| boston horns | (c) 2008 |
Metronome Magazine
April 2001
By Michael Balding
"All you folks who thought the real funk died with the rise of hip-hop better act like you know, because the Boston Horns are all about
making you shake your rump. The spirit of Tower of Power, James Brown, Earth, Wind, & Fire, and P-Funk is alive and well after a long
absence. Lord knows I love hip-hop, tech, and all the new sounds just as much (maybe even more) than the next guy, but we all know
that nothing beats the Ol' School. Admit it. How is any DJ going to top the power of a live horn section backed by a rhythm section so
powerful it will make you dance like MAC Hammer on crack?
I sat down with Boston Horns cofounder and trumpet player Garrett Savluk to get an in-depth look at how a band playing such decidedly
out-of-date music manages to sound so fresh and vital in the new millennium.
"We love to play music. Period. We show that when we play onstage. We have a good time, and that carries over into the crowd. We don't
take ourselves too seriously; we take our fun seriously."
The proof is in their last album, Boston Horns Live, a sweaty, searing live document that conjures up images of a backyard Memphis
barbecue-- we're talkin' greasy fried chicken sandwiched between two slices of wonder bread, collard greens, and 40 oz. malt liquor
(bottle firmly in paper bag, of course). The crowd is so exuberant that they're as much a part of the show as the band itself; I had to
double-check the liner notes to see if they were credited with additional percussion for their ubiquitous claps and hollers. And while we're
on the subject, let me remark that I don't believe that drummer Jack Howard Jr. is the only percussionist on this session. Someone is lying.
Howard sounds like Clyed Stubblefield (the original Funky Drummer), John Bonhomie, The Buena Vista Social Club, and the entire
percussion population of Senegal past and present rolled into one. Ridiculous. I've never laid eyes on this cat, but he can't be white. He is
obviously from some far away galaxy of ancient junketeers whose planet was destroyed by the constant vibrations of a billion hi-hats,
tom-toms, and ride cymbals, and was dropped off here like Superman. I imagine the drunken offbeat dancing and clapping of rhythmically
challenged bar patrons to be his Kryptonite (you got hit it on the ONE dammed!); but I digress.
The sound the band lays down is a mixture of all the best elements of funk, R&B, and jazz. The grove and structure are as elastic as the
time is on Thomas Mann's Magic Mountain; it's the sound of Tower of Power covering Sly and the Family Stone and soloing into orbit like
Miles before his mid-seventies breakdown. Nothing is more sacred save the almighty groove. Bassist Mike "Squid" Rush (The story of
how he got his nickname, while alternately fascinating and disturbing, is for priopriety's sake not suitable to be printed in an upstanding,
family-values oriented publication like the one you're currently holding) anchors the rhythm, allowing Jeff Buckridge to rip wild stun-funk
solos from his guitar, while keyboardist Mark Longo complements and enhances the overall sound. Their interplay is effortless, bringing
to mind Keith Richards' comment about his and Ron Woods' playing as being like "an ancient form of weaving". This is unsurprising as
"Squid" and Longo played together for years in the popular funk band "Pass the Peas".
Garrett and Tenor man Henley Douglas met at Brandies University's informal weekly jam sessions run by legendary underground tenor
giant, Ricky Ford. A fast friendship soon formed, and while playing as sidemen, Henley suggested that they form their own band. He
assembled some cohorts from the various bands that he freelanced with, and the Heavy Metal Horns was born. Things happened quickly
for the Heavy Metal Horns and Garrett.
"Like going from one day, you know, sitting down havin' a cigarette and coffee (subliminal Otis Reading reference anyone? Anyone?
Bueller? Bueller?) in the morning going 'What the hell are we gonna do next, ' to the next day like, 'God, we're going to London tomorrow.'
It was just one of those real whirlwind things."
This is in reference, of course, to the Heavy Metal Horns' national tour with the then-popular Boston-based rockers, Extreme. Other
collaborations followed, most notably with Shawn Mullins and the Del Fuegos. Garrett even filled in for his old heroes, Tower of Power.
Then, Behind the Music type trouble ensued. Henley wanted to pursue his own style, particularly in the straight-ahead jazz realm. The
Heavy Metal Horns struggled on for a while, but without its cofounder, :The rust was on the machine, and we just started crumbling away".
(continued)
The Boston Horns are honest, hard working, straight ahead musicians, except for Garrett's revelation: "I came from a poor family. My
teacher recognized that I had talent, and we went down to this brass convention in New York City. When I was in high school he game me
free lessons, he gave me a lot at no charge, and they were raffling off horns. I had this piece of crap student horn, and they palmed me
this raffle ticket to get me this nice horn. So I was given a lot, and it's a very nice feeling to give something back." Shocking. Garrett, by
the by, teaches music to 4th through 12th graders to pay his bills.
"Its great working with kids, and I get to play my horn every day,' he says. "Until I got my teaching jobs, I did whatever I had to do to
survive. I worked for moving companies, I worked for painting companies, blisters on my hands, paint all over, but I still had to go play my
horn. I've been pretty stubborn as far as that goes, probably more than I should have been."
But even different musical directions couldn't keep Garrett and Henley apart: "Henley and I really have open minds about music -- we
have a sound together -- we've been playing together for years. We're partners, man. I consider him, like, my brother."
It wasn't too hard to decide on a band name when they finally reformed; the name "Boston Horns" plays tribute to one of the group's main
inspirations, the legendary Memphis Horns (also a tenor/trumpet duo), who were featured on nearly all of the classic tracks produced by
the Stax record label throughout the sixties and early seventies. Due to the sterling reputation of the Heavy Metal Horns, the Boston
Horns had no problem getting gigs or rebuilding the rabid fan base: "Our reputation proceeded us, and now we're backing it up stronger
than ever."
The age and background of their fans is as diverse as the music the Boston Horns plays. Although they could easily be labeled a "niche"
band by unimaginative listeners, their all-encompassing love for musical styles past and present allows them to reach a wider variety of
people. College kids will dig hearing the sound of live musicians playing what they typically hear only as samples in hip-hop and
electronica. Middle-aged types will be transported back in time to their disco and pure funk hey days, and seniors will get misty over the
elements of the big band and swing implicit in the horns section.
"We've always prided ourselves when we did these outdoor festivals that we'd have two or three year olds out there holdin' their mommy
and daddy's hands trying to dance, to these elderly couples, sitting in a lawn chair with an umbrella, digging the music; so we had a wide
range of fans, and of course that was something were really proud of. It wasn't, 'Oh well, it's just this particular thing that these guys are
hip on.'"
These guys are indeed hip on everything. They have the talent, technique, and experience not only to resuscitate a form long thought
dead, but to steer it in directions never thought possible. There's no doubt that they'll eventually be mentioned in the same breath as
their precursors. Garrett tells me that their upcoming album far surpasses anything the band has laid down to this point, and that they'll
only improve from here.
So, I'm going to make my Funk the Boston Horns Funk -- I wants to get Funked Up. I want the Bomb, and you do too. They aren't
nominated for "Outstanding Funk Band" for nothing, so get yourself down to Harper's Ferry on 4/6, the Grog on 4/7, the Metro on 4/27 or
the Acton Jazz Cafe on 4/28.
I don't even need to tell you when they're playing after that, because you'll be hooked like a Dead Head. Yeah, you'll have to quit your
job, but instead of wearing tie-dyed t-shirts and riding around in a VW bus, you'll get to rock polyester shirts with the wide lapels and pull
up to their gigs in a low rider Eldorado, and you'll never be happier. Go on wit' yo' bad self."
April 2001
By Michael Balding
"All you folks who thought the real funk died with the rise of hip-hop better act like you know, because the Boston Horns are all about
making you shake your rump. The spirit of Tower of Power, James Brown, Earth, Wind, & Fire, and P-Funk is alive and well after a long
absence. Lord knows I love hip-hop, tech, and all the new sounds just as much (maybe even more) than the next guy, but we all know
that nothing beats the Ol' School. Admit it. How is any DJ going to top the power of a live horn section backed by a rhythm section so
powerful it will make you dance like MAC Hammer on crack?
I sat down with Boston Horns cofounder and trumpet player Garrett Savluk to get an in-depth look at how a band playing such decidedly
out-of-date music manages to sound so fresh and vital in the new millennium.
"We love to play music. Period. We show that when we play onstage. We have a good time, and that carries over into the crowd. We don't
take ourselves too seriously; we take our fun seriously."
The proof is in their last album, Boston Horns Live, a sweaty, searing live document that conjures up images of a backyard Memphis
barbecue-- we're talkin' greasy fried chicken sandwiched between two slices of wonder bread, collard greens, and 40 oz. malt liquor
(bottle firmly in paper bag, of course). The crowd is so exuberant that they're as much a part of the show as the band itself; I had to
double-check the liner notes to see if they were credited with additional percussion for their ubiquitous claps and hollers. And while we're
on the subject, let me remark that I don't believe that drummer Jack Howard Jr. is the only percussionist on this session. Someone is lying.
Howard sounds like Clyed Stubblefield (the original Funky Drummer), John Bonhomie, The Buena Vista Social Club, and the entire
percussion population of Senegal past and present rolled into one. Ridiculous. I've never laid eyes on this cat, but he can't be white. He is
obviously from some far away galaxy of ancient junketeers whose planet was destroyed by the constant vibrations of a billion hi-hats,
tom-toms, and ride cymbals, and was dropped off here like Superman. I imagine the drunken offbeat dancing and clapping of rhythmically
challenged bar patrons to be his Kryptonite (you got hit it on the ONE dammed!); but I digress.
The sound the band lays down is a mixture of all the best elements of funk, R&B, and jazz. The grove and structure are as elastic as the
time is on Thomas Mann's Magic Mountain; it's the sound of Tower of Power covering Sly and the Family Stone and soloing into orbit like
Miles before his mid-seventies breakdown. Nothing is more sacred save the almighty groove. Bassist Mike "Squid" Rush (The story of
how he got his nickname, while alternately fascinating and disturbing, is for priopriety's sake not suitable to be printed in an upstanding,
family-values oriented publication like the one you're currently holding) anchors the rhythm, allowing Jeff Buckridge to rip wild stun-funk
solos from his guitar, while keyboardist Mark Longo complements and enhances the overall sound. Their interplay is effortless, bringing
to mind Keith Richards' comment about his and Ron Woods' playing as being like "an ancient form of weaving". This is unsurprising as
"Squid" and Longo played together for years in the popular funk band "Pass the Peas".
Garrett and Tenor man Henley Douglas met at Brandies University's informal weekly jam sessions run by legendary underground tenor
giant, Ricky Ford. A fast friendship soon formed, and while playing as sidemen, Henley suggested that they form their own band. He
assembled some cohorts from the various bands that he freelanced with, and the Heavy Metal Horns was born. Things happened quickly
for the Heavy Metal Horns and Garrett.
"Like going from one day, you know, sitting down havin' a cigarette and coffee (subliminal Otis Reading reference anyone? Anyone?
Bueller? Bueller?) in the morning going 'What the hell are we gonna do next, ' to the next day like, 'God, we're going to London tomorrow.'
It was just one of those real whirlwind things."
This is in reference, of course, to the Heavy Metal Horns' national tour with the then-popular Boston-based rockers, Extreme. Other
collaborations followed, most notably with Shawn Mullins and the Del Fuegos. Garrett even filled in for his old heroes, Tower of Power.
Then, Behind the Music type trouble ensued. Henley wanted to pursue his own style, particularly in the straight-ahead jazz realm. The
Heavy Metal Horns struggled on for a while, but without its cofounder, :The rust was on the machine, and we just started crumbling away".
(continued)
The Boston Horns are honest, hard working, straight ahead musicians, except for Garrett's revelation: "I came from a poor family. My
teacher recognized that I had talent, and we went down to this brass convention in New York City. When I was in high school he game me
free lessons, he gave me a lot at no charge, and they were raffling off horns. I had this piece of crap student horn, and they palmed me
this raffle ticket to get me this nice horn. So I was given a lot, and it's a very nice feeling to give something back." Shocking. Garrett, by
the by, teaches music to 4th through 12th graders to pay his bills.
"Its great working with kids, and I get to play my horn every day,' he says. "Until I got my teaching jobs, I did whatever I had to do to
survive. I worked for moving companies, I worked for painting companies, blisters on my hands, paint all over, but I still had to go play my
horn. I've been pretty stubborn as far as that goes, probably more than I should have been."
But even different musical directions couldn't keep Garrett and Henley apart: "Henley and I really have open minds about music -- we
have a sound together -- we've been playing together for years. We're partners, man. I consider him, like, my brother."
It wasn't too hard to decide on a band name when they finally reformed; the name "Boston Horns" plays tribute to one of the group's main
inspirations, the legendary Memphis Horns (also a tenor/trumpet duo), who were featured on nearly all of the classic tracks produced by
the Stax record label throughout the sixties and early seventies. Due to the sterling reputation of the Heavy Metal Horns, the Boston
Horns had no problem getting gigs or rebuilding the rabid fan base: "Our reputation proceeded us, and now we're backing it up stronger
than ever."
The age and background of their fans is as diverse as the music the Boston Horns plays. Although they could easily be labeled a "niche"
band by unimaginative listeners, their all-encompassing love for musical styles past and present allows them to reach a wider variety of
people. College kids will dig hearing the sound of live musicians playing what they typically hear only as samples in hip-hop and
electronica. Middle-aged types will be transported back in time to their disco and pure funk hey days, and seniors will get misty over the
elements of the big band and swing implicit in the horns section.
"We've always prided ourselves when we did these outdoor festivals that we'd have two or three year olds out there holdin' their mommy
and daddy's hands trying to dance, to these elderly couples, sitting in a lawn chair with an umbrella, digging the music; so we had a wide
range of fans, and of course that was something were really proud of. It wasn't, 'Oh well, it's just this particular thing that these guys are
hip on.'"
These guys are indeed hip on everything. They have the talent, technique, and experience not only to resuscitate a form long thought
dead, but to steer it in directions never thought possible. There's no doubt that they'll eventually be mentioned in the same breath as
their precursors. Garrett tells me that their upcoming album far surpasses anything the band has laid down to this point, and that they'll
only improve from here.
So, I'm going to make my Funk the Boston Horns Funk -- I wants to get Funked Up. I want the Bomb, and you do too. They aren't
nominated for "Outstanding Funk Band" for nothing, so get yourself down to Harper's Ferry on 4/6, the Grog on 4/7, the Metro on 4/27 or
the Acton Jazz Cafe on 4/28.
I don't even need to tell you when they're playing after that, because you'll be hooked like a Dead Head. Yeah, you'll have to quit your
job, but instead of wearing tie-dyed t-shirts and riding around in a VW bus, you'll get to rock polyester shirts with the wide lapels and pull
up to their gigs in a low rider Eldorado, and you'll never be happier. Go on wit' yo' bad self."
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