Inspired by the unconventional music of the Youngblood Brass Band, a group of high school friends formed the Ten Man Brass Band in the summer of 2011. The members winter over in other bands, but return and reunite for the Seattle summer. Ten Man’s genres include riot jazz, acoustic multi-phonics, and street brass. Their sets consist of covers of brass specific songs, arrangements of popular music, and original charts. You can hear them at Folklife Festival, Honkfest, Bite of Seattle, and Bumbershoot. Whether it’s a gig at an elementary school or busking at the Capitol Hill Block Party, they love to play and share the power of brass.
From the city which spawned grunge music and the sounds of Quincy Jones to Jimi Hendrix, comes the Seattle Sounders FC Soundwave Band. Sound Wave is the official band of the Seattle Sounders FC and is the brainchild of Sounders FC minority owner Drew Carey. The 53-person ensemble is made up of traditional marching percussion and brass instruments, bringing the Sounders FC passion to life. The Sound Wave plays custom arrangements from all types of music including Latin, funk, big band, pop and rock.
Not your typical drumline, Seattle Seahawks Blue Thunder Drumline uses a variety of rhythms and visuals, incorporating rock and roll drumming alongside drum corps style, endearing them to Seahawks fans of all ages. Launched in the summer of 2004, Blue Thunder became the largest NFL drumline and only performance group fully supported by a franchise.
Blue Thunder is comprised of 35 local musicians, ages 21-55 with experience ranging from 2 to over 40 years in the industry. Members have a wide variety of musical backgrounds including marching bands, drum corps and rock bands. Blue Thunder is a part-time job employing professionals from many different occupations including: teachers, bartenders, police officers, and contractors to name a few. All music and choreography is original or arranged and written by members of Blue Thunder.
Samba Já is Eugene’s own bateria – a thirty-member mobile percussion ensemble. They specialize in playing wild, funky, infectious, and incredibly danceable street music from all over Brazil and the Americas, from the sounds of Carnaval in Rio de Janeiro to original adaptations of old-school hip hop. Diverse, playful, and innovative, Samba Já recently celebrated its ninth birthday.
Around the world and in all walks of life, Samba Já has performed at venues such as the Sam Bond’s Garage, The Hult Center, HONK!Fest West, NorthWest Folklife Festival, Oregon Country Fair, Eugene Celebration, Eugene First Night, Saturday Market, Wildish Community Theater in Springfield, the WOW Hall, McDonald Theater, Reser Stadium, Cozmic Pizza and enthusiastically received elementary school concerts. Come dance along in the parade with Samba Já!
Drawing members and HONK! enthusiasts from around the globe and here in town, The Orphan Band will form, rehearse, play its first-ever sets, and disband, all during the frenetic musical mayhem that is HONK! Fest West. The planned repertoire includes second-line favorites, HONK! anthems and a few funky surprises sure to keep us all on our toes. Instrumentation will incude brass, drums, and possibly a megaphone – renegading performances are highly likely!
If you want to join in the fun, all you need is a horn, drum, or honker. The more the merrier!
In Seattle, amid the waterlogged remnants of squandered old-growth forests, broken-down breweries, industrial warehouses, and labor union halls, a mobile fourteen-piece brass-punk band borrows performative style and Balkan/klezmer-influenced sounds from the greats of the Roma tradition, plunging into crowds and galvanizing joyous derangement in every time signature. Orkestar Zirkonium’s ten horn players and four percussionists hail from projects including the noir troupes Circus Contraption and Cirque de Flambe, the punk marching units Infernal Noise Brigade and the Anti-Fascist Marching Band, and the experimental jazz outfits Reptet and Empty Cage Quartet. Since its founding in 2003, the group has accumulated players, fine-tuned its scrappy attack, and performed in art-deco theatres, grimy clubs, daylit parks, condemned buildings, busy midnight intersections, and surprised taverns, coffeehouses, and commercial spaces. The band’s on- and offstage perambulations invite onlookers into a participatory role and recalibrate the relationship between performer and audience; its celebratory sounds inspire street parties, traditional Eastern European line dances, and the ecstatic abandonment of reason.