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ORIGINAL: DaveW

Got a link?

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ORIGINAL: DaveW

I remember "Our House" but I do not recall their horn section. I will take a look.

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ORIGINAL: k_ramone

(i know i'm kinda taking this in a sort of veered off path, from the op)
and on the note of 3rd wave ska/ska-core... i'd suggest checking out (hearing at the very least) VooDoo Glow Skulls. they were from so-cal. very fast punk rock, but their horn section was just BLISTERINGLY fast. almost rediulous. listen to the song Bale De Los Locos (or is it Beles De Los Locos? i forget my spanish conjegation) to hear what i'm saying. i was never a fan... but i do remember how crazy the horns were in teh verses of that song. at leats i thought so 13 years ago lol

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ORIGINAL: uncabeeil

And then there's this band named after a certain midwest city that defined horns in a rock band. Before Chicago the only horn in a rock song was a saxophone.

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ORIGINAL: nealmorsefan

Herb Albert and the Tijuana Brass?

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ORIGINAL: uncabeeil

Three words: Earth, Wind, & Fire.
Three more words: Tower of Power

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ORIGINAL: uncabeeil

Three words: Earth, Wind, & Fire.
Three more words: Tower of Power

Those two bands have two of the hottest horn sections EVAH! Tower of Power plays stuff so complex you can't find "one" to start counting time. And the Phoenix Horns of EWF were just the tightest you'll ever hear. Both of them carried funk to the top of the charts in the 70's.

And then there's this band named after a certain midwest city that defined horns in a rock band. Before Chicago the only horn in a rock song was a saxophone.

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Morphine's instrumentation was quite unusual: Sandman's primary instrument was a two-string bass guitar (with both strings usually tuned to a 5th or octave interval) played with a slide; however, on the group's records he added touches of guitar, piano, electronic organ, and other self invented guitar instruments such as tritar (three stringed guitar). Colley played primarily baritone saxophone, along with soprano or tenor saxes, and the rare bass saxophone, and he sometimes played two saxes at once, a la Roland Kirk; he also played occasional percussion, and Dobro on a B-side.

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The Night is quintessential three AM music. Gloomy, slinky, devious and suave, these songs sound as if they were written specifically for a misty, mysterious night in New York City or Chicago. It is a sound that Morphine had been exploring ever since their formation in 1992. The band's instrumentation of Billy Conway's tightly-trimmed drumming, Dana Colley's wavy saxophone and Mr. Sandman's murky, two-string, slide bass, along with his deep, brooding voice and detached, downhearted lyrics have always echoed with full moons, lost souls and ambiguous intentions.

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ORIGINAL: ManimalX

Once upon a time I picked up an album by the blues/jazz/rock group Morphine called The Night (their 5th and last album recorded shortly before the death of their core member and released posthumously), and still love listening to it when I'm in a late-night mellow mood. They were a trio of bass/vocal, sax, and percussion. This particular album has a very stripped down sound, predominantly featuring a 2-string bass played with a slide and a variety of saxes over various jazzy brush percussion. Here is Wiki's description:

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Morphine's instrumentation was quite unusual: Sandman's primary instrument was a two-string bass guitar (with both strings usually tuned to a 5th or octave interval) played with a slide; however, on the group's records he added touches of guitar, piano, electronic organ, and other self invented guitar instruments such as tritar (three stringed guitar). Colley played primarily baritone saxophone, along with soprano or tenor saxes, and the rare bass saxophone, and he sometimes played two saxes at once, a la Roland Kirk; he also played occasional percussion, and Dobro on a B-side.

I actually couldn't think of a way to describe the very unique album, but a reviewer on Amazon.com wrote it perfectly:

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The Night is quintessential three AM music. Gloomy, slinky, devious and suave, these songs sound as if they were written specifically for a misty, mysterious night in New York City or Chicago. It is a sound that Morphine had been exploring ever since their formation in 1992. The band's instrumentation of Billy Conway's tightly-trimmed drumming, Dana Colley's wavy saxophone and Mr. Sandman's murky, two-string, slide bass, along with his deep, brooding voice and detached, downhearted lyrics have always echoed with full moons, lost souls and ambiguous intentions.

You owe it to yourself to at least check out a few songs. I would recommend "The Night", "Souvenir", "Top Floor, Bottom Buzzer", or "A Good Woman Is Hard to Find"... though the album is something special as a whole.

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Harry Connick Jr.'s Blue Light, Red Light (horns saturate the album, from wild ["Just Kiss Me"] to oozing sentiment ["Jill"])

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ORIGINAL: uncabeeil

Do we include the big bands in this discussion? Basie, Ellington, the Dorseys, Miller, Goodman, Jimmy Lunceford, and dozens of others that helped distract radio audiences from the ravages of WWII.

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ORIGINAL: uncabeeil

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Harry Connick Jr.'s Blue Light, Red Light (horns saturate the album, from wild ["Just Kiss Me"] to oozing sentiment ["Jill"])

Definitely his best album. I saw the tour and walked away mighty impressed with HC. I had thought he was just a Sinatra wannabe, but the man has massive talent. He sings, arranges, plays piano & drums, dances a mean soft shoe, and can even act a little. And the band was smokin' hot.

Do we include the big bands in this discussion? Basie, Ellington, the Dorseys, Miller, Goodman, Jimmy Lunceford, and dozens of others that helped distract radio audiences from the ravages of WWII.