Dan Acheson contract renewed as DCI Executive Director

[perc2100]

SO you change just to change ? I am really curious what you think would be better with just making a change and what type person would you change too ?

I'm with you: I have not idea why Elmer Fudd implies that he's satisfied with Dan A. but thinks there should be some sort of arbitrary change? Dan A. brought DCI back from the edge of death, and he's done a great job at the helm. I don't arbitrarily think he should stay if someone better was around chomping at the bit, but since that doesn't seem to be the case. Why try and replace someone who is more than competent as well as willing to run DCI?

[Michael Boo]

Whether you think he's done a good job or not, isn't 14 years is a little too long for someone to be the head of DCI?

Not if he's going a good job.

[Michael Boo]

But has Dan accepted?

Doesn't matter. He's been drafted.

[perc2100]

Doesn't matter. He's been drafted.

Just when he thinks he's out, they pull him back in

[oldskl3rings]

Who says he’s done a good job? How much has the activity grown under his tenure? How many more fans? How many more corps? How many more shows? How much more exposure?

[perc2100]

Who says he’s done a good job? How much has the activity grown under his tenure? How many more fans? How many more corps? How many more shows? How much more exposure?

The DCI BoD. Unanimously. I'd say they have a better understanding of Dan A's tenure than any of us armchair directors; I'll go with their thoughts on the matter.

[84BDsop]

Peter Bond has been a member of the Metropolitan Opera trumpet section since 1992 and has a somewhat unusual musical background for an orchestra musician. Mr. Bond grew up playing in a junior drum and bugle corps in his hometown of Rockford, Illinois, later becoming a devotee of big band jazz in High School. Mr. Bond pursued his interest in big band playing at Western Illinois University, where he earned a BA in music. In 1980 he accepted an assistantship at Georgia State University in Atlanta, where he began serious study of classical playing with Atlanta Symphony principal trumpeter John Head. Mr. Bond received a master’s degree in performance in 1981 and remained in Atlanta for six years, working with the Atlanta Symphony, Atlanta Ballet, Charleston (SC) Symphony, brass quintets, and chamber groups. In 1987, Mr. Bond was appointed Principal Trumpet of the New Mexico Symphony Orchestra in Albuquerque, where he remained until joining the Met Orchestra as second trumpet. In addition to a full schedule of opera and symphonic concerts, Mr. Bond also teaches one day a week at Rutgers University. In what could be viewed as coming full circle, Mr. Bond has spent the last several summers on the road, coaching the Phantom Regiment Drum and Bugle Corps; the same youth group in which he played.

Christopher Martin holds the Adolph Herseth Principal Trumpet chair of the CSO. He came to the CSO after five years as principal of the Atlanta Symphony Orchestra, where he was praised as a “polished soloist with effortless, understated virtuosity” by the Atlanta Journal Constitution. He previously was associate principal of the Philadelphia Orchestra.

Mr. Martin, a native of Marietta, Georgia, comes from a musical family. His father, Freddy Martin, is a band director for a prestigious Georgia private school, and his mother, Lynda Martin, sings in the Atlanta Symphony Chorus. While a member of the Atlanta Symphony Youth Orchestra, Mr. Martin trained with then-Atlanta Symphony Orchestra trumpeter Larry Black. He later received his bachelor’s degree in trumpet performance in 1997 from the Eastman School of Music in Rochester, New York, where his primary teachers were Charles Geyer and Barbara Butler. As Principal Trumpet of the Atlanta Symphony Orchestra, he can be heard on a number of recent recordings, including the ASO’s 2003 Grammy Award-winning recording of Ralph Vaughan Williams' A Sea Symphony conducted by Robert Spano.

(They didn't list in the biography that Chris marched in Spirit, the corps his Dad founded. But you knew who Freddy Martin was anyway, right?)

Garry in Vegas

And Al Chez with the Dave Letterman band (Cadets), Chad Sexton with 311 (Railmen, Sky Ryders), and any number of other corps vets who have made a living in music and often credit their corps experiences with helping them do so.

[craiga]

The new board wasted no time showing its solidarity and acting decisively. Knowing some of these personalities, the G7 quite possibly has brought about the effective end of their "leadership" role within DCI. The new board is not to be messed with, imo, and are intent on acting on behalf of all corps, not just the annointed.

[DCIHasBeen]

The new board wasted no time showing its solidarity and acting decisively. Knowing some of these personalities, the G7 quite possibly has brought about the effective end of their "leadership" role within DCI. The new board is not to be messed with, imo, and are intent on acting on behalf of all corps, not just the annointed.

Word.

[FHdork]

<Playing the same charts over and over while running around a football field isn’t going to help you get a seat with the New York Philharmonic.>

What do you think excerpt training is but this very thing: playing the same 50 snippets over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and over and (you get the drift...) - It's 1000s of hours of repetition...and drum corps is a great way to learn the importance of repetition for ultimate success. If one can do drum corps, practicing the same passages from Beethoven, Mahler, and Stravinsky for 4 hours a day for a few years doesn't seem so amazingly difficult.

There are not a lot of professional players with drum corps experience - drum corps is still a niche activity...but it DOES help you with some aspects of winning a professional position, if one also learns the things drum corps does not cover.

Edited August 15, 2010 by FHdork