![]() The other two reasons are Kooper himself. The horns are one of the three primary reasons that Blood, Sweat & Tears is a such a fine, exemplary group. The sound and style of the band is the horn section.” It screams and cries and the band revolves around that alto sax. I wanted the alto because the alto can cry more than a tenor sax. Most rock bands don’t use a trombone or an alto sax. The instrumentation in the band is very strange even in terms of number of people. Now we listen to each other so well we can do nearly anything. A lot of the stuff isn’t written we make it up on the gig. We rehearsed the two parts of the group separately and then tied them together. “In addition to just riffing, we had to build a horn section which would be a strong, respected section above and beyond the band. ![]() “I set out to use the horns in an integral way,” says Kooper, the band’s leader. It is Al Kooper’s new band, an eight-piece group split in two halves: four men, Al Kooper, Steve Katz, Bobby Colomby and Jim Fielder, in a rhythm section (organ, guitar, drums and bass, respectively) and four men in the horn section, Fred Lipsius, Randy Brecker, Dick Halligan and Jerry Weiss.įor sometime now, musicians have been talking about incorporating horns into their sound - Butterfield and Bloomfield have already done it - but this is the first time a horn section has been used so strongly, so uniquely and tightly put together. Blood, Sweat & Tears is the best thing to happen in rock and roll so far in 1968.
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