"We’re like the people’s band," says Bennie Pete, the leader and tuba player of the Hot 8 brass band. "We pay a lot of attention to our followers. They’ll request songs and the next time they hear us we’ll be playing them. That really shakes people up."
The Hot 8’s long-awaited debut recording, Rock With The Hot 8, reflects this desire to satisfy its fans. Initially slated to include all original material, the band’s followers insisted that it include street favorites like Marvin Gaye’s "Sexual Healing" and Maze’s "We Are One" that are a mainstays of the group’s second line parade repertoire. Treated with a brassy sound, they kick in with gusto aside the bands’ pumped up signature street anthems such as the title cut, "Rock with the Hot 8," and the memorably melodic "I Got You."
"We have to give them what they want," Pete explains.
For the last decade, the Hot 8 has been burnin’ up the streets with its big sound and strong vocal presence. While the uninitiated sometimes find it difficult to decipher who’s who on a second line parade route, the towering six-foot six-inch Pete, topped by the big bell of his tuba, announces that the Hot 8 is on its way.
The Hot 8, which is celebrating its tenth anniversary, came into existence when the Looney Toones and Highsteppers brass bands decided to join forces. Both bands had experienced diminished ranks as the high school students moved on to get married or attend college, making the merger necessary. Pete, who began his brass band experience in 1991 as a member of the Looney Toones, is one of four original Hot 8 brass band members heard on the disc. The Toones recruited the tuba playing middle schooler with the convincing statement: "You’re gonna get paid to play."
Like all young brass bands, the Hot 8 was initiated on the streets, playing the Sunday afternoon second line parades presented by this city’s social aid and pleasure clubs. The group musically sparred with parade vets like the ReBirth and New Birth brass bands and gained a strong reputation and following of their own. The Hot 8, which boasts ten members ranging in age from 21 to 41, continues as a power on the streets and in recent years has led more parades than any other ensemble.
It’s out there among the crowd that musicians often receive inspiration, chants and the like that they incorporate into a song. For instance, Pete remembers when the Hot 8 introduced the late trombonist Joe Williams’ "Rastafunk."
"We had been rolling for a whole mile on a parade playing brass band tunes," Pete recalls. "When we got to the stop, we didn’t stop-we actually came in with the instrumental reggae tune and everybody got laid-back. Everybody just went, ‘Ahh’-it was refreshing. The crowd started chanting, ‘the ghetto.’
"The ghetto" became the core of the lyrics to "Rastafunk." The Hot 8 usually saves the strong, skanking tune for the end of a parade, relying on its sway to mellow the second liners. Its inclusion in the band’s songbook and on the album demonstrates the continued link between contemporary brass bands and reggae.
"There’s something about the reggae groove," Pete confirms.
Lots of vocal numbers define the Hot 8’s sound on the street, at club dates like its regular Sunday night gig at Patio 79, at its many private events and on the new CD.
"We try to entertain the people," says Pete, who finds that it’s easier to get audiences involved when there are vocals. "People remember lyrics," he suggests, adding that when new members join the group he makes it clear that they have to do more than just blow their horns; they have to sing.
On two tunes, "Sexual Healing" and drummer Dinerral Shavers’ "Get Up," the group even steps out to sing a cappella accompanied only with clapping. It’s a not an easy technique but the Hot 8 makes it work.
"It’s something you can feel," says Pete, who, again, attributes its use to pleasing a crowd. "We want everybody to participate."
Though the Hot 8 loves and respects the second line parade tradition that has been its mainstay, it has some frustrations about its limitations, particularly financial ones as explicitly told on the tune "Skit #1." The band is ready to expand into other endeavors and feels equipped to do just that. It hopes to take further advantage of the talents found within its membership. For instance, the eldest musician, trumpeter Raymond Williams, was once a music teacher and brings his expertise in theory to the group. He’s also into swing which the Hot 8 hope to incorporate into the repertoire. The band plans to have trumpeter Al Huntley do more rappin’ and looks to other band members who have technical skills in making hip-hop tracks.
"We’re using the Hot 8 brass band to tap into other venues and to get the attention we need," says Pete. "We know we can’t be walking up these streets for the rest of our lives. I’m a man now," declares the 28-year-old tuba player. "It’s more than just about fun."
But, of course, as heard from the first knockout punch of the horns on Keith "Wolf" Anderson’s opening sizzler "Jisten To Me" the music is fun and the party is rollin’.
WORLD JAZZ MONTH
It’s a month of exploration at Snug Harbor with artists coming from distant shores to give New Orleans a taste of what’s happening beyond our environs. On the whole, the musicians’ names are probably unfamiliar to most but the ardent world jazz fans but that’s all the more reason to check them out.
Sunday, March 13, marks the arrival of Brazilian pianist, accordionist and composer Marcos Nimrichter with his adventurous group. Fans of multi-instrumentalist Hermeto Pascoal might note that Nimrichter has collaborated with the highly touted veteran. The style is forward-thinking, straight-up jazz topped by Nimrichter’s impressive and often elegant piano.
Another pianist, Italian Angelo Canelli, makes a return trip to New Orleans leading a trio on Thursday, March 17 with New Orleans drummer Jason Marsalis and bassist Roland Guerin.
Mario Canonge, who was born in Martinique in 1960 and now resides in France, offers jazz with a Caribbean accent on Sunday, March 20. From the recorded work I’ve experienced this group plays hot with lots of rhythmic involvement while definitely remaining in the jazz world. Canonge has the ability to fly. The band quiets down with some beautiful straight-ahead ballads. I wouldn’t miss this exciting opportunity.
Impressive too is the chance to experience the 11-piece, Dutch ensemble the Willem Breuker Kollektief. On saxophone and clarinet, Breuker leads his contemporary group that speaks of its European origins in drawing from classical sources as well its wide-open approach. It moves with spirit from the whimsical to the thought provoking. At times there’s a hint of klezmer-type jubilation and a smile provoking campiness-intriguing.
