[Tim Price]

Charlie Karp-guitar, Marlo Henderson-guitar, David Hull(myself)-bass, Fred Allen-drums, Hank Redd-tenor, Stemsie Hunter-alto, Tom Hall-trpt, Michael Fugate-trpt. Andre Lewis playing B3.

Check the double "live" record for great solos by Redd and Hunter.

I caught this band 6 nights a week at a soul club in the combat zone in Boston when a horn band I was in played in the next room to them. What was so cool was Buddy ALSO played drums....so there were 2 drummers at once keeping slamming grooves. The band opened up on solos and knocked all of us out.
The club was cool too, the front room had the feature name ( eg- Buddy Miles or White Trash) and downstairs in the side was the house band. 6 nights/ 4 sets a night. We could go up to hear stuff and there was NEVER sound bleed room to room.

The guitarist here was pretty cool too, great feel. But a HORN BAND to end all horn bands. The 2 sax players should be mentioned MUCH more in the rock sax press too. TIGHT!!!

Enjoy

 

[sirspinbad]

..very sam&dave inspired my kinda stuff!!!!

 

[Michael Ward]

Beautiful..thanks.

 

[kavala]

Excellent. It's boggles the mind to think that is 40 yrs old.

 

[BrianMitchellBrody]

Bad azzzz!

 

[RICHARD GARCIA]

Tim,
You brought back a rush of memories, I loved the Electric Flag, w/ Buddy, Mike Bloomfield, and Phillip Wilson et.al. Everyone remembers Chicago and BS&T, but I there were some really hip horn groups like Paul Butterfield w/ David Sanborn, Ten Wheel Drive w/ Dave Liebman, The Flock w/ Jerry Goodman, Azteca w/ Mel Martin, Tom Harrell, Lenny White, Paul Jackson, Ballinjack, and Los Blues. Let's not forget Dreams w/ the Breckers et.al.
That was a great era, great music and good times as it influenced groups to have horn sections.

Several years ago I had the opportunity to play with Buddy, but it was not what I had expected or hoped it would be.
Buddy wound up in Austin Tx. and subsequently was in very poor health prior to his passing.

 

[Tim Price]

Tim,
You brought back a rush of memories, I loved the Electric Flag, w/ Buddy, Mike Bloomfield, and Phillip Wilson et.al. Everyone remembers Chicago and BS&T, but I there were some really hip horn groups like Paul Butterfield w/ David Sanborn, Ten Wheel Drive w/ Dave Liebman, The Flock w/ Jerry Goodman, Azteca w/ Mel Martin, Tom Harrell, Lenny White, Paul Jackson, Ballinjack, and Los Blues. Let's not forget Dreams w/ the Breckers et.al.
That was a great era, great music and good times as it influenced groups to have horn sections.

Several years ago I had the opportunity to play with Buddy, but it was not what I had expected or hoped it would be.
Buddy wound up in Austin Tx. and subsequently was in very poor health prior to his passing.

Richard- My pleasure!

That era...that time period was special. Those of us who knew it- and heard the groups that you just mentioned know why!! WHY..is because everything sounded different and personal.

There was a huge difference between COLD BLOOD and Ten Wheel Drive. Buddy Miles band- I SAW BUDDY AS I MENTIONED WITH THIS BAND FOR A WEEK!! Those were the days for sure! I was playing a MK6 tenor- and had a 120 over 1 Rubber Berg Larsen, and a Selmer MK6 soprano with a Rubber soloist G facing.
Used Rico # 5 reeds on them. In case the stuff got REAL loud-I had a Metal bronze Berg 130 over 0 for the masta-Blasta stuff
Times changed...for sure. But that MUSIC defined a level in music that was a step up- and a great place for horns.

Also there were a lot of bands, that I heard like THE ALBERT- With Frank Vicari, THE FLOCK from Chicago with Jerry Goodman on electric violin, SWALLOW from Boston with Dave Woodford on sax, THE TEACHERS ...legendary Joe Brazil (tenor saxophone); Jay Thomas & James Moody as a guest on the record, Osmossis in Boston with Charlie Mariano. So many........

Buddy Miles...to me had the phrase going. He was VERY musical from a learned street way. Cool sounds and great memory's for sure.

 

[RICHARD GARCIA]

Hey Tim,
You reminded me of the rig I played back then; Selmer balanced action tenor, Otto-Link 9*, clipped 4 reeds when I couldn't find 5's (or "popsycle sticks"). I tell people and they don't believe me. That's what you needed to get the "sound" and to project. The nature of the venues and competing with lead guitars made you really push hard. I use the analogy that it was like driving a powerful dragster, whereas now my goal is to drive a sports car smoothly and quickly through a slolam course.