Brass and The Dude

[bof]

Hi Bruce

The Dude has always been one of my favourite albums. I've often wondered about the brass recording on this album, and many others of that era.

Q1. Razzamatazz - 2nd chorus, just after "Put back the jazz". There's a little brass fill (ba ba do ba - baw! :-) ). First half is your standard, trumpet led riff, but the last chord is Trombone heavy with a very strong emphasis on one of the crunchy inner voices of the chord (9th). Can you recall if this flash of inspiration was a mix decision or, given that you have at least two of the world's greatest brass arrangers in the studio, if it was something that was intended when the brass parts were written?

Q2. This was, undoubtedly, a golden era for brass sections working on "pop" albums. There are many apocraphal tales of new recording techniques being developed to add impact to the sound. Can you recall thinking "Hey! Why don't we try...?" Or was it just that Seawind et al just sounded amazing without help. Any more brass recording tips from the guy who helped establish the benchmark?

Q3. The solo on One Hundred Ways - Was it really Greg P's half awake first run through after he'd been dragged from his slumbers on the couch? Please let it be true! :-)

The music that you, your colleagues and some of your contemporaries created and recorded has always lifted my spirits. Thank you for that, at least.

Paul Lawley

[Bruce Swedien]

Originally Posted by bof

Hi Bruce

The Dude has always been one of my favourite albums. I've often wondered about the brass recording on this album, and many others of that era.

Q1. Razzamatazz - 2nd chorus, just after "Put back the jazz". There's a little brass fill (ba ba do ba - baw! :-) ). First half is your standard, trumpet led riff, but the last chord is Trombone heavy with a very strong emphasis on one of the crunchy inner voices of the chord (9th). Can you recall if this flash of inspiration was a mix decision or, given that you have at least two of the world's greatest brass arrangers in the studio, if it was something that was intended when the brass parts were written?

Q2. This was, undoubtedly, a golden era for brass sections working on "pop" albums. There are many apocraphal tales of new recording techniques being developed to add impact to the sound. Can you recall thinking "Hey! Why don't we try...?" Or was it just that Seawind et al just sounded amazing without help. Any more brass recording tips from the guy who helped establish the benchmark?

Q3. The solo on One Hundred Ways - Was it really Greg P's half awake first run through after he'd been dragged from his slumbers on the couch? Please let it be true! :-)

The music that you, your colleagues and some of your contemporaries created and recorded has always lifted my spirits. Thank you for that, at least.

Paul Lawley

Paul.....

Jerry Hey and the Seawind Horns simply are THE VERY BEST!!!

One thing that perhaps made those albums unusual is the fact that I could make use of all those years of experience that I had with the Big Bands - "Count Basie, Duke Ellington, Woody Hermann, Stan Kenton and so forth, on and on...

Excellent! I'll try to get to your other questions later....

Bruce Swedien