Archive for the ‘ INSTRUMENTAL MUSIC ’ Category


Yes, those are they!

Yes, those are they!

WE PLAY PARADES AND SHOWS. (we also clean up real nice for recordings and private parties) WE’RE OUT OF BROOKLYN, BUT WE’RE ALL OVER THE PLACE. YOU MAY HAVE SEEN MEMBERS OF THIS BAND PLAYING IN OTHER, MORE WELL KNOWN BANDS, (like Antibalas, Davy Jones Band/Monkees, Arcade Fire, Steely Dan, Imogene Heap, as well as probably a bunch more that I either can’t remember or just don’t even know about). STILL, ALL THESE FINE PEOPLE KEEP COMING BACK TO PLAY SHOWS AND MAKE NICE RECORDINGS WITH THE E.B.B.B.. I AM ETERNALLY GRATEFUL FOR THAT. ..

ETERNAL BUZZ BRASS BAND  (visit us for more…)
Eric Biondo, Jordan McLean, Michael Leonhart, Kenny Warren – Trumpets
Mike Williams – Bass Trumpet
Aaron Johnson, Buford O’Sullivan – Trombones
Rob Jost – French Horn
Leah Paul – Tenor Sax & Piccolo
Matt Moon – Tenor & Bari Sax
Colin Stetson – Baritone & Bass Sax
Cochemea Gastelum – Bari Sax
Stuart Bogie – Clarinets
Tom Abbs – Tuba
Josh Kaufman – Banjo/Glockenspeil
Phil Ballman, Dylan Fusillo – Drums
Geoff Mann – Zebumba, Snare and Bandleader

You can now find our debut full-length album, “Evolution” on Rope-a-Dope Digital Records. It’s as easy as just looking up “Eternal Buzz Brass Band” on iTunes, or pretty much any other music downloading spot.



The Clientele formed a long time ago in the backwoods of suburban Hampshire, playing together as kids at school, rehearsing in a thatched cottage remote from any kind of music scene, but hypnotised by the magical strangeness of Galaxie 500 and Felt, and the psych pop of Love and the Zombies. During a pub conversation the band collectively voted that it was OK to be influenced by Surrealist poetry but not OK to have any shouting or blues guitar solos. From that moment on they put their stamp on a kind of eerie, distanced pure pop, stripped to its essentials and recorded quickly to 4 track analogue tape.

These recordings were released as lovingly packaged 7” singles at the tail-end of the 90s, and compiled as the millennium ended into the debut album, ‘Suburban Light’, now hailed as one of the finest records of the decade. From the faded pop art of ‘Suburban Light’ came a move into the fog with the 2nd LP, ‘The Violet Hour’, released in 2003. An attempt to create a deeper, more mysterious sound, it was an archetypal Clientele record: hypnotic, self-enclosed, meticulously creating its own world.

The Clientele re-invented their music with Strange Geometry (2005) and God Save the Clientele (2007); Brian O’Shaughnessy (My Bloody Valentine, Primal Scream) and Mark Nevers produced, and El Records legend Louis Philippe provided typically gorgeous string arrangements. The sound was bigger, brighter, and clearer, MacLean’s ringing, classically-influenced guitar style and James Hornsey’s melodic bass combining to create a different kind of depth and atmosphere for the newly sparkling songs, which now came complete with crossover appeal; incongruously, one of them even featured in the Keanu Reeves / Sandra Bullock weepie, “The Lake House”.

‘Bonfires on the Heath’ is in a sense a return to the Clientele’s roots; the dreamlike suburban landscapes first encountered in the early singles, their trippy sense of menace stronger now. Back in London, they’ve drawn on older traditions of English folk, which exist here side-by-side with the band’s more familiar bossa and pop elements, creating a timeless eeriness. It’s often said the best bands create their own sound; The Clientele have gone one further and created an entire world.
Orson Absence (from myspace)


Trevor C. Jones @Music & Happenin’s in New Orleans

One could learn a lot about our city by heading to a Midnite Disturbers show.
You could learn about older traditions or about the current state of music in New Orleans. You can see a band that provides new meaning for the word “supergroup” or get a glimpse of the six or seven individual bands that are leading the new era of New Orleans funk music. A Midnite Disturbers experience is an educational one to say the least.

Since there’s so much to learn, we’ll break down the Disturbers by instrument to get a closer look at the brains behind the beast. As with most brass bands, the Midnite Disturbers do not necessarily show up with the same line-up every night, but opts for the best combination of players for a given gig.

Troy Andrews of Trombone Shorty and Orleans Avenue, adept jazz-men Alcedrick Todd and Shamar Allen and Jamelle Williams of Kirk Joseph’s Backyard Groove, lead the trumpet section. Alcedrick is a widely accomplished trumpeter and has played with The Neville Brothers, among many more. Troy is always fun to watch and his great sense of showmanship should never undermine his rock-solid chops.

The trombone section of the MD’s is perhaps the most fun to watch. The combination of Big Sam Williams of Big Sam’s Funky Nation and Mark Mullins of Bonerama is a potent mix. Sam Williams is similar to Troy in strategy, but much more suave than brazen. Mark Mullins’ tipsy trombone style is one of the most recognizable, powerful sounds in New Orleans.

The ubiquitous Skerik joins Ben Ellman from the funk-flagship band, Galactic, to fill up the middle frequencies, supporting the trumpets while floating above the sousaphone’s bass-line. To me, the saxophone section of a brass band is the most important. You might notice the trumpet solo rising above the band or the sousaphone groove you’re dancing on, but the saxophones provide the intricate counterpoint inside the groove which makes New Orleans brass music what it is. Skerik is a chameleon to say the least; he can be found sitting- in with everyone who is anyone, especially around Jazz Fest. Ben Ellman always provides a focused attack with a dirty tone. His solos are anxiously awaited all show.

Rounding out the tonal bottom of the group are Kirk Joseph, formerly of the Dirty Dozen Brass Band and Matt Perrine, Mark Mullins’ partner in crime in Bonerama. These are the cats that keep feet moving and rear-ends grooving for hours at a time.

Last and certainly not least are the founders of the group, Stanton Moore of Galactic and Kevin O’Day, multi-faceted musician and illustrious editor of the very words I write to you now. Stanton and Kevin hold the groove down on snare and bass drum, respectively. This traditional combination of drums, separated from their modern drum-set amalgamation, is another immediately distinguishable aspect of brass band music.

The Midnite Disturbers stepped out this Jazz Fest with late-night shows and a spot at the Fest itself. The logistics of propagating a group with such high-caliber musicians is difficult without a doubt. But the Midnite Disturbers are more concerned with bringing a certain vibe to their shows, rather than obsessing over membership or repertoire. By doing this, they represent the very meaning of brass band music in New Orleans. The Midnite Disturbers are all about energy, family and community, concepts represented by their music, showmanship and the only city where such a supergroup could form, New Orleans.


Au (pronounced “ay-you”) is the work of multi-instrumentalist Luke Wyland. Begun while finishing up his degree from the Massachusetts College of Art in Boston, then moved across the US to find to its roots in the thriving community of Portland, OR. Currently a full time duo with Dana Valatka on drums (Jackie-O-Motherfucker, Mustaphamond), it is a loosely defined amalgam of players that can swell to double digit numbers with full choir in tow and sees some of Portland’s finest lending a helping hand.

It’s sound is vast and deftly treads a narrow bridge between the loose associations of the backwoods freak-folk crowd and the more formalized concoctions of art-poppers like Brian Eno; managing to erase the high art/low art boundary between American contemporary classical music and American pop music.

They have been compared to : Arcade Fire, Soft Machine, Animal Collective, Panda Bear, Arvo Pärt, George Gershwin, Charles Ives and Parenthetical Girls. (from NuMusic Festival – Norway)

Watch this video till the end and think about how far will they go? And check another songs @ their website.


Let’s made no-music, as solution or as alternative for the meanless sound of the begin of this century. Or in another hand, let’s hear and make the same music that was done, 50 or more years ago. Between these proposes there is a great fear: maybe there’s no options to do something new. A kind of fear or worse: make music just to win money, nothing else.
In spite of these questions many musician which are trying and doing, diferent music, a lot of experiences abroad, and I think that there’s much more to do and play in Brazil.
In 2007 I’ve met de Axioma Project, at the Tim Festival. A singer, Sandra Ximenez, a piano and “computer-player”, Felipe Julián and a saxophonist Leonardo Muniz Corrêa, which have been making and experiencing music. They’ve impressed me using brazilian poetry, brazilian folk music, they’re creating a work that must be respected, melting urban music with counntry music, and eletronics.
They’ve just released 2 albuns (Axial, 2004 and Senóide, 2007), and now they’re ending the 3rd, named Simbiose, and they’re invinting the fans to opine and suggest about the new songs. To download all the songs Check it out @


Songoro Cosongo is a band formed by musicians from Brazil, Argentina,
Venezuela, Colombia and Chile, living in Rio de Janeiro. The band was
born in August 2005; since then, various musical spaces and artistic
events in carioca nights are cheered up by their incomparable musical
style: PsychoTropical Musik. Continue reading


True, some bands are simply meant to lead, and Brooklyn’s Antibalas – as tough and diverse as the city that birthed them nearly a decade ago – has continued to do just that. The group, whose name means “bulletproof” in Spanish, has indeed proved they possess the mettle to not only survive but also thrive by employing a musical arsenal that has become known worldwide. Initially using the revolutionary blueprint of afrobeat as a launching pad, the dozen-strong members of Antibalas weave a rich tapestry of latin, jazz, classical, funk and soul into their horn-driven mix. Words fail in trying to describe the result: simultaneously polyrhythmic and political, independent and contagious, and the reason why many have credited the band for introducing afrobeat’s framework to a new generation.

Always looking to push their unique sound further, however, Continue reading


Fusing a mixture of African, Afro-Cuban, Jazz, and Funk music, Akoya Afrobeat is New York’s finest example of a musical melting pot. Featuring members from Panama, Ghana, Benin, South Africa, Japan and the US, this 13-piece ensemble embraces unity and positive vibrations. Armed with original music and an arsenal of songs by Afrobeat founder, Fela Kuti, Akoya consistently brings a new level of dance floor frenzy with every performance. The group features lead vocalist Kaleta, who for 10 years performed and recorded with the immortal Fela Kuti and Egypt 80. He has also toured with Femi Kuti as well as the legendary King Sunny Ade. His vocals, sung in Yoruba, Pidgin English and various Benin dialects, fused with driving horn lines and a precision-tight rhythm section, bring a sound so infectious one can’t help but dance. Continue reading


(Expensive Shit, from the álbum with the same name, 1976)

Nigeria is the most populous country in Africa with over 141 million inhabitants, according to UN estimates in 2006. One of the largest producers of oil in the world, this is a country marked by violent and successive political conflicts, poverty and AIDS, endemic. In less than twenty years, Nigeria has become the second largest producer of films in the world, only behind of India and ahead of the United States. Movies are produced foor the home video market, in a country that has virtually no cinemas. As we can see, this country is sufficient to provide treatment and research in various branches of the humanities, for decades, to understand its tremendous diversity.

This brief contextualization is needed to presents a great musical phenomenon emerged from Nigeria.

It was in 1968 that a Nigerian, Fela Anikulapo Kuti , born in Abeokuta (1938) presented the african-beat. After a tour by the United States, the trumpetist, singer, keyboardist, conductor returned to Nigeria and presents a complex sound that linked the African rhythms and songs to jazz, with lyrics in Nigerian pidgrin and sometimes in yoruba. Continue reading