostakovich. The Bucs caught the crowd's attention just marching onto the field with their color guard flag props, which frame the back of the field, and are put to good use during the percussion feature. But after catching their attention, the Bucs captured the audience in their own way with the big bold fanfare to "Festive Overture." It's well performed and is recognizable -- so it plays well with the crowd. However, it also signaled where the Bucs have their widest disparity with Empire at present -- and that's in the brass power department. They physically have eight fewer horns, but it sounds like more. It appeared as if they were marching about eight brass holes, so that could get a nice boost by championships, but right now they just don't have the same impact as the Statesmen. However, that's not to say that this show doesn't have potential to also contend come Scranton. It featured the best field coverage of the night, with wonderful balance between the musical sections, and a talented color guard. Musicality and movement have been a forte' of this corps through the years, and this year they're assets once again. The opener has some pleasing mellophone parts, and some well-conceived split snare parts among the nine-person unit. The percussion (9S-5T-5B-6C-10PP) as a whole compliments the symphonic sound nicely with parts that are musical, but just not as "meaty" as Empire's book. "Novorossiysky Chimes" is the ballad and warm, balanced, and controlled musically. The flag devices kind of stick out in this selection, although the guard itself contributes well with expressive dance, and beautiful curved flagpole work featuring pretty shades of purple in the silks. "10th Symphony" picks up the tempo again and leads to an extended percussion feature. There's some tasty writing in this features, with "cheeses" throughout the sections and a nice split tenor idea. The guard makes the most effective use of their flag devices. by lining them down the 50 to due a pseudo-Rockford Files equipment toss. "5th Symphony" also has some great multi-meter segments -- including an intriguing pass through. The number is fast-paced, and includes another nice snare feature with a stick toss that "wows" the crowd -- although the playing still has some cleaning to do. The guard also supports with some orange, gold and fluorescent silks that seem the perfect "hot" accent to the fast-paced ending. Once its holes are filled and it cleans, look for Reading to also be a "darkhorse" come Scranton. It's definitely ahead of where it was last year too. Carolina Gold (2DM-26B-19P-14CG-4HG) opened the competition portion of the show with "The Music of Dave Matthews: Hanging with Dave." Right now, early season performance issues have the corps doing just that -- hanging with Dave. The crowd seemed to like the musical concept, but it didn't project well in the corps' competition opener. Unison staccato 16th-note attacks between the musicians open the show, before melding into "Warehouse." After a solid opening statement -- which resolved with a company front -- confidence appeared to be an issue at times in the rest of the opener, which resolves with a well-conceive final impact. "The Dreaming Tree" ballad has intonation problems in the brass, and a lot of feet issues right now. The feet are apparent, despite new black-and-gray uniforms with black pants and shoes. The tops look like the old Crossmen uniforms, with one side black and the other gray -- divided by a metallic gold panel. The color guard does make use of some pretty lavender silks with neon green dots -- although the guardwork as a whole, doesn't appear done. "Kit Kat Jam" does have a nice battery jam with a snare shell/rim groove; a well-conceived percussion (7S-3T-4B-5PP) feature, and some nicely done guard rifle work. But endurance and intonation continue to plague the brass. The closer, "Drive In/Drive Out" was tentative -- and clearly a recent addition. The drill is not complete, ending right before another percussion feature. The tenors are exposed throughout the number, and the design team may want to think about that, since they're really struggling in performance right now. Based on the pre-show warm-up, one of the tenors is a recent addition. The guard work is also not done through much of the closer. While Dave Matthews sounded great in theory, it may have a tough time working in practice for Carolina Gold. However, it's clearly a work in progress, and will be interesting to see how this project grows over the course of the season. Florida Heat Wave (2DM-23B-14P-10CG-3HG) deserves credit for just making the trip up North to compete in DCA to present its "A Night of Carnival: The Sights and Sounds of Rio De Janeiro" production. The drum major tried his best to connect with the audience, saying "Hello Lewisburg. Enjoy the show and thanks for inviting us." The crowd seemed to like the gesture. After a confident opening statement, "Brazil Carnival" features the familiar strains of "Brazil," "Carnaval," "I Got to Rio," and "Santa Esmerelda." While there are so energetic moment, the opener had some rough spots in the color guard, and among the soprano soloist. Still, the corps puts out a better ensemble sound than part memory. The ballad of "The Girl from Ipanema" slows things down, and finds the percussion (4S-2T-5B-3PP) sending the tenor players to the pit for some much-needed help. The only problem is that it's tough to get added contribution, since the pit itself lacks equipment -- with just a xylophone, set of bells, suspended cymbal, set of timbales, and bongos. The color guard does contribute some pretty sky blue, aqua, green and gold silks to the number, which needs much greater projection at present. "Esta Nocha" picks things up and has a percussion feature that finds the snares moving to the front to play mounted tenors -- ala the Kingston Grendier features of 2000 and '01 on a smaller scale. The snares show great energy and effort in their feature, which is well-received by the audience. Unfortunately, the brass re-entry is weak and diminishes some of the effect. "Pais Tropical '04" is the closer, and gets the crowd clapping along -- even is the selection lost some energy throughout. The guard work is not done, and that fact is amplified by some members just standing, and others trying to sway to the music and clap. The corps resolves the show with a big impact and a packed box near the front sideline -- although some of the effect was lost by endurance issues. The Lehigh Valley Knights (1DM-17B-19P-12CG) performed in exhibition, and turned on the crowd -- despite following the much bigger Empire Statesmen and Buccaneers. In new uniforms -- featuring a mostly white tunic, with black accents around the shoulder framing a red triangle by the neck -- the corps continues to play with a higher degree of excellence each year, and this year might be a contender for the DCI Division III crown with its "Patterns of Knight" production -- which explores the connections between visual patterns and musical form. The corps appeared to be greeted with a warm reception, although it might have a been a bit deceiving as an area fireworks display began on the horizon just as the corps began its warm-up. The show begins in the pit (7PP) with musical excerpts from Philip Sparke's "Dance Movements," eventually moving to the field percussion (4S-3T-5B) with some split snare parts. The corps moves well throughout the selections, and seems to get good impact from its small brass section. During the ballad, the color guard has some nice sabre work, although has a drill curiously placing four silks on one side, and two on another. There are some well done muted trumpet selections from a tune from the Cavalier's 1998 production next. The number also features some pretty sheer purple silks, and the three tenor players joining the pit to provide some additional impact. Camille Saint-Saens's "Bacchanale" from Samson and Delilah, brings the show to a rousing finish -- and probably is the highlight of the production. The piece has some nice bass drums runs, and eventually a percussion feature. While the snare work is pretty well executed for this early, some of the clarity may be lost by the dry tuning. That tuning may come from two of the snares appearing to have Falam bottom heads, and the other two having plastic heads. Still, "The Bacchanale" has a nice multi-meter segment, and is well received by the audience -- even though the corps hasn't finished the drill yet. Still, this is the best its looked at this stage of the season ever. Depending on its performance progress, it could be a major player in D-III this season. Based on the full concert-side crowd and reception for all the corps in a scenic college stadium with a "Field Turf" synthetic surface, the "Cavalcade of Champions" show may also someday be a major player again among DCA shows. The turnout and enthusiasm is particularly pleasing, given the fact that last year's initial plans to return the show to the area were cut short by severe thunderstorms. It appeared as if DCA officials seemed quite pleased.

GETTYSBURG, Pa. -- The Cadets and Crossmen made their formal 2004 debuts Saturday under perfect weather before a nice-sized, enthusiastic crowd on Gettysburg College's Shirk Field at Musselman Stadium. The local Hanover Lancers Alumni senior corps also kicked off the event with a standstill exhibition. The two Youth Education in the Arts (YEA) corps presented an interesting contrast in show progress, styles and maturity. While YEA Executive Director George Hopkins openly admitted that the Cadets weren't done with their show -- presenting half of "Thick as a Brick" and all of the closer and show namesake "Living with The Past" in standstill in their Jethro Tull production -- what was seen and heard in their first "performance" is a mature sound and performance level with fresh ideas and creativity that could make the Cadets a challenger again for their first Drum Corps International title since 2000. Hopkins also talked about how happy he was to have brass arranger Jay Bocook's influence back, and it showed with the most warm, mature and talented sound that unit has put out since its last title run. The three-time defending DCI champion percussion section of Tom Aungst also appears to be talented and clean enough to be going after a fourth. Hopkins quipped that "Despite what some people think, we're still a drum corps," and they appear just that -- and a very good one. By contrast, Crossmen Director Larry Markiewicz proudly announced to the crowd that the Crossmen had their "Unity" jazz production completed by last weekend -- the earliest in memory for the corps -- and had already done two run throughs in uniform before Saturday. But while the show is relatively complete with the exception of some guard work near the end -- and that allows the staff to begin the cleaning and tweaking process earlier -- it appears to have a ways to go before reaching some of the Crossmen performance levels of the past. The show certainly seems to be another Top 12 contender, but with reports out of other Division I camps being positive with primarily full ranks -- "Bones" might be in more of a fight for a Saturday night spot in Denver this year than in the past. All sections appear solid but much less experienced than their YEA "big brother" -- and the level of performance reflects that. The Cadets and Crossmen do their preseason camps in separate venues now, and that may not be helping the Crossmen -- who no doubt got more direct advice from Cadets' staff when they only had to walk across the DeSales University (formerly Allentown College) campus just two years ago. Having witnessed the Crossmen about this time at camp two years ago, the performance level and maturity appeared to be more advanced than what they showed Saturday. However, both the Cadets and Crossmen are traditionally slow starters and some of the hardest working corps on tour, so both shows will no doubt be much different upon this reporters' next viewing in Allentown in late July. The Cadets (2DM-64B-31P-35CG) have been in "spring training" for three weeks -- doing 9 to 9 each day in Honesdale, Pa. -- and appear to have taken the approach to clean as they go and not rush the learning process. While their last two programs could be classified as drum corps re-runs, this one is fresh, with more of the movement -- at least thus far -- that made the Cadets famous. The show opens with "Songs From The Wood" with the brass playing one of the trademark difficult runs in standstill, culminating in a big opening impact, with the marching percussion (12PP-9S-5T-5B) set up along the sideline and goal line on side two to frame the opening set. Once that battery -- which appeared to be marching a snare hole -- started playing and got over a few "opening night" jitters, it started to throw down with a polished and clean sounds put on display in an early mini-break. The opener featured another highlight in a big impact with the brass in solid form on side one, and the battery in a solid form on side two. "Bouree" fuses classical and jazz literally -- during a front to back conversation where the front is playing in a jazz feel, while the back is classical. Eventually, the two segments come together and feature a big sound that includes a tease of "Living With the Past." The chart builds in intensity and features a tasty percussion break and high impact brass moments. It also displays maybe one of the most controversial moments in the program -- which, by the way, had no amplification -- a male baton twirler hurling three batons high in the air at the climax. No doubt, this is a little satire by Hopkins and his staff to jab the drum corps "purists." Hopkins reports that "Thick As A Brick" is actually 23 minutes, and they do it in three. They had about half of it on the field, and what was seen was scintillating -- particularly the multi-meter segment. The corps worked its way to the front, where it played the rest of the production as a standstill. Hopkins also told that there's a transition from this chart to the "curtain call" of "Living With the Past," which they weren't ready to present yet. The closer ties things up quite nicely for this refreshing and creative package. Following the completion of the show, the battery marched away while the brass members put their talents on display with five more selections -- the highlight of which was a very "Blast-like" moment starting with a brass ensemble playing the "William Tell overture" and eventually leading to the entire unit working it into "Moondance" to blast the crowd. The selection continued with more "William Tell Overture" along with snippets of "Simple Gifts" from "Appalachian Spring." It would appear that they have this planned for encores, and it's worth staying around to see -- with the some nice play-acting among the brass members. Other highlights were Sondheim's "Not A Day Goes By," along with the Cadet -- and Bocook -- trademark "Cadillac in the Sky." The Crossmen (2DM-55B-31P-32CG) debuted their 2004 show to the public, which also a chance to show off their new black uniforms with red accents. The designers were clearly going for the "dark" image of the corps, with the uniform being almost all black in the top, pants, shoes, and Aussie hat and half-plume. The only red accents were on the shoulders, gauntlets, hatband, and red cross on the turned up side of the hat. According to Markiewicz, they will also be adding a red cross over the heart on the uniform. While Phantom Regiment was certainly successful with an all black uniform and red accents, their design team also integrated a little more color through the use of red drums and the guard's uniforms. The Crossmen battery (7S-4T-5B-4C) uses black sparkle Yamaha drums too, while the guard uniform is not done yet, as they marched with white t-shirts and dark pants. For fans who like black, they'll probably like the Crossmen's new unis. But for others who thought their last black-and-gray uniforms were already too drab, they've gotten even darker with the new look. The idea by "Unity" is to bring unity out of many -- much like drum corps does each summer -- in this case, different jazz idioms, featuring music of Wynton Marsalis, Joni Mitchel, and First Circle. The opener, "Jubal Step," begins with different segments of the corps in pod formations, and the bass line kicking in chart with a groove ribbon-crasher/drum rhythm. The whole battery picks up the beat to kick in the corps with a full impact. The corps moves through the lively chart, which features a trumpet feature, and another muted segment with the brass inside the pit area in the front. As one would expect for this time of year, the chart's got some sloppy moments -- particularly in the quality of the trumpet lick, and dressing in straight lines for the big solid climactic form. The pit, which sometimes had some uneasy moments in the opener, clearly has spent some quality time on its pretty interlude to open the ballad of "Both Sides Now." The chart is nicely handled, with some good ideas in body movements integrated between the guard and brass. Unfortunately, the final brass arc showed off the nine horn holes the corps still has. "Puma," which was better know as "The Rainforest" in the X-men's famous 1992 "Songs for the Planet Earth" production, is clearly the number that's the most unsettling right now -- which makes sense, since it's the one that was put on the field last. It's got a way to go to match the emotional intensity of the '92 version, particularly in the percussion feature -- which is poorly staged at present. The battery kicks in the groove and begins to move forward for the feature, but then oddly marches to right behind the color guard. It was barely visible for at present, but only because the guard doesn't have its work done to the feature and weren't spinning themselves. Once they begin to do that, the battery's exposure -- and even some of its sound -- may be lost behind the guard. That's obviously much different staging then '92, when the rest of the corps front staging for Mark Thurston's percussion. Nonetheless, this chart should no doubt get much better as the summer heats up, and could be very good by midseason. The problem for the creative team is that it will always draw comparisons to the way it was done by the famed Crossmen of '92 -- much like the Cadets were compared to their '83 version of "Rocky Point Holiday" last season -- and if doesn't meet up those standards, it could leave the emotional impact a little flat. The Crossmen also did a couple numbers in standstill after their show -- even including their battery. The highlight was "Russian Christmas Music" -- a song that had become somewhat of a corps theme in the 1980s (particularly in '82). It was good to hear the Crossmen draw on their past, even if their present looks and sounds quite different. The Hanover Lancers Alumni had good numbers in the playing portion (49B-19P), but lack color guard (3, with 5HG) -- probably because it performs a standstill. They pulled the corps up to the front sideline and put out a loud sound for their program -- which featured some screech soprano soloists, and an extended snare feature. The corps marched in review to its corps song "You'll Never Walk Alone." It was a great venue and day to kick off the 2004 season. It should be another great ride to Denver. _________________ Mike Ferlazzo Avant Garde '83 drum instructor, 1982-present drum corps journalist