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Horne Electric Band - Horne Electric Band (CD)

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As with many bands that have developed over the last decade, Horne Electric Band created their presence on the New York music scene primarily via social media platforms for the first years of their development. A series of live and studio videos via youtube, facebook, and Instagram served to document and promote the band’s catalog and musical identity. In the Fall of 2017, bassist and collaborative force Massimo Biolcati suggested that after 30+ live shows, the Horne Electric Band overdue for a full length studio album. From the start, the concept was to delve deeper into production elements without losing the organic live feel and sense of interaction of which is central to the band’s sound. For the record, many arrangements were reworked and re-arragned to lend themselves to the studio recording. 

The first 2 recording sessions entailed rhythm section only- bass, drums, and malletkat playing to a series of live to a click track session with sectional cues. “We had to rethink the process, because we knew we didn’t want or need just another live recording” says Tyler Blanton, vibraphonist and primary composer for the group. Bunker studios in Brooklyn was decided as the best space to record both due to it’s great live tracking space and direction of engineer John Davis. “John is a great bass player and has played and produced albums with people like JoJo Maher for years, so we knew he’d have the technical angle covered.” 

“We wanted an organic feel from the rhythm section which could only be arrived at with all of us playing together in real time, but we also know we needed things more structured, metered out...etc.. because we planned to add a lot in the production phase” say Biolcati. “It was new for me” says Blanton “there is some degree of improv and breathing together, but we were responsible for laying down everything neatly to a click track and keeping the forms tight...we didn’t want the rhythm section tracks to ramble on or be too loose to work with later on.” 
Two consecutive tracking days layered next with each pair of horn sections. “We had 2 trumpet/tenor sax teams: Mike Maher and Chris Bullock of Snarky Puppy, and Yacine Boulares and Wayne Tucker. It’s nice because they both have a sectional identity and when one group is out of town, as the Snarky Puppy guys often are, the other can often jump in” notes Blanton. 

Third step of the process involved layering synths and overdubbing solos both acoustic and midi based. “This was our chance to really explore some sounds and think bigger than we can for the live shows. Jon Davis was immediately able to identify what we were going for and helped us get sounds we had in our ears onto the record.” says Biolcati. Lastly, a handful of guest artists features put the final touch on the album: saxophonist Chris Potter, John Ellis, and Donny McCaslin, and guitarist Lionel Loueke and John Scofield. “There was one track that had a very 70’s funky vibe and Immediately thought it’d be the perfect thing to hear Sco over” states Blanton, “he jumped right in and it immediately felt great.” “We wanted to use the guest soloists to add sonic variety and complexity to the record, not so much as a major “feature solo” per se” says Biolcati. “It feels good from start to finish, that’s what I love most about this group in general and I feel like the record really captures that” states drummer Corey Rawls.

I'll Put on Pants

Freedom Fried (feat. John Scofield)

He Fixes the Cable

Magnum's Stash

And in That Order (feat. Chris Potter)

Cunning Linguist (feat. Lionel Loueke)

Dudes in Flannels

Stixx Lixx (feat. John Ellis)

Babysmacker (feat. Donny McCaslin)

The Wah Wah Song