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 100-Men Strong Aug 23, 2000
By Val J. Thomas
"vjthom39"
Back in the 60s and 70s, there were two main sources for recorded Band Music - Frederick Fennell with the Eastman Wind Ensemble on Mercury and Dr. William D. Revelli with the University of Michigan Band on Vangard. Although both conductors are giants of the Industry, they differed greatly in their approaches - Fennell worked with small groups (usually under 50 personnel) while Revelli used a LARGE group - advertised as 100 strong.This recording incorporates all of the selections on the original LP "Hail Sousa" (now on CD - also available through Amazon) with the addition of several non-Sousa selections as shown on the song selection list. Which recording to buy is a personal preference - whether you want to pay a couple of dollars more for 4 additional selections. All the additions are classic marches except for Jerry Bilik's "American Civil War Fantasy". This is out-of-place in a march collection, but it is a wonderful recording nonetheless. It is taken from another old UM recording, "The University of Michigan Band On Tour". The performances are uniformly excellent. I was always amazed at the ensemble playing of the woodwind section. Although not as "clean" as the playing of a small group like the Eastman Wind Ensemble, the overall sound of this big band, especially at high volume levels, is simply amazing. The Brass are big and boomy, and the percussion drive things along while still playing tastefully. I have not given this recording 5 stars because some of the newer recordings by Fennell on import from Japan with the Tokyo Wind Orchestra have much better digital sound, and the old Fennell recordings on Mercury are considered THE classic recordings. However, this CD has very good analog sound, especially considering its age.
 Ultimate in control Sep 22, 2008
By John C. Reed
Anyone who ever rehearsed under William Revelli, or heard a performance by one of his groups, will remember the phenomenal control he exercised from the podium....One of the marches, Mahattan Beach, IIRC, has a 16-bar phrase at the end of the trio, which is repeated. Revelli performed it as a single unbroken crescendo to a roar the first time, followed by a decrescendo on the repeat that closed with barely a whisper. The absolute precision with which he makes each beat equally louder or softer from the previous is terrifying, effective, marvelous!...since he knew Sousa, I wonder if he got that interpretation from him?
There is an anecdote that says the recordings were made at something like 2:00 AM, because that was the only time the air conditioning system wasn't running in their music building.
Even given the technical limits of the era, these recordings are must-haves.
The Classic Aug 09, 2000
By Eugene Steve DeWeese
I have heard this version of Sousa as a boy at boy scout camporees, high school football games, etc. during the 70s. Its as energized and vibrant as you would expect a major college band to be. You'll not disapointed.
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