< PreviousAfter what had to be a very tumultuous off-season, it was great to see The Cadets (above, Larry Eckert). I do have to say that the new uniforms remind me of a raspberry cheesecake with chocolate drizzle. You have to see the uniforms to understand. The back of the uniform is solid black and that gives a wonderful contrast when they turn around. The plume is taller than most, giving the corps a very tall and strong look. The show is “The Unity Project,” based on the concept that unity is part of what The Cadets are all about. “We are reminded that the singular whole is always greater than the sum of its parts,” said Dr. Drew Shanefield, artistic director of the corps. “S.O.S.” is the title of the Boston Crusaders’ (left, Pat Chagnon) 2018 program. The concept is about being stranded on a deserted island. The show is portrayed in three parts: Distress, Survival and Salvation. Boston uses what looks to be like the same flame from last year’s very successful show. This year a prop is a large compass that moves across the field. The guard is very strong and they portray the story. Amazing Grace was very emotional and powerful.The Bluecoats (top of next page, Pat Chagnon) show is called “Session 44.” It has the feel of a jazz club and man can this corps bring that type of show to life. Huge chairs are the big props for this year. They have some amazing soloists, both vocally and instrumentally. God Bless the Child is sure to be a song that I will continue to listen to. (I still listen to Madison’s version from the early 1970s.) Once again, the Bluecoats present a very energetic show.Carolina Crown’s (below, Pat Chagnon) show is the “Beast.” I guess it would be easy to say that it really is a beast of a show. The brass and percussion show off their tremendous talent throughout the show. My favorite part was If I Fell by Paul McCartney that featured a small brass ensemble of all females. I asked Matt Harloff, Crown’s brass guru, about the idea of the female brass ensemble and he said they had planned to do that before the show concept was even decided. They recognized they had some tremendous female brass players and wanted to feature them. The teeter totter effect of a prop, known as the “Beast,” gives the idea of a sacrifice to a beast at the conclusion of the production.Once again, Crown did the encore with an a cappella group, but this time the group was Voctave (right, Tom Siegfried). My personal favorite was The Impossible Dream. This still gives me goosebumps just thinking about it. Hats off to Crown for taking the time to learn and memorize new music, just for this encore performance. This corps truly gets part of what the activity is all about. n n nJuly 7, 2018 -- Landisville, PA . . . A gorgeous night at this site of the Buccaneers’ first show is located just West of Lancaster and resulted in a great evening with two alumni corps, a brand-new DCI SoundSport corps in exhibition and four DCA competitors in a return to Hempfield High School after a year’s absence.First up was the New York Skyliners Alumni (right, Pat Chagnon) with a spirited exhibition. Their 2018 production features classics from the annals of their history, with New York State of Mind, Puttin’ on the Ritz, a medley of Victory at Sea and America the Beautiful, Harlem Nocturne, Elk’s Parade, the exit medley of Slaughter on 10th Avenue and Lil’ Ol’ New York and, of course, ending with the Skyliners Signature. The crowd responded enthusiastically to many great soloists and that Skyliners snare line doing their thing they do so well.Up Next was a brand-new corps from New Jersey, Encorps (below, Raymond Fudge)! Participating in DCI SoundSport for now, the goal is to move into DCI competition soon. Their 2018 production is titled “This Is How We Do It!” The underlying story that builds through the show is about getting a reluctant member to commit fully to being a part of the corps. The production has a decidedly “Jersey” feel, with Roundabout by Yes and some very true-to-the- original rock classic musically and some nice Afro Cuban percussion grooves thrown in as well. Family is the ballad that has some well-thought-out pacing as it builds to the musical impact and a nod to Bridgemen’s past with a hint of Land of Make Believe noticed. The percussion was featured with in The Market Place that then led into And Love Goes On, building with a well-done finish that includes the front sideline banners being flipped to reveal an encouragement to support the first-year corps and buy t-shirts! The show is well-designed and, for the limited rehearsal schedule, allows for the performers to shine, especially musically. This new face in the crowd is off to a well-received start!First in competition was the Bushwackers (right, Larry Eckert) with their 2018 production, “Pablo!” The production began with recorded vocals helping set the Spanish feel and then the low brass brought the familiar rhythms of The Canyon to life, layering in all of the voices one by one, building to the DCA, Buccaneers host entertainment filled evening with variety of corpsby Jeff Ream, Drum Corps World staff (jeffream@gmail.com)first true impact moment of the show. The percussion was featured after the impact and when the brass re-entered, the corps played at a halt with the very active and colorful guard around them. They turned backfield to fade out to end the piece. Nature Boy changes the pace with a trumpet and trombone duet from behind the props and the timp picks up after a bass drum feature and builds to a visual block with the brass playing isolated attacks over the top of a very strong percussion book. White Rabbit starts with the front ensemble and tenors doing a clapping rhythm under a recorded Spanish guitar sample that sets up the battery percussion for an extended feature. At this point the brass was stationary and the guard was active on flags. When the brass re-enters, the low voices took the lead and the corps spread out with brass on side 1 and percussion on side 2, leading to some ensemble issues for this early in the season. The brass then returned to lead the corps to the conclusion of the show for now. Following Bush was Fusion Core (right, Chris Maher) with their 2018 program called “When I Grow Up . . .” At first glance seeing the guard is attired as little kids at play, you can see the show will be fun and mirthful. A recording of When I Grow Up is playing and the front ensemble starts the show with the guard role playing as little kids would do! The low brass starts the Silverado theme as the “kids” play cowboys, complete with horse sound effects. The build to the full corps impact was effective. Many sections were featured throughout the song and High Noon is heard as we have a good old-fashioned duel by the cowboys. A big rifle toss starts a nice, big, slow push on the catch. The corps proper condenses the form as the guard surrounds the corps here. A small brass ensemble is next back as the full corps pushes to the end of the piece in a company front for Magnificent 7 while the percussion splits the brass form and charged the front sideline. Jupiter changes the mood as the cowboys become spacemen, complete with an old-fashioned space helmet worn and sound clips of old NASA recordings. Musically, the piece builds to a nice, full-corps impact while the spaceman plants his flag on the moon.Abrams Pursuit takes us into firefighter territory, including a very active percussion break complete with siren sounds. The mood changes with the corps playing backfield, then as they turn front, the corps proper is on side 2 with the huge guard all on side 1. This leads to the corps moving center with the guard passing through them with eye-catching red flags. The corps builds to a company front pushing forward, with the guard on the rainbow assortment of flag colors, the drill splits up, only to reform into a company front as Magnificent 7 makes a return for the ending. Clad in a black version of the classic Cadets uniform, Cadets2 (right, Larry Eckert) entered the field with a huge look due to the spread visually. The 2018 program is “Industrial Awakening” and the props shaped like gears help sell the idea before they are even used. Vocal and piano start the show off, followed by a French horn solo staged out on the field and then the familiar On the Waterfront rhythm starts coming from the tenors and base drums. A trumpet solo enters from side 1 with the brass entering backfield, building to the famous hit with the corps on side 1 and the guard filling side 2. That Next Place changes the mood, with a unique approach with all of the keyboards on vibes. The mid-voices and baritones are featured and at the big impact the brass is all on side 1 with the guard on purple swing flags. The piece then works its way down to a mello/baritone duet. Factory-like sounds come from the speakers as Future Markets begins and the gears start to rotate with a well-done bass drum feature. The tenors and snares have their moments and then the entire battery has a fun jam feature. Horn whistles lead into trombones and low brass on side 2, with the full corps having a good, old-fashioned park-and-bark with the guard around them. Big Apple concludes the show with a big brass moment that leads into the tempo picking up and, when the fun musically began to happen on this night, the corps remained in place for the remainder of the show. Finally, the hometown Reading Buccaneers (above, Larry Eckert) entered the field. The “stage” is covered with props shaped like grass to help set the stage for “Here to There.” Getting from point A to point B isn’t easy and the “Bugganeers” show you how a corps of bugs makes it happen. As the show begins, the bugs are hidden in the grass and begin to emerge while sound clips of the great outdoors help set the mood. Hummingbird is a great meld of vocal drum speaks and drumming happening in a duel, as well as together by the tenors that had the crowd wowed. The trumpets enter with Hunting Wabbits, followed by a bass drum moment that brings in the low brass that builds to a huge full-corps impact. The pit and weapons have a moment, followed by several brass ensembles, complete with bug-jumping sound effects, then the snares get their moment bringing the full corps back in. The guard here stands out with their bright yellow costumes with blue flags and the brass plays a 16th-note run up and down through the voices that builds to the end of the piece. Stormy sound effects change the mood and the tempo picks up with a big, fast drill movement and a full sound from the corps to bring the storm to life. Things quiet back down with rain sounds as a mello brings the Danse Macabre melody to life. Many sections are featured, leading to some fast maneuvers that end in a block where the corps does body movements while finishing the piece. The storm comes back and the bugs scatter. A trombone solo is featured while the keyboards play with one hand and rain sticks in the other. The bugs start to emerge and, as the pit sounds bring them out, a series of flyswatters appear with comedic sound effects helping to see the bugs get swatted. Symphony 4 begins to build with the battery on side 2 and the vocal drum speak coming back. Organ sounds help usher a nice, slow push by the whole corps. The guard is on a giant picnic blanket and the tempo picks up with the sections re-entering the drill, one at a time, into another big impact with organ sounds and the bugs power to the end to reach their destination.Ending the evening was the Hawthorne Caballeros Alumni (right, Larry Eckert), with their 2018 show consisting of La Virgin de la Macarena, Tequila Mockingbird, El Boro, Cha Cha Cha Flamenco, Concierto de Aranjuez and the Caballeros Signature Finale. Featuring a nice amount of 1970s and early 1980s drill, great solo work included tdwo percussion features and even two pinwheels during the legendary Rumps in the closer. The Cabs Alumni had the crowd in the palm of their hands from the moment the iconic streetbeat kicked in following the Bull Call announcing their presence.A final thought . . . the longtime “voice of DCA,” Fran Haring (left), announced during the off-season that he was stepping back from as many shows as he has, possibly including championships. Fran announced for DCA since 1983 and to all of us that marched during those years, that voice was the one you always wanted to hear. As this is most likely the last chance I will have to hear his voice ring through the speakers, I just want to thank him for so many great moments for all of DCA with his voice guiding us through it all! n n n*Top to bottom, left to right) Beech-es, Christchurch Ashton, Comets Performance Ensemble, Lanesfield Cadets, Liberty Drum Corps, Phantom Knights, Stafford Brigades, Thurrock Marching Brass, Spalding Marching Ambassadors and Warwick Girls.British Youth Band AssociationJuly 8 • Corby, NorthamptonshireUnited Kingdomphotos by Glenn RileyJuly 6 and 7, 2018 -- Vancouver and Renton, WA . . . The Santa Clara Vanguard headlined a group of seven World Class and two Open Class corps at this pair of Western DCI stops. It was the largest number of top-level corps to perform at a show in Washington or Oregon since 2007. For the Oregon Crusaders, Seattle Cascades, Columbians and The Battalion, these shows were their first performances of the season.The Santa Clara Vanguard (right, Chris Maher) came to Washington state after a successful California tour. Visually, the horns and percussion have cream-colored uniforms with a “V” on it. The color guard has orange and yellow uniforms. The corps makes use of a number of mobile rectangular platforms of different sizes and heights that look like scaffolding. They fit within each other like nested Russian dolls, allowing them to pack or unpack them to reconfigure the field for different visual effects throughout the production.“Babylon” begins with the main part of the corps clinging to the packed platforms on the left side of the field. After a minute-long introductory musical statement by the front pit, the full power of Vanguard’s horn line is unleashed. Musically, their show is a roller coaster ride that is a combination of technical passages, a powerful ensemble sound and extraordinarily talented soloists. Percussion and horns form a seamless musical unit and the pit percussion provide a soothing contrast and respite to the overwhelming volume of the horns. Overall, the show is a jazzy stream of consciousness that ebbs and flows organically.Visually, the mobile platforms are used to create different contours on the field for the performers. For example, the smallest of the platforms have extending ramps, whereas the larger platforms can be arranged like a staircase. At one point in the show, the 12 tubas are arranged like an upside down V on an arrangement of the platforms on the front left side of the field. Throughout the color guard executes difficult rifle and saber tosses. During the percussion solo near the end of the show, the color guard and horns dance hip-hop style. There are even gymnastic moments.This is a show that will likely have great crowd appeal and this version of the Vanguard is the most talented fans have seen in a long time.The Blue Knights (above, Chris Maher) are hardly recognizable in their purple costumes. For the horns and percussion, they have horizontal stripes and there are different arrangements of dots on the tops. On the back SCV leads seven World Class corps at pair of Pacific Northwest tour showsby Donald Chinn, Drum Corps World staff (donald_chinn@yahoo.com)is a phoenix.Their show is called “The Rise and Fall.” A significant part is devoted to the music of “The Rite of Spring” by Igor Stravinsky. Led by a strong upper brass sound, the music is aggressive and frenetic at times. The middle part features a beautiful baritone solo, followed by 24 trombones in a loud, dissonant passage, which then leads to a slow buildup to a musical climax with the horns in a circle and the color guard in the middle. During a percussion solo toward the end of the show, the horn line dances.The phoenix on the back of the costumes are on a background of bright yellow, so when corps faces backfield, there is a dramatic visual change. The show features a number of mobile silver and gold triangular forms. They are configured throughout the show to make pyramids and other forms. The color guard changes their look several times, providing changes in the visual texture. The J-shaped “rifles” with a loop in the middle that were used last year make an appearance. The finale features big bright flags.This year, the Blue Knights continue to find creative ways to use color, texture and design to create a different and fresh field performance.The Academy (above, Chris Maher) visited the Northwest for the first time ever. The upper-70s weather was a pleasant contrast to what the members are used to. Their cleverly titled show, “Academic,” is a portrait of education, school and the power and importance of the mind and creativity. It is a bit more serious than the corps’ shows the past few seasons.To set the school environment, the corps uses mobile transparent white boards and wooden desks. The desks provide something for performers to stand on, but also a place to store color guard equipment. The uniforms resemble the look of what students would wear at a prep or private school.The music consists of many school-related themes. It opens with a grandiose version of Annie Lisle by H.S. Thompson and continues with Academic Festival Overture by Brahms. The middle section features Overture to the School for Scandal by Samuel Barber. This work was written to capture the spirit of the farcical play “The School for Scandal” by Richard Brinsley Sheridan. Of course, The Academy plays only a small part of the piece and the show features a beautiful solo and well-executed, delicate passages.They then perform segments of Steve Reich’s Four Sections that illustrates the different parts of an orchestra. Within this part of the show is a drum solo and it includes a vocal feature where they play with the phrase “I think, therefore I am.” Perhaps vocals are the fifth section?The final part consists of Keating’s Triumph from the movie “Dead Poet’s Society.” In a rousing finish, corps members stand on the desks and shout “O captain, my captain!” Could there be an “I am Spartacus!” moment during finals week in Indianapolis? The Academy did an excellent job portraying the world of school and mind.Symbolic of how the Troopers (left, Russell Tanakaya) have transformed themselves in the past decade or so, their show, “The New Road West,” tells a story of adventure and trailblazing to parts unknown. The corps begins in the upper right corner of the field, representing the Northeast. They move toward the center of the field in a traditional block. Scattered throughout the field are six large compasses with a W pointing to the right. As the show progresses, the general flow of the drill moves toward the left and one by one, each compass changes to have its W pointing to the left.The middle section features a lovely ballad, Canyon Echoes by Robert W. Smith. The corps incrementally executes a uniform change during Both Sides Now by Joni Mitchell. Portions of the color guard change during a sequential saber toss. At one point in the Joni Mitchell piece, half the corps (on the left) are in their new uniforms and the other half (on the right) are still in their original uniforms.The show also features a number of prominent drill moves. There are two sunbursts, one at the beginning of the show and one at the end. Also throughout, the corps forms a curved arrow that points to the left. The Troopers end with a big finish, which includes short references to their past, including How the West Was Won and Magnificent Seven. The show, like the corps, looks both to the past and the future.This year, Pacific Crest (right, John Matter) has taken on Hollywood as the subject of their show called “Here’s to the Ones Who Dream,” using music from the popular movies “The Artist” and “La La Land.” They set the stage early with large lamp posts across the field. These also serve as equipment holders. The color guard is dressed in fresh and breezy pastel colors.The corps effectively reproduces the main musical themes in the two movies, which depict the emotions and challenges for aspiring actors. There is a reference to the tap dancing scene in “The Artist,” which includes four screaming trumpets, but much of the show comes from “La La Land.” The ballad, The Fools Who Dream (the audition song from the “La La Land”), is a highlight of the show. Besides being a wonderful song, the horn line does some nice footwork.Overall, the show is jazzy, with lots of dancing. With a big Hollywood ending, Pacific Crest has found the right combination of elements for an entertaining show.In recent years, the Oregon Crusaders (left, Russell Tanakaya) have found unusual themes to explore. This year in no exception. They are using the music of the movie “The Shining” to depict the emotions related to homicidal madness. The color guard’s light blue outfits are childlike. You get the feeling at the start their show, called “Redrum,” that something is not quite right emotionally. Those suspicions are confirmed with the ominous music, even before the corps officially starts their show.Pieces such as Music for Strings, Percussion and Celeste by Bartok and Danse Macabre by Saint-Saëns set a dark tone. Danse Macabre in particular is a notably good mixture of keyboards, battery percussion and horn line, each taking turns in the spotlight.Visually, the corps wears orange and black uniforms. There is a large tarp on the right side of the field that says, “All work and no play makes Jack a dull boy,” another reference to the movie. The posture of the color guard, especially their tilted heads, contribute to the creepy atmosphere. Flags with an image of actor Jack Nicholson, who starred in the movie, are featured toward the end.Executive Director Michael Quillen is optimistic about the direction the corps is going. “The corps this year really turned a corner and is on a new path for excellence, putting on a good show and providing a really great experience for the members.” Besides putting on a good show, one of the long-term goals is to instill a sense of excitement about the organization so that members stay with the corps.This year’s Seattle Cascades (right, Russell Tanakaya) show is called “What Goes Around.” As the title suggests, there is a lot of circular motion. The corps uses rotating white platforms of various sizes to feature performers. The drill features frequent looping and cyclical motion.Musically, the show begins with original music by Key Poulan, Micah Brusse, Alex Brinkley and Kaela Shoe. Also featured is What Goes Around, Comes Around by Justin Timberlake and Around the World (written by Bangalter and de Homem-Christo, performed by Daft Punk). In the opening section, there is a technical musical passage where the melody passes from the upper brass to the middle brass to the lower brass and then back up. The middle segment features unusual reverberation effects and several soloists. The final section features a percussion solo and the corps dancing. Throughout, Ave Maria serves as an anchor point -- almost a punctuation mark -- to each part of the show.Visually, the corps wears light blue tops and white pants. The platforms help to focus attention on different performers as well as providing centers for the circular drill.Michael Tran, in his third year as executive director, is eager to get the season going. “This show has been really exciting to put together. The thing that’s most interesting about how we produced our show this year is that we actually started with all the visual stuff first.” As a result, the visual program has more cohesion than in previous years. He is also appreciative of all the hard work the staff and the members put in to make this all happen. “I don’t do anything. It’s everybody else putting this thing together. A huge thanks to all of them.”Next >