The Uptown Horns were interviewed by Mike Thorne at the Stereo Society,
Uptown Horns related links:
What makes you a horn section rather than just a bunch of guys who play instruments?
What sort of reactions did you guys developed from the many years spent together?
Whats the boundary between flexibility and character? Its a moving division, isnt it?
Do you ever find yourself being pushed into a place because of an artists or producers requirement where it takes you away from the sound you think you should be playing?
Remember the Motown Revue which is something youve done yourselves, and usually goes down very well as records? Do you think that has a possibility today?
What do you think the next step might be since we talked about slicing and dicing with the Fugees? Do you think an entire musical section might evolve into a different way of playing just to interact with technology?
Do you have any reservations about people taking a loop with parts that you've played and then working it into their own composition?
There is such a move right now away from people who actually make the sound themselves and towards people who recycle the sound. What are your thoughts on this issue?
Theres always been an association between horns and a good party. Why is this?
Do you think there are more demands with a horn section? Is the walking the tightrope element important here?
There is an interesting theory about the way a recorded piece of music, especially with horns and voices, fighting for the same spot. Does this raise the bar for whoever is arranging, including you?
How often do you walk into a session and the arrangers got all the parts together and all the voicings done perfectly?
Do you guys hanker off to the other extreme and continue the record making process which youve enjoyed from time-to-time?
You dont feel the need to take the initiative, obviously. Do you enjoy it when other people take the initiative or do you just like a balance of the two?
How long do you think it took before you had this identity where you could second guess each other's moves? At what point did that sensibility arrive?
Would you be the person who starts an idea which ends in a piece of music or into a record. Or would you be following something else?
If the horn is fighting with the voice, is the voice going to lose out? Sounds to me like the arrangement has to be pretty immaculate before the horns can be up front.
Oftentimes producers prefer to relate to a machine rather than the irregularities of people who are liable to do all sorts of odd things. Do you think there is an element in that?
Suddenly, theres such a huge sound in these tracks and it draws questions of the integrity of the arrangement.
Earlier, you mentioned a situation where a producer would say they hear John McLaughlin playing this sort of way. Do you like being told something as vague as that?
Crispin, its almost as if you are a superstructure of a group, which tends to rests on the more traditional form of a group.
Somehow, you've all achieved a balance of terror.
To Uptown Horns' home at the Stereo Society (all links)
To Uptown Horns' Biography
To 'On the Road'
To Uptown Horns' albums
Bob Funk (trombone)
To Crispin Cioe (alto sax)
To Larry Etkin (trumpet and flugelorn
To Arno Hecht (tenor sax)
To external Uptown Horns sites:
To Burnzy's Last Call soundtrack
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