Brass Drum

BOOM. It's the first thing you hear, the first thing you notice. A bass drum strike so hard and heavy, it's sound carries for blocks. In fact, you probably feel it before you actually hear it. BOOM BOOM. A bottom-end so deep, it let's everyone know: the band is on it's way. BOOM BOOM BOOM And before you can even see 'em, you can hear 'em, clearing the way: angel trumpets, devil trombones, rat-a-tat snares, pulsing tubas, and at the center of it all, the anchor, the rock, the gravity that keeps it all from spinning out and flying off into space, the bass drum. The steady beat that lays the foundation for every feat the brass band can accomplish. The beat that sets the slow and reverential pace for a walk of remembrance towards the cemetery. The beat that dictates the rhythm of the joyous dance on the corner. The beat that puts butts in motion. That bass drum beat is the heartbeat of New Orleans, the organ that pushes the blood through the arteries and veins of our city streets, and the biggest and strongest heart was Kerry "Fat Man" Hunter. When the bass drum was strapped over his shoulders and the mallets were in his hands, he let 'em know-loud, proud and undeniable was his style, and it's that style that's at the heart of For Fat Man, the new recording by the Preservation Hall Brass.

Canada has really been hitting a homerun so far for 2025. It’s more than just the big names from the realms of Rush, Harmonium, Klaatu, VOIVOD, and Maniege. But the ones that are keeping the legacy alive. You have; Half Past Four, Tumbleweed Dealer, Antoine Baril for his One-Man Medley’s (Genesis, Yes, ELP, and Rush) on YouTube, Blood Ceremony, Black Mountain, Crown Lands, and a new band that are keeping that progressive level pumping in the Vancouver area. That band is Brass Camel.

This incarnation of the Onward Brass Band played often in its early history at picnics, festivals, parades, and baseball games. It was under the leadership of Joseph Othello Lainez, a cornetist, by 1887, and quickly became as popular as the longstanding Excelsior Brass Band and Pickwick Brass Band. After 1903, Manuel Perez led the ensemble. The group typically held between 10 and 12 players, with three cornets or trumpets, two trombones, two clarinets, an alto horn, a baritone horn, a tuba, a snare drum, and a bass drum. Perez changed the group's name to the Imperial Brass Band in the middle of the 1920s; it disbanded in 1930. Among the group's members were Isidore Barbarin, George Filhe, Lorenzo Tio, Peter Bocage, George Baquet, and King Oliver.

The New Orleans brass band continuum stretches from the 19th century through to the present in a tradition passed on from father to son through the generations. Hired to accompany funerals, ceremonies, and street festivals, the music these bands played “just touch your heart, they were so beautiful”, reminisced Louis Armstrong. This album has all the ‘live’ exuberance of a N.O. street parade and features a cross-section of classic brass band repertoire – the religious hymn Glory Land the upbeat the funeral dirges, Leave Me Lord Me and In the Upper Garden, the folksy Lilly of the Valley and the up-beat jazzy pieces We Shall Walk Through the Streets, Take Your Burden to the Lord, Shake It and Break It and Olympia Special. A classic of the genre.

Push button bang present an original and unique take on brass and breaks, a massive selection of balkan inspired saxophone melodies and hard hitting live drum loops and hits. These loops area designed to provide real punch and head-nodding raw grooves to your productions. Suitable for styles from multi tempo breaks, left field trip hop, balkan beats, gritty raw live electronica Motown inspired raw pop beats, world music and more.

The most beautiful Classical Christmas Brass songs by Naxos Label.

“This album is a celebration of everything we thought we lost,” says Trombone Shorty. “It’s a celebration of all that we’ve been through and all that we’ve learned along the way. It’s a celebration of New Orleans.” Released twenty years to the day after Hurricane Katrina devastated the Crescent City, Second Line Sunday, the new collaboration from Trombone Shorty and New Breed Brass Band, is more than just a party; it’s a reflection on culture and tradition, on family and community, on survival and resilience. The songs here are steeped in the rich history and vibrant social fabric of New Orleans, and the performances are nothing short of ecstatic, fueled by raucous horns and intoxicating rhythms. The sequencing, meanwhile, is carefully curated to transport you into the heart of the action, tracing the emotional arc of a second line parade from its swaggering start to its funky, freewheeling finish. The result is a spiritual experience asmuch as it is an album, a joyous cultural travelogue that showcases some of modern New Orleans’ brightest stars paying homage to the scene that raised them, while at the same time pushing it forward with their own distinctive style and sound.