freedom
7th March 2007, 09:43 PM
The Experience's exclusive interview with the leader of The Hornheadshttp://www.thedawnexperience.co.uk/images/mbn.jpg
and The Artist's horn section The NPG Hornz!
TE) How did the NPG Hornz / Hornheads come together ?
MBN) I guess this is technically a 2 part question. We all knew each other from working together in different combinations as freelance musicians in the Twin Cities. The NPG Hornz came out of Brian, Steve and I working on a Michael Bland solo project. Later that year Michael asked us to add a couple of horns to the section and do an instrumental thing with the NPG.
They were currently rehearsing for the Diamonds & Pearls tour, but had some down time because Prince was in Paris. My understanding was that it was a possible warm up act for that tour. I did some 5 horn arrangements of some Madhouse material and we rehearsed a few times at paisley. (I will continue this story as the answer to the next question). The Hornheads were created around the end of the Act II tour. We had some down time and decided to get together twice a week to keep tight. We were also concerned about the always uncertain work situation at Paisley Park and wanted to put together a demo of some sort for future work possibilities with other artists if the need arose. Brian started working on a solo project for NPG records and decide he didn't have time for this project, so we replaced him with our current tenor sax, Ken Holmen.
TE) How did O(+> approach you to work for him ?
MBN) The Madhouse thing we did with the NPG was being taped and sent to Prince in Paris. When he returned from Paris, he called us in to rehearse with the band. We jammed on the Madhouse stuff for a while and the started working on some new material which turned out to be for the "O{+>" album. Our first day with him was a 12 hour rehearsal and recording day. We did that a few more times, then started rehearsing with him for the D&P tour and later with Carmen Electra as well.
TE) Who thought of using "Intermission" and "New Dell Inn" during some of the concerts played in 1993-1995 ? (ie "New Dell Inn" at the end of "Billy Jack Bitch"). Was it yourself, the band or O(+>?
MBN) "Intermission" was actually the first Hornheads thing I wrote. It wasn't intended to have rhythm section on it. We played it for sound check at a rehearsal once while Prince was out of town and Levi decided to extend it and record it for possible use on the 1st NPG album. Prince decided the NPG album was complete, but continued using a portion of it at the end of some club shows. For "BJB", we were recording some stuff for The Gold Experience, and while they were changing tapes, we played Prince "Well You Needn't" and "New Dell Inn" which I had recently completed. Later on he decided to use them in "BJB". "Well You Needn't" didn't make the final version.
TE) What kind of musical background do you have ? Obviously we know Kathy and Dave in the Hornheads are related but does your family have a musical background ?
MBN) Kathy and Dave are married. Both my parents families were musical and we listened to a lot of music in my house. My siblings and I all had piano lessons at a fairly young age, but I didn't stick to it for very long. I studied music through high school and 2 years of college before moving to Mpls. I think I'm the only member of the Hornheads that doesn't have a music degree.
TE) How do you think the 2nd Hornheads album differs from the first? How have you advanced?
MBN) They had different purposes. The 1st one was a demo to show off the section. We didn't really intend on selling it. I think the 2nd one is more musical and intended for a wider audience. (It's also quite a bit longer.)
I think I have a better idea how to write for this ensemble now. It was a lot of trial and error at first since this is somewhat of a unique concept. I also have a better idea how to make the arrangements playable live without killing us. The music on the first CD is very difficult to pull off live.
TE) If you had to choose one album or one song to listen to over and over on a desert island, what would it be ?
MBN) That's an impossible question to answer. I suppose the best way to answer is by listing some of the CDs I've played to death over the years. "Kind Of Blue" and "In A Silent Way" - Miles Davis, "Bien Sabroso" - Poncho Sanchez, "Blues And The Abstract Truth" - Oliver Nelson, "Saxophone Colossus" - Sonny Rollins, various Tower of Power, Earth Wind And Fire, Chicago, and Blood Sweat and Tears. I love horn bands. I also have listened to a lot of big band. Stan Kenton's band was very important to me growing up. He had my 2 favorite trombone players as members over the years, Frank Rosolino and Carl Fontana. Also Count Basie and Duke Ellington. I can't leave out Ray Charles either. The more I think about this, the more names I come up with. If I were heading to an island, I'd have to throw them in a pile, let fate decide and just close my eyes and grab one.
TE) If you had to choose one album or song by O(+> or Prince , what would it be ?
MBN) That's tough too. I'd probably grab the "O{+>" album. That one has the most horns and some of my favorite songs.
TE) How do feel when you are touring with O(+> ? Tired, excited, frenetic??
MBN) YES!
TE) What has been the high point, for yourself, of touring with The Artist/Prince & the NPG ?
MBN) The shows that stand out in my mind are the very 1st one at the Tokyo Dome, the 1st show in Australia, the outdoor and last show in Australia, and the Wembley Stadium show. I forgot what my starting note was at Wembley!
TE) Do you feel jazz is an important musical philosophy in todays techno/acid/speed garage/handbag generation ?
MBN) I don't know. As you can tell by my list of favorite CDs, I don't follow the pop music scene very closely. I just do what I do and hope there is a place for it.
TE) Is there any musician living or dead that you (solo or as a group/ensemble) wish to work with? Why?
MBN) Alive, maybe Sting. He's a great song writer and musician and his music works well with horns.
Dead, probaly Miles or Ellington. They were both so amazingly creative. I feel very fortunate to have done so much with The Artist. I think history will hold him in similar regard once time lets the quirkiness of his personality fade away and lets the music stand on it's own merit. So to be part of such an amazingly creative enviornment is quite an honor.
TE) Have you heard Emancipation? What did you think of it, and what's your favorite song from it?
MBN) There is a lot to take in on those 3 discs. I really haven't sat down and absorbed it all. My favorite song is of course one with horns on it. I really like "Sleep Around" and was very pleased with the horn arrangement
I did on that one.
TE) Have you heard Crystal Ball? What did you think of it, and what's your favorite song from it?
MBN) I've only heard "Rippop" and "2morrow" which I did the horns for. I think they're both cool.
TE) Do you plan on working with The Artist in the future?
MBN) We've done about 10 or 12 tracks in the last 2 months (that's all I'm saying!)
TE) Do you play any other instruments? What do you find special about the trombone and why is it your main instrument of choice?
MBN) I play a little piano and some trumpet. I had a lot of success on trombone when I was young, so I guess I just ended up staying with it. It's one of those choices you make as a child that probably doesn't have any specific
reasons.
TE) A lot of artists these days seem to be going for the independent option and are now releasing/distributing their music exclusively on the Internet. This can prove difficult for a lot of kids who don't have credit cards (or even access to computers) to purchase the latest CD of their favorite artist. Do you believe that selling music exclusively down the Internet is the future. Could there be an alternative and effective option to distribute your music that will be both beneficial to the artist and the fan, without the use of credit cards or middlemen?
MBN) I don't really know how all this is going to shake out. Technology will continue to direct these thing. As far as the younger market getting the stuff, I don't know. Maybe parents will end up having a little more control again. I not sure if that's good or bad.
TE) What are the future plans/projects for yourself and The Hornheads ?
MBN) We've got some jazz fests and other concert performances coming up. I'm going to see if we can get with a label and maybe start doing the big US and European jazz fests. We'd love to get back to Europe some day. I've just been too busy to really follow through on that lately.
...Interviewed by "The Experience Team" Dolphine, "Peebee", Simon and Freedom - Feb '97
© 1998 The Experience
and The Artist's horn section The NPG Hornz!
TE) How did the NPG Hornz / Hornheads come together ?
MBN) I guess this is technically a 2 part question. We all knew each other from working together in different combinations as freelance musicians in the Twin Cities. The NPG Hornz came out of Brian, Steve and I working on a Michael Bland solo project. Later that year Michael asked us to add a couple of horns to the section and do an instrumental thing with the NPG.
They were currently rehearsing for the Diamonds & Pearls tour, but had some down time because Prince was in Paris. My understanding was that it was a possible warm up act for that tour. I did some 5 horn arrangements of some Madhouse material and we rehearsed a few times at paisley. (I will continue this story as the answer to the next question). The Hornheads were created around the end of the Act II tour. We had some down time and decided to get together twice a week to keep tight. We were also concerned about the always uncertain work situation at Paisley Park and wanted to put together a demo of some sort for future work possibilities with other artists if the need arose. Brian started working on a solo project for NPG records and decide he didn't have time for this project, so we replaced him with our current tenor sax, Ken Holmen.
TE) How did O(+> approach you to work for him ?
MBN) The Madhouse thing we did with the NPG was being taped and sent to Prince in Paris. When he returned from Paris, he called us in to rehearse with the band. We jammed on the Madhouse stuff for a while and the started working on some new material which turned out to be for the "O{+>" album. Our first day with him was a 12 hour rehearsal and recording day. We did that a few more times, then started rehearsing with him for the D&P tour and later with Carmen Electra as well.
TE) Who thought of using "Intermission" and "New Dell Inn" during some of the concerts played in 1993-1995 ? (ie "New Dell Inn" at the end of "Billy Jack Bitch"). Was it yourself, the band or O(+>?
MBN) "Intermission" was actually the first Hornheads thing I wrote. It wasn't intended to have rhythm section on it. We played it for sound check at a rehearsal once while Prince was out of town and Levi decided to extend it and record it for possible use on the 1st NPG album. Prince decided the NPG album was complete, but continued using a portion of it at the end of some club shows. For "BJB", we were recording some stuff for The Gold Experience, and while they were changing tapes, we played Prince "Well You Needn't" and "New Dell Inn" which I had recently completed. Later on he decided to use them in "BJB". "Well You Needn't" didn't make the final version.
TE) What kind of musical background do you have ? Obviously we know Kathy and Dave in the Hornheads are related but does your family have a musical background ?
MBN) Kathy and Dave are married. Both my parents families were musical and we listened to a lot of music in my house. My siblings and I all had piano lessons at a fairly young age, but I didn't stick to it for very long. I studied music through high school and 2 years of college before moving to Mpls. I think I'm the only member of the Hornheads that doesn't have a music degree.
TE) How do you think the 2nd Hornheads album differs from the first? How have you advanced?
MBN) They had different purposes. The 1st one was a demo to show off the section. We didn't really intend on selling it. I think the 2nd one is more musical and intended for a wider audience. (It's also quite a bit longer.)
I think I have a better idea how to write for this ensemble now. It was a lot of trial and error at first since this is somewhat of a unique concept. I also have a better idea how to make the arrangements playable live without killing us. The music on the first CD is very difficult to pull off live.
TE) If you had to choose one album or one song to listen to over and over on a desert island, what would it be ?
MBN) That's an impossible question to answer. I suppose the best way to answer is by listing some of the CDs I've played to death over the years. "Kind Of Blue" and "In A Silent Way" - Miles Davis, "Bien Sabroso" - Poncho Sanchez, "Blues And The Abstract Truth" - Oliver Nelson, "Saxophone Colossus" - Sonny Rollins, various Tower of Power, Earth Wind And Fire, Chicago, and Blood Sweat and Tears. I love horn bands. I also have listened to a lot of big band. Stan Kenton's band was very important to me growing up. He had my 2 favorite trombone players as members over the years, Frank Rosolino and Carl Fontana. Also Count Basie and Duke Ellington. I can't leave out Ray Charles either. The more I think about this, the more names I come up with. If I were heading to an island, I'd have to throw them in a pile, let fate decide and just close my eyes and grab one.
TE) If you had to choose one album or song by O(+> or Prince , what would it be ?
MBN) That's tough too. I'd probably grab the "O{+>" album. That one has the most horns and some of my favorite songs.
TE) How do feel when you are touring with O(+> ? Tired, excited, frenetic??
MBN) YES!
TE) What has been the high point, for yourself, of touring with The Artist/Prince & the NPG ?
MBN) The shows that stand out in my mind are the very 1st one at the Tokyo Dome, the 1st show in Australia, the outdoor and last show in Australia, and the Wembley Stadium show. I forgot what my starting note was at Wembley!
TE) Do you feel jazz is an important musical philosophy in todays techno/acid/speed garage/handbag generation ?
MBN) I don't know. As you can tell by my list of favorite CDs, I don't follow the pop music scene very closely. I just do what I do and hope there is a place for it.
TE) Is there any musician living or dead that you (solo or as a group/ensemble) wish to work with? Why?
MBN) Alive, maybe Sting. He's a great song writer and musician and his music works well with horns.
Dead, probaly Miles or Ellington. They were both so amazingly creative. I feel very fortunate to have done so much with The Artist. I think history will hold him in similar regard once time lets the quirkiness of his personality fade away and lets the music stand on it's own merit. So to be part of such an amazingly creative enviornment is quite an honor.
TE) Have you heard Emancipation? What did you think of it, and what's your favorite song from it?
MBN) There is a lot to take in on those 3 discs. I really haven't sat down and absorbed it all. My favorite song is of course one with horns on it. I really like "Sleep Around" and was very pleased with the horn arrangement
I did on that one.
TE) Have you heard Crystal Ball? What did you think of it, and what's your favorite song from it?
MBN) I've only heard "Rippop" and "2morrow" which I did the horns for. I think they're both cool.
TE) Do you plan on working with The Artist in the future?
MBN) We've done about 10 or 12 tracks in the last 2 months (that's all I'm saying!)
TE) Do you play any other instruments? What do you find special about the trombone and why is it your main instrument of choice?
MBN) I play a little piano and some trumpet. I had a lot of success on trombone when I was young, so I guess I just ended up staying with it. It's one of those choices you make as a child that probably doesn't have any specific
reasons.
TE) A lot of artists these days seem to be going for the independent option and are now releasing/distributing their music exclusively on the Internet. This can prove difficult for a lot of kids who don't have credit cards (or even access to computers) to purchase the latest CD of their favorite artist. Do you believe that selling music exclusively down the Internet is the future. Could there be an alternative and effective option to distribute your music that will be both beneficial to the artist and the fan, without the use of credit cards or middlemen?
MBN) I don't really know how all this is going to shake out. Technology will continue to direct these thing. As far as the younger market getting the stuff, I don't know. Maybe parents will end up having a little more control again. I not sure if that's good or bad.
TE) What are the future plans/projects for yourself and The Hornheads ?
MBN) We've got some jazz fests and other concert performances coming up. I'm going to see if we can get with a label and maybe start doing the big US and European jazz fests. We'd love to get back to Europe some day. I've just been too busy to really follow through on that lately.
...Interviewed by "The Experience Team" Dolphine, "Peebee", Simon and Freedom - Feb '97
© 1998 The Experience