The Dirty Dozen Brass Band

Опубликовано10.11.2018 в 19:10АвторMat






What's Going On by the Dirty Dozen Brass Band featuring Chuck D

In Barker started the Fairview Baptist Church Marching Band with the goal of providing young people with a positive outlet for their energies. The band achieved considerable local popularity and transformed itself into a professional outfit led by trumpeter Leroy Jones and known as the Hurricane Brass Band. By , however, opportunities for brass bands were drying up; Jones left the group to play mainstream jazz and, after a brief period as the Tornado Brass Band, the group fell apart.

By this point the popularity of brass band music in New Orleans was at a low ebb, and paying gigs were rare, a circumstance which influenced the early development of the band.

4 days ago Official site for the New Orelans group offers schedule of shows with news, downloads, and merchandise.

As Davis describes it, In the beginning, there was a lot of rehearsal going on, We were just rehearsing, and we were interested in learning the chord progressions and the melodies.

We were all free to bring in whatever we wanted to rehearsal. We weren't thinking about getting gigs. This sense of freedom allowed the band to incorporate bebop tunes and jazz standards into their repertoire, as well as lighthearted pieces like The Flintstones theme song.

When Benny Jones, who was active in the social and pleasure club scene, was asked to get a band together for a parade he would draw from this rehearsal group; before long, Gregory Davis assumed leadership of the band. The band began playing regular Thursday night gigs at a Seventh Ward club called Daryl's, and later added a regular spot at the Glasshouse , a neighborhood bar in a black neighborhood of Uptown New Orleans , which lasted "about seven or eight years".

Brock describes his initial reaction to the band: I'll never forget the first time I walked in there.

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The people were so exuberant—the floor was covered with people, rolling on the floor! This is what the Fairview band and the Hurricane Brass Band had been leading up to—the Dirty Dozen had renewed this music to the New Orleans community. The people were going wild. Going to Daryl's became the weekly ritual.

He also prepared a press kit for the group and, in his words, "helped them to present themselves professionally". Back in Brock had arranged a concert for the band at the well-known local music venue Tipitina's , which was the first time they had played at a "white club" in New Orleans.

It was a double bill with Danny Barker band. Barker and The Dozen were apprehensive about the match up. Barker concerned about being blown off the stage and The Dozen out of respect and knowledge of Mr.

Barker's deep roots and knowledge. The Dozen were recognized as the new energy and force that they were and Mr. Barker held his own as the elder statesman giving his blessing to the generations to come. Afterwards the band had one of its first international appearances, when Kidd Jordan recommended the band to the organizers of Swingin' Groningen in the Netherlands.

The band's popularity began to take off in Promoter George Wein booked them on a tour of southern Europe , and when they returned to the United States they secured engagements at two clubs in New York , Tramp's and The Village Gate , where their original short bookings were ultimately extended to six weeks.

After a week at home in New Orleans the band travelled to California for four weeks, and before the year was out made three more trips to Europe. Gregory Davis assesses the band's popularity at the time: Outside Louisiana, support was in pockets.

It was okay in California, but our widest support was in Europe. There were many more festivals and clubs that featured jazz, and a high level of enthusiasm. We got the same sort of reception in Japan. The album and the band's touring successes attracted major-label attention, and in the band signed a contract with Columbia.

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Their Columbia debut, 's Voodoo, featured guest appearances by Dr. John , Dizzy Gillespie and Branford Marsalis. This introduced a trend for the group, and future recordings saw them joined by a variety of special guests including Elvis Costello , DJ Logic , Norah Jones , and the man who started it all, Danny Barker.

Dirty Dozen Brass Band in In , after a five-year hiatus from recording, the band switched labels to release Ears to the Wall on Mammoth Records. Medeski also played Hammond B3 on the album. Their next album, 's Medicated Magic, appeared on Ropeadope Records , as did their subsequent studio release, Funeral for a Friend, which appeared in Funeral for a Friend represents something of a return to the band's roots: Influence From the beginning, the music of the Dirty Dozen was a departure from the traditional New Orleans brass band sound, and as the band's popularity increased the distance between them and more traditional groups only grew.

When Kirk and Charles Joseph left the band suddenly in , citing the pressures of the group's demanding touring schedule, Davis was forced to replace Kirk Joseph not with another sousaphonist but with an electric bass player.

Similarly, in drummers Lionel Batiste who had replaced Benny Jones on bass drum some years earlier and Jenell Marshall left the group; Davis was unable to find a pair of drummers who met his expectations, and instead hired a single musician to play drum kit. The subsequent addition of a keyboard player and guitarist removed the band still further from its street band roots.

Finally, throughout the band's history they relied on written arrangements to a far greater extent than do most other New Orleans brass bands. Despite the Dirty Dozen's uniqueness, however, the band's success inspired a resurgence of New Orleans' brass band music, both in the city and nationwide. The band was most influential in the s, when they demonstrated by example that brass band music could be successful by moving beyond a type of music that risked stagnation as nothing more than a tourist attraction.

Bands which followed in their wake did not all follow their more jazz oriented stage band approach—only the Soul Rebels have gone in that direction—but a wide variety of bands, from the Rebirth Brass Band to Wisconsin 's Youngblood Brass Band have been influenced by them in other ways.

Rebirth has the most direct connection with the Dirty Dozen:

In Barker started the Fairview Baptist Church Marching Band with the goal of providing young people with a positive outlet for their energies.


The Dirty Dozen Brass Band is a New Orleans, Louisiana,...
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Find The Dirty Dozen Brass Band discography, albums and singles...

{REPLACEMENT-(Зайцев.нет)-(web-climat.ru)}It was defined by its free-wheeling polyphony, its repertory of dirges and stomps and its appearance primarily at parades and funerals. The Dirty Dozen Brass Band has changed everything but the instrumentation to reinvent a modern omnivorous brass-band music that embraces be-bop, funk, and rhythm-and-blues.

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