Nat Adderley
American jazz cornet & trumpet player (1931–2000)
Nathaniel Carlyle Adderley (November 25, 1931 – January 2, 2000) was an American jazz trumpeter. He was the younger brother of saxophonist Julian "Cannonball" Adderley, with whom he played for many years.
Adderley's composition "Work Song" (1960) is a jazz standard, and also became a success on the pop charts after singer Oscar Brown Jr. wrote lyrics for it.
Early life.
Nat Adderley was born in Tampa, Florida, but moved to Tallahassee when his parents were hired to teach at Florida A&M University. His father played trumpet professionally in his younger years, and he passed down his trumpet to Cannonball. When Cannonball picked up the alto saxophone, he passed the trumpet to Nat, who began playing in 1946. He and Cannonball played with Ray Charles in the early 1940s in Tallahassee and in amateur gigs around the area.
Adderley attended Florida A&M University, majoring in sociology with a minor in music. He switched to cornet in 1950. From 1951 to 1953, he served in the army and played in the army band under his brother, taking at least one tour of Korea before returning to a station in the United States. After returning home, he attended Florida A&M intending to become a teacher.
Shortly before Adderley was expected to begin student teaching, Lionel Hampton played a concert at Florida A&M. Confident in his abilities, he played for Hampton, and Hampton invited him to join the band. Putting school on hold, he played under Hampton from 1954 to 1955 and visited Europe on tour. After returning, he intended to go back to school to become a teacher.
Career.
1950s.
The turning point in the Adderley brothers' careers occurred on a trip to New York in 1955. The brothers stopped by the Café Bohemia in Greenwich Village when bassist Oscar Pettiford was playing. Both of them showed up ready to play. Cannonball was asked to sit in because the regular saxophonist, Jerome Richardson was out, and he overwhelmed the musicians. Then Nat was pulled on stage, and everyone was equally impressed. This appearance was enough to renew their careers. Job offers began pouring in, and Nat recorded for the first time that year.
The brothers moved to New York City, founding the bop group Cannonball Adderley Quintet in 1956. Due to a lack of popular interest, they disbanded the group in 1957. Nat played for trombonist J. J. Johnson for a couple of years and ended up in the Woody Herman sextet. Cannonball gained a higher profile and joined the Miles Davis sextet alongside John Coltrane in time to record the album "Kind of Blue".
In 1959, the Cannonball Adderley Quintet reunited. This time around the group was more successful and had its first hit, "This Here", written by pianist Bobby Timmons. The group sound became known as soul jazz, starting the genre. The quintet also played hard bop, as everyone in the group had been influenced by bebop and wanted to continue a virtuosic tradition. Soul jazz kept the group popular, while hard bop gave the musicians a chance to challenge themselves and demonstrate their abilities.
1960s.
During the 1960s, Adderley acted as cornetist, composer, and manager for the quintet. While he kept the band in order, he also composed some of the group's most successful songs. His most successful song was "Work Song" (January 1960), a hard bop tune. Adderley called it his "Social Security song" due to the steady flow of income over the years from royalty payments when others recorded the song. "Work Song" is now considered a jazz standard. His other popular songs include "Jive Samba", "Hummin'", "Sermonette", and "The Old Country".
While he was an integral part of the Cannonball Adderley Quintet, this was not the only project occupying his time in his career as a professional jazz musician. Since moving to New York, he had been recording outside the Adderley group. He worked with Kenny Clarke, Wes Montgomery, and Walter Booker.
Other projects included the film "A Man Called Adam" (1966). In the film, Sammy Davis Jr.'s character plays the trumpet. Since Davis could not himself play the trumpet, Adderley was hired to ghost everything that the character played. His other significant project during this time was a musical. He and his brother wrote "Shout Up a Morning" based on the folk hero John Henry. While this project started as a collaboration, work was interrupted when Cannonball died from a stroke.
1970s.
After Cannonball's death in 1975, the quintet broke up. Nat Adderley toured Europe as a headliner. He toured Japan, then returned to the U.S. and taught courses at Harvard while performing and recording with his quintet, which included Walter Booker, Jimmy Cobb, and Vincent Herring. Adderley established himself in his own right. He also worked with Ron Carter, Sonny Fortune, Johnny Griffin, and Antonio Hart.
1980s and later years.
Adderley created the Adderley Brotherhood, a sextet which included several members of the Cannonball Adderley Quintet. This group toured Europe in 1980. "Shout Up a Morning", after having a concert performance in Carnegie Hall shortly after Cannonball's death, was staged in several locations around the United States in 1986. Adderley became involved in several other ensembles over the next decade, including the Paris Reunion Band and a group called the Riverside Reunion Band (after the Riverside label), a bop group that formed at the Monterey Jazz Festival in 1993 and then toured Europe in 1994.
Adderley spent half the year touring and the other half at home in Lakeland, Florida, writing and recording. He thought many of his greatest fans were in Japan, but Europeans were also enthusiastic about the music.
In 1997, he joined the faculty of Florida Southern College as an artist-in-residence. He also helped in the founding and development of the annual Child of the Sun Jazz Festival held annually at the university which he headlined for over a decade. During the same year, he was inducted into the Jazz Hall of Fame in Kansas City.
He lived on 112th Street in Harlem in the 1960s and in Teaneck, New Jersey, in the 1970s, before moving to Lakeland. He also lived near his brother in Corona, Queens.
Death and legacy.
Nat Adderley died as a result of complications from diabetes at the age of 68 in Lakeland, Florida. He was interred near his brother in the Southside Cemetery in Tallahassee, Florida. He was survived by his wife, Ann; a son, Nat Adderley Jr. of West Orange, N.J.; a daughter, Alison Adderley-Pittman of Palm Bay, Florida; and five grandchildren.
He was an innovator in the popularization of soul jazz and was one of the most prolific jazz artists of his time, recording nearly 100 albums. He proved that cornet could be a modern jazz instrument.
Style.
Although Adderley started playing trumpet, he switched to the less common cornet. He preferred the darker tone of the conical cornet to the brighter sound of the cylindrical trumpet. He could produce a rich, earthy tone that became his signature sound, one that could only come from the cornet. He also enjoyed the cornet's historic quality, reinvigorating the instrument played by early jazz musicians.
Adderley is widely attributed with the development and establishment of the 1960s style of soul jazz along with the rest of the members Cannonball Adderley Quintet. This style is characterized by simple harmonies, a heavy blues feel, catchy riffs, and a presence of the church. The point of soul jazz was to bring back a simpler type of jazz that had direct influence from blues and church music.
However, this is not the only style that Adderley wrote and played. The quintet was also widely known for their hard bop, which comprised roughly half of their recorded work. This is a rougher, edgier style descended from bebop, and virtuosic abilities are required to be able to play it.
As a soloist and composer, Adderley had a wide range of abilities. He could improvise simpler, more soulful solos for soul jazz numbers, but he could experiment and show off all of his abilities for hard bop. Especially in playing hard bop, he was not afraid to use the range of the instrument, often playing below the typical cornet range for short bursts before returning to the normal range. Although his range was starting to fade by the late 1960s, this did not keep him from continuing to play for the rest of his life.
Discography.
As leader.
Compilation:
As sideman.
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Much Brass
Much Brass is an album by jazz cornetist Nat Adderley released on the Riverside label featuring performances by Adderley's Sextet with Slide Hampton, Wynton Kelly, Sam Jones, Laymon Jackson, and Albert Heath.
Reception.
The Allmusic review awarded the album 4 stars.
"The Penguin Guide to Jazz" awarded the album 3 stars, stating: "Some interesting arrangements here, presumably largely the work of Hampton, and some delicately interwoven playing which largely belies the bluster implied in the title... Not immediately identifiable as a 'typical' Nat Adderley record, but a beautiful statement all the same."
"All compositions by Nat Adderley except as indicated"
*Recorded in New York City on March 23 & 27, 1959
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British brass band
Type of musical ensemble
In Britain, a brass band (known regionally as a silver band or colliery band) is a musical ensemble comprising a standardized range of brass and percussion instruments. The modern form of the brass band in the United Kingdom dates back to the 19th century, with a vibrant tradition of competition based around communities and local industry, with colliery bands being particularly notable. The Stalybridge Old Band, for example, first performed in 1815 and is still in existence, although it did not become a brass band until the 1840s.
Bands using the British instrumentation are the most common form of brass band in the United Kingdom, Australia and New Zealand, and are also widespread in continental Europe, Japan and North America. The tradition for brass bands in the UK is continuing, and local communities and schools have brass bands. British band contests are highly competitive, with bands organized into five sections much like a football league. Competitions are held throughout the year at local, regional, and national levels, and at the end of each year there are promotions and relegations. The 2019 holder of the National Brass Band Championships of Great Britain was the Cory Band from South Wales.
A selection of brass bands can be experienced at the annual Durham Miners' Gala. There are also hotly-contested annual events held on Whit Friday in the Saddleworth area of Greater Manchester in which hundreds of bands compete.
Etymology.
The terms "brass band" and "silver band" are synonymous in that the vast majority of bands termed either "brass" or "silver" incorporate musicians playing a mix of lacquered brass and silver-plated instruments. However, in the days when plain or lacquered brass instruments were not as costly as silver-plated ones, the term "silver band" implied an ensemble that could afford the latter and were thus perceived to be more successful. With the cost of each type now being similar, the distinction between brass and silver bands is generally not made. There are, however, some brass bands which carried the name "silver prize band" as a result of their successes in contests and competitions. As time went on, some kept the name "silver" but not necessarily the instruments. Nowadays, the only real difference is that silver bands are located mainly in the south of England and brass bands in the north, although some silver bands do still exist in the North and many brass bands exist in the South.
Instrumentation.
British brass bands are limited to specific instruments, excluding, for instance, trumpets and French horns, which are found in orchestras and concert bands.
The standard instrumentation is as follows:
The above totals 27–29 players, although in practice a band often has fewer than this. Spare seats may be filled for concerts and contests by players brought in from other bands, commonly known as "deputising players" or "deps".
Notation.
With the exception of percussion, bass trombone and some older tenor trombone music, all parts are transposing and written in the treble clef with the instrument's lowest open note (B♭ or E♭) notated as middle C. This means that for every valved instrument, from the basses to the soprano cornet, a given note on the stave corresponds to the same valve fingering, enabling players to move more easily between parts. This system is unique to UK-style brass bands, though historically the North American drum and bugle corps activity followed the brass band convention of all-treble-clef writing.
Tenor trombone music is usually in treble clef like the other instruments in the band, though older scores or marches sometimes use tenor clef.
Bass trombone music is written at concert pitch in bass clef. This was historically due to this part being taken by a G bass trombone, rather than the modern B♭ bass trombone. As instrument technology modernized, the need for a bass trombone in G diminished, with the introduction of the B♭ bass trombone with F rotary valve. The larger bore and open wrap of the F valve gave the B♭ bass trombone a lower available playing register than the straight G bass trombone.
Tuned percussion is written in concert pitch (with the appropriate octave transpositions) with the appropriate clef for the instrument – e.g. bass clef for timpani, treble clef for glockenspiel (sounding two octaves higher). Unpitched percussion parts (including drum kit) are written in neutral clef on a 1- to 5-line stave using standard percussion notation, though some older scores may use bass and/or treble clefs.
United Kingdom.
History.
The rise of brass bands in nineteenth-century Britain owed much to industrialisation, armed conflict, and improvements to instrument designs. Village and church ensembles had existed in the eighteenth century, while military bands, which featured a mix of woodwind, brass, and percussion instruments, proliferated during the Napoleonic Wars. The British Army began experimenting with all-brass bands from the late 1810s; the first civilian brass bands, featuring instruments such as keyed bugles, trumpets and trombones, emerged by the end of the 1820s. These early brass ensembles were often organised by former regimental musicians: the Waterloo veteran James Sanderson led a 'military brass band' in Leamington Spa and Warwick in 1829.
Wind and brass bands enjoyed the support of industrial employers who sponsored bands to promote discipline, community spirit, and temperance among their workers. The advent of Adolphe Sax's valved brass designs, which were easier to play and produced a more accurate, consistent sound, also helped fuel the growth of the brass band movement from the 1840s. Arguably brass bands were an expression of the local solidarity and aspirations of newly formed or rapidly growing communities. This was seen, for instance, in the creation of large-scale brass band competitions by the late 1850s. In 1853 John Jennison, owner of Belle Vue Zoological Gardens in Manchester, agreed to stage the first British open brass band championships. The event was attended by a crowd of over 16,000 and continued annually until 1981. Brass bands reached their peak in the 1890s, when there were around 5,000 brass bands in the country. Today, there are 1,200 brass bands in Britain with around 30,000 players.
Many British bands were originally either works bands or sponsored by various industrial concerns. This was particularly evident in coal mining areas, for example, bands such as the Grimethorpe Colliery Band and Carlton Main Frickley Colliery Band in Yorkshire. Bands sponsored by factories include The Black Dyke Mills Band, Yorkshire Imperial Band (originally the Yorkshire Copperworks Band), Foden's sponsored by the truck manufacturer, Fairey sponsored by the aircraft manufacturer, and Leyland Band sponsored by the vehicle manufacturer. One of the reasons for this was to keep the workers from organizing in radical groups. With the decline of these industries several bands have dissolved and others now draw their membership from other industries and other parts of the community. The Brighouse and Rastrick Band, is unique in having operated continually at the highest level without sponsorship, drawing its income from regular concerts, public donations and sales of recordings and merchandise.
The leading bands in Wales include the Cory Band, Tredegar Town Band and Tongwynlais Temperance Band The leading bands in Scotland are The Cooperation Band (formally Co-operative Funeralcare), Whitburn Band and the Kirkintilloch Band. All these bands compete at the highest level in the banding movement. In Northern Ireland the Brass Band League currently has 26 members.
There are also many non-contesting or 'community' brass bands in the UK providing entertainment for audiences and enjoyment for musicians of all ages.
Contesting in the United Kingdom.
British banding is highly competitive, with bands organized into five sections much like a football league – Championship section, 1st section, 2nd section, 3rd section and 4th section. Competitions are held throughout the year at local, regional, and national levels, and at the end of each year there are promotions and relegations.
At a national level the main contest is the National Brass Band Championship, and this determines a band's section. For this, the UK is split into 8 regions: London and Southern Counties, Midlands, North of England, North West, Scotland, Wales, West of England, and Yorkshire. Each year in Spring the bands compete in a regional contest for their section, and the top two or three in each section go on to the "National Finals" in Autumn. Recently (2011), the finals for Sections 1 to 4 have been held in Cheltenham, and the finals for the Championship Section at the Royal Albert Hall in London (as featured in the film "Brassed Off").
The bands are awarded points for their result (1st gets 1 point, 9th gets 9 points), and this is added to the previous two years to give a three-year total. Two or three bands with the best total are promoted, and two or three bands are relegated.
There are also separate contests for university brass bands, including the annual UniBrass contest, founded at Lancaster University in 2010 and hosted in 2023 by the University of Warwick. The Cambridge and Oxford University brass bands also compete against each other in annual 'varsity' contests.
The National Youth Band Brass Championships held annually has a Youth Champs' non-competitive section offering the opportunity for young people new to brass to take part and contribute a performance without the pressure of competition. Bands of all standards play in the Debut Section and join in the fun.
The Salvation Army.
In the UK, the brass bands of The Salvation Army have run parallel to the main brass band movement since the 1870s. Bands of The Salvation Army range from small church bands to staff bands composed of the best bandsmen of The Salvation Army in the area. Their instrumentation is almost identical except for a minor difference in the cornet section whereby the repiano is dropped and the remainder of the row is made up of parts designated 1st and 2nd (two players each) rather than 2nd and 3rd; and that some major pieces have a split first trombone part, the lower part usually cued elsewhere in the band. Bands of The Salvation Army can be found in most countries around the world in which it operates.
Australia.
The Australian derivation of a brass band is the same as the UK brass band (i.e. standard instrumentation with no woodwind). Contesting bands in Australia are graded from A Grade to D Grade. National Contests are held each year at Easter, with the location moving from state to state, and often including bands from New Zealand or other locations around the Asia Pacific region.
Each state also conducts their own championships. National and state contests are generally of the same format: a set test piece for each grade, a hymn, an own choice, a stage march (march or concert march performed on the stage without marching) and a light entertainment concert program. Smaller regional contests often replace the major works with an own choice concert program.
Among the country's most famous brass band identities have been conductor and composer Percy Code; and David King and Frank Wright who made their mark in Britain. Early Australian brass composers include Thomas Bulch, Alex Lithgow and Charles Trussell. In later years, leading composers have included Brenton Broadstock ("Winds of Change", "Rutherford Variations", "Valiant Take All My Sins Away" and many more), Barrie Gott ("Mumbo Jumbo", "Gospel Train", "Glasshouse Sketches") and Joe Cook ("Taskforce", "Keighley Moor").
Europe.
Belgium.
In Belgium, there are about 30 brass bands. The best known is Brass Band Willebroek, who were crowned European Brass Band Champions in 1993, 2006 and 2007. The average banding level is still rising, as the brass movement was only introduced in Belgium some 30 years ago.
The national brass band Championships are held annually at CC Zwanenberg in Heist-Op-Den-Berg. The winner represents Belgium at the European Championships.
Participants are divided into four categories going from Championship section to third section. Currently there are seven bands competing in Championship section. These are: Brass Band Willebroek Brass Band Buizingen, Metropole Brass Band, Festival Brass Band, Kortrijk Brass Band, Brass Band Heist, and De Noord-Limburgse Brassband,
Other Belgian bands include: Mercator Brassband, , , Brass Band Zele, , and many more.
Some of the brass bands in Belgium are primarily based around recreational music, do not conform to British brass band instrumentation, and therefore do not compete.
Germany.
Brass bands in Germany are not as widespread as in other European countries like Switzerland or the Netherlands.
There are just a few bands (about 40) playing in authentic British instrumentation. This is primarily due to the popularity of wind bands, particularly in Southern Germany, and brass groups (composed of soprano to bass instruments) known as "Posaunenchöre" (trombone choirs) related to churches.
National Brass Band "competitions" took place as part of the German Festival of Wind Music in Würzburg 2007 and 2008, in Duisburg 2010, in Coesfeld 2012 and in Bad Kissingen 2014.
Ireland.
Brass bands in Ireland can primarily trace their origins to the past influence of British Army bands during the period between 1801 and 1922. As well as military bands however, community led groups were also in existence around this time. While concert bands are more prevalent today, possibly due to the association of brass bands with British rule, brass bands are still popular, especially on the east coast. Dungarvan, Arklow and Drogheda are all examples of towns with brass bands of note. Dublin has a number of Brass Bands. The oldest is the Blanchardstown Brass Band (Blanchardstown) formed in 1826, St.Georges Brass Band Formed 1936 (in Dublin City Centre) and the Stedfast Brass Band (Blackrock)
Brass competitions take place annually, both regionally and nationally.
Netherlands.
In the years 1870–1900 the Salvation Army spread out their missionary activities in the Netherlands, at first the main port city Amsterdam, and then to the then still important northern seaport of Harlingen, Friesland around the 1900.
Brass Band contesting began in Friesland after World War II. The Frisian conductor Sierd de Boer made a great effort to develop the British Brass Band standardisation, and the Frisians nowadays continue to set the standard of brass bands in the Netherlands. Brass Bands in Friesland include
"De Wâldsang" Buitenpost, "Pro Rege" Heerenveen, "De Bazuin" Oenkerk and "De Spijkerpakkenband" Opsterland. Other well known brass bands across the country are Brassband Rijnmond (Rotterdam) and Brass Band Schoonhoven.
Norway.
The Norwegian Band Federation is the largest voluntary music organisation in Norway. Through their membership, the 1712 member bands with their 70,318 players (official figures as of 9/1/04) are offered good conditions for their hobby. A network rich in tradition also gives them a strong and influential position in the cultural life of Norway. Many primary schools have their own bands.
Crown Prince Haakon is the patron of the Norwegian Band Federation. The Federation is granted an annual audience with the Crown Prince in order to report to him and receive advice for the future. The King has awarded a royal trophy to the championships for adult bands.
North and South America.
Canada.
Brass bands in the British tradition, sometimes sponsored by employers, existed in Canada in the late 19th and early 20th centuries. The geography of Canada (e.g. large distances between communities, making regular contests and migration of players difficult) was a key factor among many challenges that led to the demise of most such bands.
Today, excepting the Salvation Army bands, there are few British-style brass bands in Canada. Most operate as recreational, amateur, "community" bands such as the Oshawa Civic Band, King Street Brass from Kitchener, and the Whitby Brass Band, who celebrated their 160th anniversary in 2023. There are some semi-professional groups, like the Intrada Brass of Oakville, Ontario and the Weston Silver Band of Toronto. One of the most successful brass bands in Canada is the Hannaford Street Silver Band.
There are hopes for growth in the education field of brass bands in Canada, and in particular southern Ontario. In 1999, the professional Hannaford Street Silver Band launched the Hannaford Street Youth Band, which is internationally recognized for its success. In 2005, another youth band was created for beginning brass players known as the Hannaford Junior Band. Beginning in September 2006, the Hannaford organization plans to launch a third, intermediate, band known as the Hannaford Community Youth Band. These three ensembles target a wide range of youth from ages 11 to people well into their twenties.
Latin America.
Brass bands long enjoyed popularity in many parts of Latin America as well.
Mexican banda music has similar origins to the British brass band tradition and was influenced by it in its early days. In 19th century Mexico very large bands were formed, such as that of composer Juventino Rosas and in parts of Mexico brass band concerts remain a popular entertainment.
United States.
Brass bands in the British tradition are becoming more popular through the efforts of the North American Brass Band Association (NABBA), which organizes an annual brass band convention and set piece style contest. The US Open Brass Band Championships are held in early November and serves as the countries leading entertainment competition. Brass Band Festivals such as The Great American Brass Festival, Ohio Brass Arts Festival, Gettysburg Brass Band Festival, Dublin Festival of Brass, Mid-Atlantic Brass Festival, and Texas Brass Fest occur throughout the year.
Brass bands were very popular throughout the United States in the late 19th century and the early decades of the 20th century. Well known bands of virtuoso musicians toured widely, and most towns had their own bands that put on weekend music concerts. One notable example of this was The Ohio State University Marching Band which formed in 1879 and still performs with only brass and percussion instruments. Other groups, ranging from benevolent societies to large factories, would often have a band. The brass band movement has undergone a resurgence in the late twentieth century, led by the North American Brass Band Association. The United States boasts two professional brass bands, the Brass Band of Battle Creek and the River City Brass Band, as well as community brass bands such as the Dallas Brass Band, Central Ohio Brass Band, Dublin Silver Band, Motor City Brass Band, Atlantic Brass Band, Nebraska Brass Band, Imperial Brass, The Chesapeake Silver Cornet Brass Band (Delaware), Five Lakes Silver Band, Allegheny Brass Band, The Brass Band of Central Florida, the Sheldon Theatre Brass Band (Red Wing, MN), the Lake Wobegon Brass Band (Anoka, MN), the Twin Cities Brass Band (Bloomington, MN), the Fountain City Brass Band, the Triangle Brass Band, the Smoky Mountain Brass Band the River Brass, and the Mission Peak Brass Band (Fremont, CA), and the Rockville Brass Band (the oldest competing American band in Maryland, founded in 1976); several collegiate brass bands, including the James Madison University Brass Band, the Mansfield University Brass Band, the Slippery Rock University Brass Ensemble, the Pennwest-Clarion University Brass Ensemble, and the University of Georgia British Brass Band; and various youth brass bands, including the Triangle Youth Brass Band and the Fountain City Youth Brass Bands also exist.
Repertoire.
There are several notable composers in the brass band world. The current favourite is possibly Philip Sparke, who has written many pieces, including "Music of the Spheres". A noted Welsh Composer was T. J. (Tom) Powell, born in Tredegar in 1897, also known as "The Welsh Sousa". Powell composed over 500 pieces for brass bands, including marches (such as "The Castle Marches"), tone poems and suites.
Other notable composers include:
Several classical composers have written music specifically for brass band. These include:
Outdoor banding.
An advantage of the brass band is that it is mobile and capable of playing at any time and anywhere, even on the march. Marching and outdoor functions have been the preserve of the brass band for well over a century. Many UK brass bands are closely woven into the local community, performing outdoor civic duties throughout the year.
The bandstand became popular in the Victorian era, typically associated with the British brass band or military band. It is a simple construction which not only creates an ornamental focal point, but also serves acoustic requirements whilst providing shelter from the changeable British weather.
In popular culture.
The 1996 British film "Brassed Off" is the story of a colliery brass band from a Yorkshire mining village, where the mine is threatened with closure. It culminates in the band winning the national finals in the Royal Albert Hall.
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Eastern Iowa Brass Band
Iowa Brass was formerly known as the Eastern Iowa Brass Band (EIBB), changing its name to Iowa Brass on June 17, 2021.
Iowa Brass is an amateur band which primarily performs brass band literature in the style and tradition of the British brass bands dating back to the early nineteenth century and continuing today. Iowa Brass also covers contemporary ensemble pieces, ranging from Broadway works, swing, New Orleans jazz, and artists such as Pat Metheny.
Founded in 1985, Iowa Brass is the only band of its kind in the state of Iowa. Iowa Brass plays in concert to audiences throughout the midwest.
History of the band.
Iowa Brass, originally called The Eastern Iowa Brass Band, grew from a brass ensemble that was part of the City Band in Mt. Vernon, Iowa, in 1985 after Don Stine, director of the city band, attended a seminar on the growing brass band movement in the United States. Regular rehearsals began soon thereafter, and the band competed in its first North American Brass Band Association (NABBA) Championship in April 1986. 2016 marked the 30th anniversary of the band. In celebration of this milestone, the band toured the upper Midwest over the summer, playing for and with other brass bands in Minnesota, Wisconsin, Illinois, and Iowa. In 2018, the band entered into a new community relationship, relocating to dedicated facilities in Solon, Iowa, after a 32 year run in Mt. Vernon.
The music.
British band instrumentation features horns which are conical in design. Iowa Brass conforms to the unique British band style, characteristically limiting its instrumentation to brass, including cornets, flugelhorn, tenor horns, euphoniums, baritones, trombones, and tubas, as well as percussion. The 35-member band performs from a repertoire which features original works for brass band, as well as arrangements of well known orchestral and wind band literature. In addition, featured soloists are frequently used in concert programs which also include marches, medleys, hymn tune arrangements, folk songs, American patriotic offerings, Broadway showtunes, and novelty features. The majority of the band's concert schedule takes place during the summer months for community celebrations, civic events, and countless special festivals. They have performed in a variety of settings, from ornate concert halls to outdoor parks. Local audiences can also hear the band at three annual subscription concerts presented in April, September, and December.
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Acid Brass
British musical collaboration
Acid Brass is a musical collaboration between Turner-Prize-winning artist Jeremy Deller and the Williams Fairey Brass Band. The project is based on fusing the music of a traditional brass band with acid house and Detroit techno.
History.
Acid Brass began in 1997 as a collaboration between Deller, the Stockport-based Fairey Brass Band and Rodney Newton who created all the brass arrangements. Deller saw a connection between the two apparently disparate genres, viewing them as "two authentic forms of folk art rooted in specific communities". The music has since been taken all over the world, and was performed by the Fairey Band before a London crowd of 25,000 in July 2005.
In 1997, The KLF co-founder Bill Drummond heard Acid Brass performing The KLF's "What Time Is Love?" as part of their encore. Consequently, Acid Brass collaborated with The KLF (appearing in their alternative personae as The Justified Ancients of Mu-Mu) on a track titled "Fuck the Millennium", incorporating Acid Brass' cover of "What Time Is Love?". The track was released as a single under the moniker 2K.
The track "The Groove that won't stop" was played over the end titles to the 2010 movie "Four Lions".
The Fairey Band still plays regular Acid Brass gigs at major music festivals in the UK and abroad, and in 2011 issued a new Acid Brass CD.
In June 2024, Deller brought Acid Brass to the streets of Melbourne, as part of the 2024 RISING: festival, with local brass bands including Merri-bek City Band, Glenferrie Brass, Victorian State Youth Brass Band, Dandenong Band, and Western Brass.
Albums.
The original "Acid Brass" album was released on 3 November on the Blast First label and featured versions of dance classics such as A Guy Called Gerald's "Voodoo Ray", Rhythm Is Rhythm's "Strings of Life" and 808 State's "Pacific 202". The original studio album was recorded at the BBC North's sound studios on Oxford Road in Manchester, whilst a live version was recorded on 1 March 1997 at the Liverpool Institute for Performing Arts.
A new collection entitled "Acid Brass 2 - In Yer Face!" was recorded in January 2011. It consists of 10 arrangements by Richard Rock of acid house hits such as "Infinity", "Jack to the Sound of the Underground", "Acid Thunder", "Theme from S-Express" and "We Call It Acieed".
Critical reception.
"Acid Brass" was released to generally favourable reviews. Steve Huey of Allmusic was mixed in his assessment, who said "the somewhat dodgy (and condescending) concept for this record, by artist Jeremy Deller, is that both brass bands and raves are staples of