Word: flugelhorns
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Dates: during 1990-1999
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...indie music. Laugh all you want, but I listen to the Little Shop of Horrors soundtrack and Barenaked Ladies. Yet the idea of Australian college indie music intrigues me. I expected Flugelhorn Music's new compilation New Noize #1 to stimulate me culturally, not aesthetically. The opposite happened. Aside from a passing reference to frying UV rays (the ozone is thinning Down Under) and an occasional Aussie accent, I could easily mistake these songs as American. The five bands represented here sound very similar--forceful, loud vocals offset by catchy drum and guitar. There's no refined philosophical system being...
...indie music. Laugh all you want, but I listen to the Little Shop of Horrors soundtrack and Barenaked Ladies. Yet the idea of Australian college indie music intrigues me. I expected Flugelhorn Music's new compilation New Noize #1 to stimulate me culturally, not aesthetically. The opposite happened. Aside from a passing reference to frying UV rays (the ozone is thinning Down Under) and an occasional Aussie accent, I could easily mistake these songs as American. The five bands represented here sound very similar--forceful, loud vocals offset by catchy drum and guitar. There's no refined philosophical system being...
...over along the way." Why Do They Rock So Hard, similarly, is "about being part of the record industry and being fucked, and the girls who fuck you over along the way." Asked about the increased hostility that this transition has brought to the band's music, trumpet and flugelhorn player Tavis Werts explains that lyricist Aaron Barrett "writes the lyrics from what he is feeling at the moment, and obviously, he was feeling different when he wrote the lyrics for the latest album." So not only are the words dysfunctional, they're also based on personal experience. How very...
...quintet--completed by Ted Nash on tenor saxophone, Marv Stamm on trumpet and flugelhorn, Harvie Swartz on string bass and Derek Smith on piano--began its set with a swinging run-through of "Blowin' the Blues Away." In his first solo, Nash seemed to refer to "Satin Doll," a song made famous by Ellington...
...Very Thought of You," a soft ballad featuring Stamm's flugelhorn, Bellson showed his strength in the small group setting. While Stamm blew the tune along effortlessly, Bellson's brushbased accompaniment was quietly creative, varying his articulations and equipment while holding to the same pattern of emphases. Bellson stuck to his inventive style, even though his improvisations were correctly understated. Instead of tapping along with the rhythm, Bellson gave just as much attention to almost inaudible notes as he would to an exposed solo...