Yes, and since there were 2 guitars playing simultaneously on many selections, the guitar-driven counter-point rhythms actually propelled the BMB to greater degree relative to the TjB. Early on, Herb probably issued a directive to Julius that the BMB's sound was not interfere with (or "challenge" -- in the case of the technically gifted Lee Katzman) the TjB. Ergo, the BMB has their sound of marimba(s) + flute (with dos driving guitars) while the TjB has its sound of trumpet(s) + trombone (with uno guitar).audiofile said:I used to get a kick out of that also. But now, I just think Charlie and Frank had two distinctive roles. Rhythm guitar played an important part of the Tijuana Brass sound, as well as the BMB. Julius probably just wanted Charlie Chiarenza to handle the solos and single note lines, while Frank always supported the band with the rhythm guitar. For Decaro's finest rhythm work in my opinion, check out Peru 68.
It's also interesting to note that while the TjB began to recede from its !!Going Places!! -- ...Sounds Like... ('65-67) peak period -- the BMB was still ascending to new musical heights. Earnestly, with each subsequent issue, '67-'69, the BMB appear to continuously improve upon the current LP -- with their latter LPs offering their most cohesive music. Again, to my ears, the BMB were the most musically rewarding (and consistent -- there are no sub-par BMB LPs...which cannot be said of B-66 or the TjB during the '66-'69 runs) of the A&M-stable artists for the period.