BoxVSoprano Posted February 21, 2007 Share Posted February 21, 2007 After hearing ummmm....like 47 Texas High School symphonic bands play this, it's a logical fit for a Texas based corps and will hopefully gain back some respect for them after paying "my humps" last season.kudos awesome av, hahahaha Quote Link to comment Share on other sites More sharing options...
dcifan2002 Posted February 21, 2007 Share Posted February 21, 2007 two words: First Circle. Birdland. Quote Link to comment Share on other sites More sharing options...
troopmello Posted February 21, 2007 Share Posted February 21, 2007 I just wet myself... Symphonic Metamorphosis Quote Link to comment Share on other sites More sharing options...
Xmen89 Posted February 21, 2007 Share Posted February 21, 2007 What I have missed in recent Crossmen show designs is the old "groove machine" feel. In the late 80s and early 90s, Crossmen developed a unique style that I don't think has ever been matched by other corps. The shows just...grooved. Powerful without sounding angry... rhythms that engaged the audience (lots of heads bobbin')... melodies that were beautiful without being mawkish (e.g. how sweet can we make THIS ballad?). The visuals rarely seemed to push the boundary (or even keep up with the musical program), but the groove was unparalleled. Perhaps this was driven by the percussion book by Mark Thurston? Symphonic Metamorphosis is a wonderful piece. I look forward to hearing a unique arrangement with other works woven through it. But... will it, can it, groove? Quote Link to comment Share on other sites More sharing options...
Invader Posted February 21, 2007 Share Posted February 21, 2007 What I have missed in recent Crossmen show designs is the old "groove machine" feel. In the late 80s and early 90s, Crossmen developed a unique style that I don't think has ever been matched by other corps. The shows just...grooved. Powerful without sounding angry... rhythms that engaged the audience (lots of heads bobbin')... melodies that were beautiful without being mawkish (e.g. how sweet can we make THIS ballad?). The visuals rarely seemed to push the boundary (or even keep up with the musical program), but the groove was unparalleled. Perhaps this was driven by the percussion book by Mark Thurston?Symphonic Metamorphosis is a wonderful piece. I look forward to hearing a unique arrangement with other works woven through it. But... will it, can it, groove? The groove came from Mark Thurston, Thom Hannum, Matt Krempasky, Michael Klesch, and Chuck Naffier. They were not all with the Crossmen at the same time but they are what made the Crossmen groove machine. Love that music. Quote Link to comment Share on other sites More sharing options...
torn8o Posted February 21, 2007 Share Posted February 21, 2007 (edited) I miss the Jazz of the 70's and 80's. That was A LOT different that what we all call Jazz now. When we pushed the limits of BD Jazz in '91, people didn't care for it too much, however now it might be considered more mainstream. I said what I am about to say (or very similar) in another post recently. The reason "jazz in drum corps" is so different than what it was in the 70s and 80s is likely because what "jazz bands" play in today's music business is so different. Think about your leading big bands of the 21st century - Brian Setzer Orchestra - Very little of what your classic "Buddy Rich jazz big band fans" would call "standard jazz". Most of his stuff has a rock/pop element to it. University Of North Texas One O' Clock Lab Band - Though a University band, their recordings remain as some of the best sold big band albums in the market. Most of their stuff today is not what they played 15, 20 - 30 years ago. Very "symphonic" in many cases and also occasionally "pop" as well. Very rarely do you hear "standard jazz by this program anymore. Harry Connic Jr. - He tries to stay as close to "standard" as possibile, but even he lately has experimented more in the area of a "popish" sounding "jazz". Gordon Goodwin's Big Phat Band - SOME of his stuff is very straight ahead...but much of what is "popular" is not. Now, I can sit here and complain about "big bands" not sounding like they did in the 70s and 80s just as easily as with drum corps. OR, I can be glad that "big bands" still exist and are a part of mainstream music regardless of how different it might be than 20 years ago. Likewise, we also should be glad that "jazz" (BE IT AS MODERN AS IT IS TODAY) still exists in some form in the drum corps activity regardless of how different it might be than 20 years ago. Furthermore, "straight ahead jazz", as much as I love it represents LESS THAN 1% of the market in today's music industry. So why would we expect a drum corps to want to limit their entire show on a style of music that is no longer as popular as it once was? I say we move forward right along with the industry. Edited February 21, 2007 by torn8o Quote Link to comment Share on other sites More sharing options...
Triple Forte Posted February 22, 2007 Share Posted February 22, 2007 Remember the best Crossmen show of all time, 1992?That wasn't jazz. It was just pure awesome. 1992 was a nice show...but not a favorite of mine at all. To me Crossmen 1990 (And even 1997) are great examples of Crossmen excellence. Quote Link to comment Share on other sites More sharing options...
Triple Forte Posted February 22, 2007 Share Posted February 22, 2007 umm... last time i checked BD was doing quite fine with jazz. I wouldnt exaclty call what the Blue Devils have been presenting 'jazz' (IMHO) Music from the Godfather....not exactly a jazz classic..... Quote Link to comment Share on other sites More sharing options...
Galen Posted February 22, 2007 Share Posted February 22, 2007 What I have missed in recent Crossmen show designs is the old "groove machine" feel. In the late 80s and early 90s, Crossmen developed a unique style that I don't think has ever been matched by other corps. The shows just...grooved. Powerful without sounding angry... rhythms that engaged the audience (lots of heads bobbin')... melodies that were beautiful without being mawkish (e.g. how sweet can we make THIS ballad?). The visuals rarely seemed to push the boundary (or even keep up with the musical program), but the groove was unparalleled. Perhaps this was driven by the percussion book by Mark Thurston? ABSOLUTELY bring this back! That "groove machine" was what MADE Bones, and has been sorely missed the last few years. Quote Link to comment Share on other sites More sharing options...
Triple Forte Posted February 22, 2007 Share Posted February 22, 2007 Think back to Crossmen's beginnings....1975 Overture to a New Era, Spanish Trip, Gospel John, Journey to the Center of the Earth 1976 Overture to a New Era, Spanish Trip, Let's Hear It For Me, Journey to the Center of the Earth, Tico, Tico, Colour My World, Make Me Smile 1977 Marche Slav, Let's Hear It For Me, Nadia's Theme, Bless The Beast And The Children, Russian Christmas Music That's just in their first 3 years of existence....and how many tunes do you see that ARE JAZZ??? Sure, in the years to come they did add it to the program BUT they always threw SOMETHING else in that was not of JAZZ nature. Russian Christmas Music is our corps song.....and that is not Jazz. But Crossmen jazz and groove is really what put them on the map with a great number of fans.....including myself. My intent is not to single out and attack the Crossmen...remember I have been a bones fan for 20 years. I just don't want them to stray away from groovy jazz and approach music in a symphonic way like the Bluecoats and Blue Devils have done...... Quote Link to comment Share on other sites More sharing options...
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