Horn Section

Graas, John. Coup de Graas. Mercury MG 36117. 1959:

USA.
Heath, Jimmy. The Quota. Riverside OJCCD-1871-2
(formerly RLP-9372). 1995: USA.
Les Jazz Modes: The Rare Dawn Sessions. Biograph BCD
134-135. 1995: USA.
Snedeker, Jeffrey. First Times. JS2. 1998: USA.
Taylor, Mark. QuietLand. Mapleshade 05232. 1997: USA.
Todd, Richard. Rickter Scale. GunMar GM3015CD. 1990:
USA.
Varner, Tom. Martian Headache. Soul Note 121286-2.
1997: USA.
Varner, Tom. The Window Up Above: American Songs
1770-1998. New World Records 80552-2. 1998: USA.
Watkins, Julius. French Horns for My Lady. Philips PHS
600-001. 1961: USA.
Miscellaneous: Selected recordings in various styles led by or
featuring horn players (*), or those that include prominent
horn parts
Alan Parsons Project, The. Tales of Mystery and Imagina-
tion: Edgar Allan Poe. 20th Century Records T-508.
1976: USA.
*Amram, David. No More Walls. Flying Fish CD FF 752.
1997: USA.
*Amram, David, and Friends. At Home/Around the World.
Flying Fish CD FF 094. 1996: USA.
Beatles, The. Yellow Submarine. Apple SW 153. 1969:
USA. Reissue: Beatles, The. Yellow Submarine. Parlo-
phone CDP 46445 2. 1987: USA.
Emerson, Lake and Palmer. Works: Volume 1. Atlantic
Records SD 2-7000. 1977: USA.
George Shearing and *Barry Tuckwell Play the Music of Cole
Porter. Concord Concerto CCD-42010. 1986: USA.
Holmes, Rupert. Partners in Crime. Holmes Line Records
INF 9020. 1979: USA.
Jesus Christ Superstar: Original Soundtrack. MCA Records
MCA2-10000. 1970: USA.
Moody Blues, The. Days of Future Passed. Threshold
820006-2.1967: USA. Reissue: Moody Blues, The. Days
of Future Passed. Polydor PGD/A&M 844767. 1997:
USA.
Moscow Art Trio, The. Prayer. JARO 4193-2.1994: Russia.
Paul Winter Consort, The. Canyon. Living Music Records
LD 0006. 1985: USA.
*Shilkloper, Arkady. Homology. CD-RDM 608144. 1997:
Russia.
Wakeman, Rick. Journey to the Center of the Earth. A&M
Records SP 3621. 1974: USA.
*Watson, Joan. Songs My Mother Taught Me. Peros Music
Studios PM 0211-2. n.d.: Canada.
Who, The. Tommy: Original Soundtrack Recording. Polydor
PD 2-9502. 1975: USA.
*Wiley, Ken. Highbridge Park. Natural Elements Records
NE 2006. 1996: USA.
JEFFREY L. SNEDEKER
Horn Section
A horn section, within the context of rock and pop
music, denotes a backing group of brass and reed instru-
ments added to the standard rhythm instruments of a
band. The term derives from jazz argot and, specifically,
the use of the word 'horn' to mean any wind instrument
(and, in some instances, any instrument at all). As early
as the 1920s, jazz musicians described playing together
as 'blowing/ and instrumentalists were described as
those who 'blew their horns,' the most able being said
to 'get around on their horns.' Levet (1992) points out
the sexual pun in this usage, since 'horn' is also jazz and
blues slang for a male erection.
With the beginning of big band instrumentation and,
in particular, the founding of large African-American
orchestras in the early 1920s, the groups of brass and
wind instruments were referred to by musicians and
arrangers alike as 'sections,' so that most bands had
trumpet, trombone and saxophone (or reed) sections. In
the Western classical tradition, symphony orchestras
included a section of French horns, but in popular music
this instrumentation is relatively rare, and so the term
'horn section' began to be applied, from the 1930s
onward, to denote the collective big band wind instru-
ments, distinguishing these from the piano, guitar, bass,
drums and percussion of the 'rhythm section.'
With the advent of rhythm and blues (R&B) in the
1940s, the term 'horn section' was applied to the smaller
numbers of brass and reed instruments included in the
lineups of bands like those of Louis Jordan, Earl Bostic,
Bullmoose Jackson and 'Big' Joe Turner. In Jordan's Tym-
pany Five, the principle is clearly exemplified: his own
alto saxophone plus trumpet and tenor saxophone con-
stituted the horn section, and the instruments were
generally deployed to play unison riffs, either in the
opening and closing ensembles of a piece, or to back up
Jordan's vocals (to which end, by the mid-1950s, he
often added an additional saxophone).
In soul music, the use of a horn section became de
rigueur in bands such as those of James Brown. Brown's
sections were well drilled, and the art of providing 'horn'
backings was perfected by musicians like altoist Maceo
Parker, who led Brown's horn section. Another signific-
ant section leader was trumpeter Pee Wee Moore, who
moved on from Brown to work with a variety of soul
and rock artists, including Van Morrison.
Although the singer and pianist Ray Charles generally
led a big band, he and his arrangers tended to use the
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