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Prelims Review


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I felt my blood heat up as they drove home their program, entitled "Valley of the Kings"-- but I prefer my "Night Boat to Cairo" title myself. I'm sure the right Ska/Rocksteady/Britpop fans will get the reference. :satisfied:

That would not be me. I knew Madness only for "Our House" and "This Must Be Love" (both of which I like very much) but had never even heard of this title. Having now listened to it on youtube, I think I'll forget it -- but sampling some of their other songs previously unknown to me, I find "My Girl" is pretty good. Thanks for prompting me to check it out.

(Great review. Looking forward to the rest!)

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That would not be me. I knew Madness only for "Our House" and "This Must Be Love" (both of which I like very much) but had never even heard of this title. Having now listened to it on youtube, I think I'll forget it -- but sampling some of their other songs previously unknown to me, I find "My Girl" is pretty good. Thanks for prompting me to check it out.

(Great review. Looking forward to the rest!)

The tunes you mentioned are from their later period when Madness went more to a pop type of music. I had tickets for one of their US appearances that they cancelled at the last minute. I'm still disappointed.

I still have the Madness pin on my corps jacket's lapel along with the Dagenham Crusaders badge. :satisfied: I'll get to the rest as best I can. :smile:

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The Hurcs were next on, and my thoughts were that it may have been the best Hurcs hornline they've put out in at least 15 years. The last one that struck me as this solid was the "Ben-Hur" program in the mid-90's. It wasn't that long ago that they were on the ropes with 2 dozen horns, fighting the good fight with one hand tied behind their backs and just able to hang in there. You wouldn't know it now, with the sharp new uniforms and their strong prlims performance.

The flow of their show felt right. The transitions and phrasing were very clean, and the crowd was involved early on.

There was more I picked up this time that I listened to the show. That's a good thing when one discovers more that's engaging every time you see a show. The octave splitting in the low brass in "Greensleves" was written wonderfully and performed well.

The corps finished off their Gilbert and Sullivan percussion feature vwey well, and the corps ended their program well. A bit of mello flatness in 'God Save the Queen' was a bit noticeable, but it didn't stop the Hurcs from a solid 4th place.

In closing, I was singing "Downtown" at work tonight. It's a good thing when a corps can get a show to stick on you that heavily, so the hurcs were certainly doing something right this season. :satisfied:

It would figure that the moment the Hurcs exited the field, that another downpour struck the stadium.

This was a moment where most of us made some lemonade out of the situation and had some good discussions with old friends and new. For me, it was good to see some other folks showing the Westshoremen colors at the contest, and to cover a lot of ground with many people about what's going on out there. Eventually, the storm got out of the area and the decision was made for the top 3 to head onto the field and compete. I know I appreciated that, and I'd think everyone who stayed also did. I deeply respect the fact that the decision was reached by the top 3 to get out there late at night and slug it out corpso-a-corpso rather then take their scores that were in their pockets and wait until Sunday. Chivalry and good sportsmanship ain't dead. Thank you.

The real wild card/loose cannon came on, Minnesota Brass, the defending champs. The early season showdown and videos cold only give a hint of what the program would actually be like. They showed last year that they were more than capable of coming east, taking a hard licking, and then going back home to make the necessary adjustments to win. Would we see more of the same?

The pre-show set-up was a fine set-up, with a good Walter Winchell impresenator setting up the Bonnie and Clyde story behind the show.

The other X-factor was the G-Man on the field, and not just any mere G-Man, mind you. The G-Man who carries his trumpet in one hand and his tommy gun in the other, none other than Roger Grupp.

I'll say straight out that when I saw MBI at Scranton in 2009, I saw the finest live individual/solo performance at a corps show when I listened to Roger perform at that show, and the fact he also shared a lot of the solo work also deeply impressed me at that time. I figured as a G-man, Roger would try his best to deal with Bonnie and Clyde, and also with as many pirates as he could humanly manage. :satisfied:

The MBI horline is capable of simultaneous power and finesse to the extreme. I'd seen the Bucs 4 times during the season, and I realized MBI was putting up the fight of their lives in front of me.

16th note triplets smoked out of the hornline. Some drill velocity, and when the horns parked, it wasn't park and blow, park 'n bark. It was park and annihalate time for MBI.

Some say B-Flat can't do power. Those individuals obviously haven't been B-flattened onto the stadium deck by the MBI hornline lately.

The Mellos had a GOOD night, the arrangement of "Money" was superb, and the storytelling/narrative was quite engaging and enjoyable. The musical segues were feathered wonderfully, and performed extremely clean.

The other crazy thing on the field was a rather nicely-constructed little facsimlie of the Ford Flathead V-8 Clyde preferred for his getaway cars, that even executed a smoking burnout in an attempt to escape G-Man Grupp near the end of the show. I wondered whether the MBI version of the story would allow them to make a clean getaway- but Roger pulled out his Tommy gun and took 'em both out to the cheers of the crowd, holes perforating the side of the car as he fired- a rather nice little trick. They should have known they couldn't get away from MBI's G-man and just gave up. :satisfied:

MBI blazed hard during their run, with an impeccably trained hornline and a wild, exciting show. Would it be enough to catch the Bucs and Cabs?

The Cabs came on with a dark and beautiful run, their understated elegance in sharp contrast to MBI. Their run was strong, emotional, and showed everyone the Cabs are a true force in DCA again. I've already covered the details in pervious reviews. This show is clearly a watershed for the corps, and I think an indicator of great things to come for the Cabs in the future.

And now, the Bucs. I knew one thing in the back of my mind when they came on the field. It would all come down to the big hit around one minute and ten seconds into the program. The success of the run would hinge on that extended setup and move for the kill.

I found it interesting there were comments on DCP that there was a tear during the opening sequence- I was totally locked and focused onto the hornline for the entire segment, and I didn't feel anything fall out of line rhythmically. If something happened and that's if... they got away with it. I knew once the impact struck, that they had it covered barring any total breakdowns.

Reading's hornline really created some complex, subtle and varied textures and grooves- the sonority was organ-like at specific moments.

The only way I can explain the difference between the MBI and Reading hornlines is this. I like both very, very much, by the way, but they both possess a very distinct character, contrary to those who think it all sounds the same....

MBI's horn line is like sitting with an good sized iced tumbler of 100 proof Ouzo. Marvelously smooth, strong, tasty, packs a rather serious wallop, and makes you realize you'd better stay sitting in your comfy chair and not operate anything more complex than a TV remote (if even that) for the next 2 hours.

The Bucs are like a glass of Dr. Frank Riesling Reserve Wine. Very good, very complex in character, and worth savoring carefully as you drink it. Incidentally, it also wins a lot of wine competitions as well. Which reminds me- I need to get back up to their winery for a couple more bottles. It's wonderful with Thanksgiving dinner, by the way. :satisfied:

Both are absolutely great to drink, yet quite different. The same with both of these horn lines. The Bucs had everything lined up perfectly in their run, more than enough to cover MBI. While MBI put on a fantastic performance-- The Bucs were clearly ready at a crazy level that night to do what had to be done to win. Drill was on the money, the Bucs percussion pushed very hard- and MBI's percussion battery in particular aren't exactly a bunch of wimpy pushovers, either.

It was a long day for prelims, but a GREAT day for them, and a great day for DCA as a whole.

It's 6AM, bed time. I'll get my overall wrap up and various awards up ASAP. :satisfied:

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Before I forget- I want to thank the corps members and staff for their work and efforts. I know what it's like to put together a great field program, and there can be a lot of ups and downs along the way. I appreciate it greatly.

Time for the

fistbump.png

awards for Prelims! Again, I try not to repeat the awards within a given corps, and if your corps got one at a previous show- don't feel slighted. I'm also gonna call out some staff people who deserve some accolades this time.

Excelsior: Their Tenor Percussionist.

Cincinnati Tradition: The bari duet in Malaga.

Sun: Their brass arranger.

White Sabers: Brass guru Bob Zazzara, Sr.

Windsor Regiment. Their Guard.

I couldn't make up my mind on the Govies. The synergy between all the pieces is so seamless... Since they're so small, EVERYONE gets one. :worthy:

Renegades: Their feature Mello.

Kilties: Their "Hall of the Mountain King" Soloist.

Empire: The Baris. Well done- no one usually listens to the bottom of the Empire horn lines. They can play, too. :worthy:

Kidsgrove: This one was easy. The Baris. Yeah, I know. You show all the love to those low brass peopple like you, Big W.... :satisfied: But, people are usually and rightfully gaga about the top brass and the wild solos that they forget what provides the real torque in Kidsgrove's motor.

C2: Mellos, you did the job. Without you doing what you did on the field at prelims, you don't SOUND like the Cadets should sound, case closed, lock it down, write that in the book. :worthy:

MBI: The Mello who played the Duet with the G-Man. You had the steak, Roger provided the sizzle and the seasoning. You gotta have both to make the great moment that you made, man.

Cabs: Some people might not dig the Guard's Brollies, but I was fine with it. The Guard is WAY more important to their show than you'd think.

And for this season, the All-Big W corps. I try and pick the toughest people out there, and the people who might not be the ones you'd readily notice, have the reputation, or are winning everything, but are still doing a great job in DCA for their corps. My choices aren't the obvious ones- but GREAT sections and individuals.

I also might just grab someone from an Alumni corps, too....

Conductor: Tony Yaklich/Bucs Alumni would shake his head, but he conducts so perfectly. This is a corps of my imagination, so I can imagine he'd be glad to do it. :thumbup:

Assistant DM: I want a guy who's a cool steady head who knows the deal, and I never have to worry about doing a great job for the entire program, and also being that veteran presence for the young troops.

I'd like Chris Fontanelle from the Cabs.

Front Ensemble: I'll grab who I can from C2 and Fusion Core.

Cymbals: Bush.

Snares: I like it bold and aggressive to the point it could get reckless. I'll forgive some mistakes. I'll take the Hurcs. They come to play.

Tenors: C2.

Bass Drums: Everyone knows about Reading's Tenors and Snares. Very obvious choices, and I'd be justly accused of making some easy no brainer choices. Kind of like picking Tom Brady to be the Quarterback. But, I think the Bucs Bass drummers toil very hard in relative obscurity and deserve some recognition.

My sideline solo person: Roger's too easy a choice and too obvious. Frank Ponzo's still mobile, to his credit. :worthy: Get me Dick Pommerau from Shenandoah Sound. He'll get it done on the sideline.

High Brass: Fusion Core.

Mid-Range: A tough call. C2 already has a lot of percussionists on board- I'll grab those monsters from MBI.

Bari/Euphonium: Several fine sections out there, but I'm grabbing the beasts from Kidsgrove. If I marched, they'd make me have to practice my can off to earn my spot.

Contras: Gimme the Cabs, please.

Color Guard: Several fine guards. This is tougher than I thought it would be. I haven't chosen any Class A sections- and to show Class A some love and respect, I'll take Windsor Regiment's guard. They're very good. For the Open class, I have to honorably mention CorpsVets and the Cabs. Don't think I overlooked them.

I did try to spread out the love there amongst as many different corps as possible- and there are other sections that I know could also get it done. I have the feeling someone will say "but what about corps X!?" :satisfied: I'm down with that. Come up with *your* list and we can trade notes and discuss. It'll make for a good off season conversation. :satisfied:

Well, that concludes the review. Thank you for your patience, support and entusiasm.

I hope the people out there marching know there are guys like Jeff and I who really do watch and listen closely, and love what you're doing. Sometimes, you sit there under a tree during break running out of drink from your jug, not wanting to move, and you wonder if you make a difference to your corps. You wonder if anyone actually cares. I hope my message has been that you DO make a difference, and there are fans who DO care about what you present, and respect and enjoy it.

DCA is doing well. It's not hyperbole to say that the top 10 in Open this year are the best top 10 ever. Several corps are moving strongly ahead, and the future looks bright for them. The corps at the top will have to keep moving the target forward. The Bucs certanly did this year, with what some consider the best DCA show ever. I'm starting to become inclined to that thought myself, though I still hold 1993 Bush in very high esteem.

Kidsgrove showed that corps can use the 'modern' approach and generate crowd excitement to an incredible degree. It's obviously not a crime to be exciting and not necessarily use the old chestnuts.

As for those who have recently accused me of being some kind of bad guy promoting evil change...

I'm attending shows and buying souvies. I'm trying to keep the activity you complain about as dying alive. I also perform with my alumni corps so some people can see what it was like in the old days and to make people happy. Are you performing with one to promote that end of the activity and attending alumni shows, or would you rather just sit and gripe?

The change has been for the better. DCA shows are still hella exciting and great to come to. I hope to see more of you there next DCA season or earlier at the Hanover Indoor show this spring! :satisfied:

Edited by BigW
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"My sideline solo person: Roger's too easy a choice and too obvious. Frank Ponzo's still mobile, to his credit. Get me Dick Pommerau from Shenandoah Sound. He'll get it done on the sideline."

Wow! What an honor to get your name mentioned on the same line as Frank Ponzo! :thumbup: I followed Frank around on the field. :worthy: :worthy: :worthy: :worthy: :worthy:

Edited by Shenandoah Vibrato
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Wow! What an honor to get your name mentioned on the same line as Frank Ponzo! :thumbup: I followed Frank around on the field. :worthy: :worthy: :worthy: :worthy: :worthy:

Thank YOU for your performing with Shenandoah. One of these days, I want to hang with Frank. What scares me is Fran told me he started with Sun in '82. :satisfied: I know he's hustling out there. The Cabs moved pretty ferociously this season and he wasn't getting any coffee breaks!

By then I was a 4th year Westshore vet and a rather happy to be marching and with a good bunch of people 19 year old kid. :satisfied:

I haven't forgtten what it felt like- both the really good things and the times like when I literally chucked my Ultratone on the practice field and nearly walked off. I know that hasn't changed. :satisfied:

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Thank YOU for your performing with Shenandoah. One of these days, I want to hang with Frank. What scares me is Fran told me he started with Sun in '82. :satisfied: I know he's hustling out there. The Cabs moved pretty ferociously this season and he wasn't getting any coffee breaks!

By then I was a 4th year Westshore vet and a rather happy to be marching and with a good bunch of people 19 year old kid. :satisfied:

I haven't forgtten what it felt like- both the really good things and the times like when I literally chucked my Ultratone on the practice field and nearly walked off. I know that hasn't changed. :satisfied:

Hey Dick...for me, just to me mentioned with ROGER is an honor! In the immortal words of Fran Haring..."Are you freaking kidding me!!"

Yes...I started in 82 Sun as a 4th soprano along with 2 others in an soprano line of 18 members. I remember marching with Fran...looked up to him on many levels, as well as many others in the corps. I aspired to be one of those monster soloists the corps had (John Arientano, Matty Balls, Dave D'Andrea, and so many others). For me, they WERE the Sunrisers! I still hope that I can accomplish that before I retire for good!

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By the way, thanks for the AWESOME review BigW!! :worthy:

Would be cool to meet you some day and yes...hang out! :thumbup:

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By the way, thanks for the AWESOME review BigW!! :worthy:

Would be cool to meet you some day and yes...hang out! :thumbup:

Quite welcome, Frank!

Since you brought up John--

When I finished and went into the stands for '81 DCA and sat and watched the end of the show--

I can tell you John's performance that night was the best individual performance I'd ever seen live at that time in my short life. No doubt just how *on* he was with what he did.

Now-- 1992 was when I saw something better- I think his name is Mike DiMeo(?) who was the soprano feature guy for the Brigs as well as one of the horn staff at the Syracuse DCA show. Mike's night was as perfect as he could have hoped for. It was mind blowing. I would think Tom Peashey knows who I mean, I think he may have been with Brigs for that season only. The Brigs had another fellow who won soprano I and E that year, IIRC who was an incredible technician on the instrument who beat Roger Grupp- not by much-- and a fellow who had strong roots in the Sunrisers but was then with Sky who was also excellent (maybe Dave D!?!?).

All three really had a deep respect for each other, that was and is a matter of record.

It took seeing Roger at Scranton in '09 to beat that memory. I knew it'd be nothing but incredible- but my eyes popped out of my head.

And... you do know the upside buzz on you in the stands was pretty strong this year. :wink:

Edited by BigW
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