TubeNet

Just waking up after two full days of Seattle Honking - it is scheduled to continue today, but cold, heavy rain and outdoor performances sometimes don't mix...

Bands of various sorts and sizes came to town from the East Coast, Chicago and all up and down the Left Coast, playing in bars, restaurants, vacant lots and street corners. Many locals were a bit surprised to find a 60+ strong (and loud) version of the LSJUMB serenading their dining experience, but they got into it quickly.

A group that really surprised me was the Seattle Sounders "Sound Wave" - a new band funded by Drew Carey, one of the owners of the local pro soccer team. 4 new matching silver King Sousaphones, almost a dozen bell front Mells and folded euphoniums, many trumps and t-bones playing some very funky Fanfare, rock, soul-groove jazz and more. They were assisted by the drum line from the Seattle Seahawks boosters, but they have their own percussion as well. It was very interesting to see how the more "counter-cultural" bands and audience reacted to this more "commercial" group. They all seemed to be having a good time! Loud brass wins them over almost every time.

Anyway, the Honk! concept is working well in 2 locations and there were many discussions about how alternative marching band festivals could happen in other areas in the future. If you are interested in this sort of thing, the Streetband Yahoo Group is a good place to find out more information and connect with other musicians and performers. http://groups.yahoo.com/group/StreetBand/ or the Honk sites: http://honkfest.org/ and http://honkfestwest.com/

David Richoux wrote: Bands of various sorts and sizes came to town from the East Coast, Chicago and all up and down the Left Coast

And one from Canada. I was really sorry to hear the trouble our border guards put them to - I heard reports of 6 or even 8 hour waits, border guards looking up the venues and questioning their claims that they weren't here for a paying gig. I wonder if we could do something about this. Musicians seem to be a real target, out of all proportion to any economic impact, because our gear is so conspicuous - especially of course if you happen to play tuba - and the result seems to be getting to be kind of a Berlin wall for musicians where we smuggle our stuff across like drug runners.

Yes, when I wrote "up and down the Left Coast" that includes Canadia - the Carnival Band is very good, been around quite a while and they can play in a wide variety of styles. with many of their own compositions. BTW, their lead Sousaphone player usually rests his horn on his right shoulder, with the gooseneck and bits positioned so the mouthpiece crosses over the main pipe. Hard to describe, but he says it is more comfortable and it lets him move the horn more easily (while "dancing.") I am going to try that when I get home.

Ross Barrett is one of the arranger/leaders - his philosephy of music theory is quite interesting.
He has posted lead charts for many of their songs - available to anyone who wants to play them: http://www.rossbarrett.com/music/music1_page.htm the band website is http://www.openairorchestra.com/tcb.htm

If I lived there I would be joining that band for sure!

The problem with musician border crossing seems to go in cycles. I recall there was a time when American musicians had a hard time getting in to Canada (and also the UK) but it has swung hard the other way now. It did not matter that the Carnival Band is here playing for no pay, with "Educational Visas" that cost a lot of money to get - if an individual US border guard decides that he doesn't like the looks of somebody - they don't get to cross the line! Totally arbitrary...

David Richoux wrote:BTW, their lead Sousaphone player usually rests his horn on his right shoulder, with the gooseneck and bits positioned so the mouthpiece crosses over the main pipe. Hard to describe, but he says it is more comfortable and it lets him move the horn more easily (while "dancing.")

Rats, I didn't even notice. I did see one of their sousaphones pull a lean-back-and-play-pointing-straight-up move that suggests dancing with a sousaphone has left him in pretty good shape. But, frankly, the baritone saxophones were where my attention was. We ended up with 4 baris, jamming out on the street Friday night, that's a pretty burly sound. I like a group that gives the one microphone on stage to the baritone sax - we usually give it to the clarinet, what a waste!

I think the tuba I heard that I liked best was actually one of our own Seattle bands, a extra nice guy who hasn't really been playing that long if I remember right, on an old Holton sousaphone with a really long piston stroke. Nothing fancy, but the sound is real clear with a nice edge, without overpowering the rest of the band. The young man with the white plastic King could get around pretty well, too - playing with Boston's Second Line band, but maybe sitting in.