SUtrp96
HBCU SCREAMING CHAMP 99'
97 and 98 ASU was nice, 98 was when you all had to battle SU Lab....lol
But honestly it was Chapmen's songs both years (97 and 98) that caught all of our (Jukes) attention.
Southern Vs. Alabama State 1997
- Thread starter TAPE MASTER
- Start date
97 and 98 ASU was nice, 98 was when you all had to battle SU Lab....lol
But honestly it was Chapmen's songs both years (97 and 98) that caught all of our (Jukes) attention.
yvette23
New Member
One of my main objectives as an MMH Alumn for the past few years has been to help bridge the gap between all these different eras we have (Lyle, Davis, Bray, Chap, Oliver). And even though I myself am trying to break the habit of separating and categorizing these eras like a lot of us tend to do, it's difficult for me to do especially when I read these sort of statements. So I'mma just be honest (and most of you already know this just by the tone of my past replies)- this is just ONE of the many reasons why I never cared for Dr. Bray (RIP) and his era. Only a Bray baby would make a statement like this. :lol: :smh: In all my years of affiliation with MMH, I have never heard anyone from the Davis era say, "I would put 91, 92, 94 band up against 75, 79, 82," etc, nor have I ever heard anyone from the Oliver era (that I know of).
But hey, like Kreme said, that's your opinion and I can respect it. :tup: But IMO:
At least in 91-94 bands had the sound, field presence and SHOWMANSHIP, but not the arrangments (except Torbert- his shat was TIGHT! :nod: ) and the instrumentation (33 clarinets and 20-25 trombones in 1992. :lol
. Oh and by the way, that field show at the MCC 99? I was there with camcorder in hand listening to the boooooooo's from ASU side. :smh: But I'll give ya'll credit for the 5th, especially that "Lately." :nod: :tup:OLSCHOOL96
New Member
COOL. SATURDAY. ITS ALL OUT OF LOVE BABE!!!!!!!!!!!!!!!
ON THE []. IN THE BEGINNING.......................................
s phi s
The One Man Band
I don't have a dog in this fight, but I got the chance to play opposite that 99 AlaSU band. There was a HUGE dropoff from the stands to the field, but I enjoyed that sound in 99 (minus several missed notes in the trumpet section). Never got a chance to experience any other Bama State in person.
But when I think of Bama St., the first thing that I remember is a game I saw on BET when I was in high school and they played Cry No More. I felt the tubas rattling my chest through the TV.
But when I think of Bama St., the first thing that I remember is a game I saw on BET when I was in high school and they played Cry No More. I felt the tubas rattling my chest through the TV.
yvette23
New Member
kremesaver
"set your own standards"
:lol: Hell yeah, remember that s.hyt like it was yesterday.
:tup:Yeah, his songs were straight, can't deny the man's arranging abilities. The sad thing is.........we had an arsenal of Gus Walker arrangements that he would push to the side. :smh:
kremesaver
"set your own standards"
Oh fa sho....! :tup:
Can't wait to see yall.........missed alot of yall at the last one.
SUtrp96
HBCU SCREAMING CHAMP 99'
lol, I played tons of Gus Walker(R.I.P) arrangements in high school.. Honestly, I see why Chapmen pushed them joints to the side... Most of his arrangements are good, but honestly I was surprised to find out you all were playing his arrangements in the early 90's. I will say this, New Orleans Public School Bands. my high school along with GUs Walker's band *(O.P.Walker High) played mainly his arrangements vs. schools like St.Aug, Kennedy who played old school SU music.. We were getting ate up by these people... his arrangements were TOO fun....lol New Orleans you had to come a lil harder... So knowing Chapmen came from SU I see why he would not want to play any of those arrangements..
Now Gus Walker's "Motown Philly" was a beast.. Best version I have ever played or heard...He had some fight in that piece...
yvette23
New Member
That makes plenty of sense. :nod: I always thought that Gus Walker's (GOD rest his soul) were a bit "high schoolish," although "Always" was my SHAT!!That was one GW arrangment that Bray did pull back out in 1996. :tup:
SUtrp96
HBCU SCREAMING CHAMP 99'
I remember one year he wrote "If I had No Loot" Tony Toni Tone... in the arrangement he had the band singing... "da da da day, da da da da da day HEY!!!"... That had to be the only song I can remember playing I didn't really want to participate in....lol.. Of course the girls was loving it....lol
yvette23
New Member
We played that in 93. I don't know which was worse- singing that part to "If I had No Loot" or "That's the Way Love Goes."
:emlaugh:OLSCHOOL96
New Member
I THINK THE REASON CHAPMAN PUT MOST OF THOSE SONGS TO THE SIDE IS BECAUSE OF THE MAKE UP OF THE BAND. LIKE I SAID EARLIER, BAMA STATE NEVER REALLY USED BARITONES AND MELLOPHONES SO SOME OF THE STUFF GUS WROTE WOULD HAVE SOUNDED BLAND. THATS WHY HE CAHNGED THE ALMA MATER. NOT THE WORDS!!!!!!!!!!!!!!!!!!!!!!!
CHI96ALASU
Always Together
We played that in 93. I don't know which was worse- singing that part to "If I had No Loot" or "That's the Way Love Goes."
You weren't there in 96 when we played living single . we had to chant Check Check CHeck it out (repeat) lol. but the arrangement was good
yvette23
New Member
No, but we played that in 1995. :nod: :tup:
OLSCHOOL96
New Member
I HATED ANYTHING WE HAD TO SING. IN 99 WE HAD TO SING WE ARE THE CHAMPIONS. I GUESS THAT IT WAS THE THING TO DO BACK THEN.
TAPE MASTER
New Member
LOL
We played that in 93. I don't know which was worse- singing that part to "If I had No Loot" or "That's the Way Love Goes."
Blankman2k5
Well-Known Member
I hope I NEVER hear BAMA State play that again
crazylegs
Da' Franchise...
Frankly,
I'm with Vette on this one...IMHO the fact that we're comparing and pitting past editions of the MMH against one another is kind of a sidebar.
I got a chance to march during the Davis Era and was there for the beginning of the Bray/Chap transition...As with most transitions, folks change things to accomodate their style or vision of what the program will be during their tenure.
If anything, the MMH that marched during these eras should be sharing and utilizing the information gathered from those eras in order to evolve with the times.
That's what consistent programs do to keep their on (and off) field product relavant.
That's an entirely different thread for another venue.
As far as arangements go, you get the influence that you get...There's really no way to avoid that...
Gus Walker's arrangements were solid, but the majority of them didn't have the edge needed to be as effective as they could've been, nor did we have the instrumentation (at least in 93 and 94) to do some of the things in terms of sound concept that we've seen later editions of the MMH do.
That all has to do with the directors (and arranger's) arranging philosophy and how they want to build the band around that concept.
When Bray and Chap got there, tyhey changed the insrtumentation of the band to fit the type of sound concept they wanted. some of that included re-tooling the percussion section; some of it included building up sections that hadn't traditionally been featured on our program before (i.e. Mellephones, baritones, etc).
The sound concept from 1995 to 1999 reflected that shift sound-wise...
There were some SU influences there; It's natural because that's the school of arranging Chap was indoctrinated in. However, there was enough nuance in that style to make the concept a unique one...Dr. Bray's heavy Jazz backround had alot to do with that...98 and 99 were especially heavy in that regard and it sounded great...
I'm with Vette on this one...IMHO the fact that we're comparing and pitting past editions of the MMH against one another is kind of a sidebar.
I got a chance to march during the Davis Era and was there for the beginning of the Bray/Chap transition...As with most transitions, folks change things to accomodate their style or vision of what the program will be during their tenure.
If anything, the MMH that marched during these eras should be sharing and utilizing the information gathered from those eras in order to evolve with the times.
That's what consistent programs do to keep their on (and off) field product relavant.
That's an entirely different thread for another venue.
As far as arangements go, you get the influence that you get...There's really no way to avoid that...
Gus Walker's arrangements were solid, but the majority of them didn't have the edge needed to be as effective as they could've been, nor did we have the instrumentation (at least in 93 and 94) to do some of the things in terms of sound concept that we've seen later editions of the MMH do.
That all has to do with the directors (and arranger's) arranging philosophy and how they want to build the band around that concept.
When Bray and Chap got there, tyhey changed the insrtumentation of the band to fit the type of sound concept they wanted. some of that included re-tooling the percussion section; some of it included building up sections that hadn't traditionally been featured on our program before (i.e. Mellephones, baritones, etc).
The sound concept from 1995 to 1999 reflected that shift sound-wise...
There were some SU influences there; It's natural because that's the school of arranging Chap was indoctrinated in. However, there was enough nuance in that style to make the concept a unique one...Dr. Bray's heavy Jazz backround had alot to do with that...98 and 99 were especially heavy in that regard and it sounded great...