The Trombonist - Summer 2025

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There is plenty on offer to members of the British Trombone Society. You will gain free or discounted entry to our events and access to bonus online content including recordings and our exclusive music library. We have teamed up with a variety of companies who offer exclusive discounts to our members.

This magazine, The Trombonist, is a central part of our membership package and is published three times a year, celebrating the variety of trombone related news and activity across the world.

Membership starts at just £10 a year, with a handful of options for you to choose from. Sign up online, HERE.

MEMBERSHIP BENEFITS

MEMBERSHIPS

Gramophone – claim your 10% discount on subscriptions.

International Trombone Association – special membership rate of £21.

Jazzwise, Europe's leading English language Jazz magazine – 10% discount on subscriptions.

INSURERS

Allianz Musical Insurance – 15% off a new policy for our members – (that's more discount than with an MU membership!)

New Moon Insurance – 10% discount on specialist Trombone and musical instrument ‘Harmonic’ insurance products.

INSTRUMENTS

Michael Rath – discount of 15% on all trombone repairs and servicing. Jürgen Voigt Brass – discount of 15% on all trombone repairs and servicing

HEALTH AND WELL-BEING

Hearing ReSolutions – 10% discount on RRP's for protection products.

MUSIC AND ACCESSORIES

Warwick Music – 10% discount on all Warwick Music publications purchased directly from Warwick Music.

Minchin Music – £2 off the list price of ‘Tune In To Tenor’ tutorial book.

June Emerson Wind Music – 10% discount on online purchases

Hercules Stands – 50% discount on the retail price of all Hercules Stands products.

BTS IS NOW REGISTERED FOR Gift Aid

Rates

Regular £28

Concession £22 *

Under 16 £10

Institutional £99

Lifetime £250

*Available to students in full-time education, those retired and for seniors aged 65 and over

Access to our Members’ Music Library which includes arrangements and transcriptions by Burt Rhodes and Rob Egerton Jazz Transcriptions, plus our library of trombone choir and ensemble arrangements for use at your event (see conditions of use in the respective libraries).

EVEN MORE

Morrison Ward Associates –specialist mortgage advisors.

Image 1st – a generous discount worth £50 to use with this London based photography company.

Q-Park – an additional 10% off prebooking discounted rates in car parks across the UK.

Donating through Gift Aid means charities can claim an extra 25p for every £1 you give. It won’t cost you any extra. To make your declaration, log on and amend your profile on our website, download a declaration form and send to the Administrator or simply send an email to the same address requesting the check box(s) to be ticked for you.

aboutayoungjazzplayerwhoshepredicted futureaheadofhim’….andshewasrightaboutMark Nightingale!

Fromthebeginning,theBTSmessagehasbeenthatthe SocietyisforEVERYONEandisstrongerwithpeopleinit. IntheveryfirsteditionofTheTrombonist,SimonWillswrote, ‘Doyouliveinatownwithanorchestraorbrassband? Doyouknowthesection?...Ifyou’reinaBigBand,doyou knowtheplayersinthelocalamateurorchestra?...TheBritish TromboneSocietywantstoencourageplayersofall persuasionstomeetandhaveablowtogether…[the trombone]is,afterall,asociableinstrument.’Thatisastrue nowasitwas40yearsago!

TheworkofTheBoneCollectiveinScotlandisinspiring andisjustthesortofcommunityinitiativewewouldloveto seereplicatedacrossthecountry.Couldyoudothesame thing?WearehostingCome&Play6atRegentHall, London,onMonday,27October.Couldyouorganise somethingsimilarfortrombonistsinyourarea?Orsomething forInternationalTromboneWeek,12-18April,2026?! Wehaveagreatlibraryofmusicthatyou,asmembers,have accessto.HowaboutorganisingaChristmastrombone event?WeareputtingtogetherapadofChristmasmusicthat youcanuse.ContactBTSSouthEastrepresentativeMichael Pilleyformoreinformation.

Finally,planningisalmostcompletefortheBTS@40 CelebrationeventonSunday,16November,attheGuildhall SchoolofMusicandDrama,London.Ilookforwardto welcomingmanyofyouthere.Itpromisestobeagreatday. Ifthere’sanythingelsewecandotohelp,pleaseshout!

TomLees president@britishtrombonesociety.org

welcomedthebirthofababyboyinearlyJuly.AsSáraenjoys hermaternityleave,yourstrulyhastemporarilytakenover designduties,sowhilethecontentisasvariedasalways,things maylookalittledifferent.

AsTommentionedinhiswelcome,planningforthe BTS@40Celebrationisalmostcomplete.Turntopage28for apreviewofwhatisinstoreandthenreadBillFerris’ s memoriesoftheveryfirstBTSeventfrom1985,alsoheldat theGuildhallSchoolofMusicandDrama.

Sadly,werecentlylosttworemarkablefiguresfromthe Britishtromboneworld.HelenVollampaystributeto long-timeBTSmemberAnneHiggs,andwecelebratethelife ofRichardEdwards,oneofthemostextraordinarilytalented andversatiletrombonistsofhisgeneration.

Elsewhere,abumpernewssectionreflectstheactivitiesof ourvibrantanddiversetrombonecommunity.Weintroduce TheBoneCollectiveandlearnaboutaflyingvisittoDawkes MusicbyYouTubesensationChristopherBill.PeterChester andDavidThornberreportonanothersunnyandhighly successfulBTSNorthEastTromboneDay,DanJenkins reflectsonanoutstandingconcertinmemoryofDenisWick, andRaphClarksonreviewsatypicallyinventiveconcertgiven bySackbutFrenzy.YoungBonesfeaturessometinytrombones andaclassicTVthemetune,andtheTromboneToolkit exploresgettingbackintoshapeafterabreakfromplaying.

Finally,wereviewseveralnewrecordings,andFromthe StagetothePitandWhat’sOnhighlightsomeofthebestjazz gigs,concerts,andoperaperformancestheUKhastooffer acrossthecomingAutumn.

AlastairWarren editor@britishtrombonesociety.org

THETROMBONISTMAGAZINETEAM

EDITOR

AlastairWarren editor@britishtrombonesociety.org

SUB-EDITORS

PeterChester

AlisonKeep

NEWSEDITOR news@britishtrombonesociety.org

EVENTSEDITOR events@britishtrombonesociety.org

REVIEWSEDITOR

JaneSalmon reviews@britishtrombonesociety.org

ADVERTISINGMANAGER advertising@britishtrombonesociety.org

SOCIALMEDIAMANAGER

MartinLeeThompson content@britishtrombonesociety.org

MAGAZINEDESIGN

AlastairWarren

FRONTCOVER

Clockwisefromtopleft:

DávurMagnussenandAlisonGill,Maxine, AnneHiggs,RichardEdwards

CONTRIBUTORSTOTHIS

AlastairWarren

BeckySmith

JoshCirtina

TomLees

PeterChester

RaphClarkson

SamGregory

BeckyPepper

JaneSalmon

MartinGladdish

BillFerrier

EmilySaville

HelenVollam

DanJenkins

THE

NEWS

Come&Play5

Come&Play5washeldon8April,celebrating InternationalTromboneWeek2025.Hostedonceagainby theSalvationArmyatRegentHall,London,40playerscame togethertorehearseoldfavouritesandnewrepertoire,ledby BTSPresidentTomLees,withaguestconductingspotfrom NathanielDye.

AvideoofBTSVice-PresidentKevinMorgan’sarrangement ofWhentheSaints,hasbecomeoneofthemostengagedwith postsontheBTSsocialmediaplatforms,generatingnumerous commentsandalmost80,000viewsfromaroundtheworld. Clickheretoaddtothatnumber.

WewillbereturningtoRegentHallforCome&Play6on Monday,27October,theperfectwarm-upfortheBTS@40 CelebrationinNovember.Clickheretobookyourplace.

CompetitionSuccess

InMay,MusicianMorganTaylorwontheBandoftheIrish Guards’annualsolocompetition. Musn.Taylorbeganlearningtromboneattheageof10, playingintheHampshireCountyYouthOrchestraandBrass Band,aswellasthelocalHambleAreaYouthBand.Hewent ontostudyattheRoyalCollegeofMusic,receivinglessons fromLindsayShillingandMatthewKnight.MusnTaylor completedtrainingandjoinedtheBandoftheIrishGuardsin September2024.

King’sBirthdayHonoursAward

ColourSergeantMattQuickwasawardeda2*FieldOfficers Commendationinthe2025King’sBirthdayHonoursList.

Inhisearlycareer,CSgtQuickspentover16yearsinthe ScotsGuardsBand,alsoplayingintheScotsGuardsBrass QuintetandasleadtromboneintheHousehold(Guards) DivisionBigBand.OntheformationoftheArmyBigBand, hejoinedasleadtrombonist.WhilstservingintheScots GuardsBand,hecompletedhisMA(Performance)atthe UniversityofSalford.

Asought-afterteacherandfreelanceperformer,CsgtQuick iscurrentlyamemberofTheRegimentalBandofthe HonourableArtilleryCompany(HAC),theoldestRegiment withintheBritishArmy,havingbeenformedin1537.Oneof twoStateBandswithintheArmyReserve,itcarriesout engagementswithintheCityofLondon,acrossthecountry, andabroad.

HavingbeenawardedtheKing's,theCaptain-General’ s, Prizein2024,theCommendationrecognisesCSgtQuick’ s continuedexceptionalservicewiththeHAC.

CSgtMattQuick.PhotocreditLSgtOliviaWild(HAC)

MusnTaylor.PhotocreditLCplChau(TheRoyalCorpsofArmyMusic)

ScottishYoungMusicians

CongratulationstoJack,astudentatSt.Aloysius’College, Glasgow,whowonthebrasscategoryattheScottishYoung MusiciansNationalFinalheldinMayattheRoyal ConservatoireofScotland.

wasoneoffourrecipientsofthe2025SpiritoftheLondon MarathonAward,forindividualswhoembodythespiritof theLondonMarathon.Nathanielcompletedthe2024 LondonMarathonwhileplayingagreenpBone,witha colostomybagandterminalcancer.Clickheretokeepupto datewithNathaniel’sstory.

NewAppointments

CongratulationstoCillianÓCeallacháinwhohasbeen appointedAssociatePrincipalTromboneoftheRoyal NationalScottishOrchestra,RuthMolins,whohasbeen appointedSecondTromboneintheEnglishNationalBallet Philharmonic,EdHilton,whohasbeenappointedPrincipal BassTromboneoftheRoyalBalletSinfonia,andex-BTS Vice-PresidentJonStokes,whohasjoinedthetrombone sectionofLondonBrass.

LilleTromboneFestivalWorldRecord

InApril,theLilleTromboneFestival,incelebrationoftheir 25thanniversary,setanewprovisionalWorldRecordforthe LargestTromboneEnsemble.565playersgatheredtoperform a20-minuteconcert,smashingthepreviousrecordof368,set intheUSAin2012.Watchtheperformancehere.

RSNOAnniversary

CongratulationstoAlastairSinclair,PrincipalBassTrombone oftheRoyalScottishNationalOrchestra,whocelebrated35 yearswiththeorchestraon4June.

JonStokes

Clockwisefromtop.RuthMolins,CillianÓCeallacháin,EdHilton

AgraduateoftheRoyalAcademyofMusic,Emilystudiedat theSCB,completingtwomastersdegrees,inHistorical PerformancePracticeandHistoricalTrombonePedagogy withdistinction.ShewontheinauguralBTSSackbut Competitionin2022,theEarlyMusicVancouverEmerging ArtistCompetitionin2023,forhervocallyinfluenced teachingapproach,andaprizefromtheWalterandCorina Christen-MarchalFoundationin2024forhermaster'sthesis onimaginativeinstrumentalteaching.

Asanactivesoloist,chamberandorchestralmusician,Emily canbeheardinmajorensemblesandfestivalsacrossEurope.

TredegarChoosesRath

WelshChampionsTredegarTownBandhasannounceda partnershipwithRathTrombones.Theconnectionseesthe trombonesection,RyanRichards,IoanJones,andMark WinstonenowperformonRathR4,R6,andR9models,each instrumentbeingindividuallytailoredtotheirneedsfollowing visitstotheRathfactoryinYorkshire.

Speakingaboutthelink-up,SoloTromboneRyanRichards said,‘It'sbeenanambitionofminetoseethesectionall performonRathinstruments,thebenefitsofwhichare undeniable.Thetailoredcraftsmanshipisremarkable, enhancingbothourindividualandsectionperformances.’

BobHughesRetires

On3July,studentsandcolleagues,pastandpresent,gathered attheRoyalAcademyofMusicinLondonforasurprise retirementpartyforBobHughes,organisedbySimon Minshall,MarkDavid,andAlfieBousfield.

ThepartyfeaturedoutstandingperformancesbytheFunny BonesTromboneQuartet,aswellasDannyBoyand MacArthurParkbyBerkeleyBrass,andBrianLynn'sHughes BlughesbyBob'scurrentstudentsatRAMandsoloistKeith McNicoll.

ITAHonoursMelbaListon

TheInternationalTromboneAssociationisrenamingitsKai WindingJazzTromboneCompetitiontotheMelbaListon JazzTromboneCompetition,honouringthetrailblazing trombonist,composer,andeducator.ThismarksthefirstITA competitionnamedafterawoman,recognisingListon’ s profoundimpactonjazz,collaboratingwithlegendslikeDizzy GillespieandQuincyJones,andactingasamentorandrole modelforgenerationsofmusicians.SpearheadedbyITA PresidentCarolJarvisandunanimouslysupportedbyITA committees,thechangereflectsacommitmenttoequityand historicalrecognition.ItcelebratesListon’slegacyandsignals futureeffortstospotlightdiversevoicesintrombonehistory.

SackbutConcerto

OnSunday,21September,EmilyWhitewillgivetheworld premiereofSimonProctor’ sConcertoforsackbutand symphonyorchestra,thefirstofitskind,atDorchesterAbbey, Oxfordshire.ClickheretowatchaninterviewwithEmily aboutthishistory-makingpiece.Ticketsareavailablehere

VollamforSeptura

SepturahasannouncedHelenVollamasitsnewestmember, joiningaworld-classtromboneteamalongsideMatthewGee andPeterMoore.PrincipalTromboneoftheBBCSymphony Orchestra,HelenisalsoamemberoftheChamberOrchestra ofEuropeandBonesApartandwasthefirstwoman appointedPrincipalTromboneofaLondonorchestra.Helen haspreviouslyappearedwithSepturaasaguest,includingat WigmoreHallin2024forthegroup’ s10thanniversary concert.HerfirstprojectasamemberwillbeamajorUStour inOctober2025,featuringeightconcertsacrossfourstates.

EmilySavillehasbeenappointedtoleadtheclassforbaroque

NewOwnershipforDenisWickProducts

Italy-basedMusicCenterSRLhasacquiredDenisWick ProductsLtd.Foundedin1968byDenisWick,whopassed awayearlierthisyearaged93,thecompanywillcontinueto manufacturemutes,mouthpieces,andotheraccessoriesunder CEOStevenGreenallatitsUKfacility.MusicCenterSRL CEOFrancescoPasserahighlightedthebrand’sstrong engineeringlegacy.RetiringdirectorStephenWickwelcomed themove,praisingMusicCenter’scommitmenttoBritish craftsmanshipandinnovation,commenting:‘Onbehalfofthe Wickfamily,wearesincerelygratefultoallourcustomers, suppliers,artists,educatorsandthewidermusiccommunity forthesupporttheyhaveentrustedinusforthepast fifty-sevenyears.Ilookforwardtoseeingmanyofyouatthe NAMMShowinJanuarytodemonstrateourfamily’ s ongoingcommitmenttothisneweraforthebusiness.’

SouthCoastTromboneChoir

TheSouthCoastTromboneChoir,directedbyMichael Pilley,hasbeenbusyinrecentmonths.

InApril,theypresentedTrombonesThroughtheAges,a concertspanningtheentiregamutofmusicinthegorgeous settingofStPaul’sChurch,Brighton.Morethantwenty trombonistsperformedgreatworksbyHaydn,Beethoven, Wagner,Saint-Saëns,Fauré,Holst,andPuccini.Theconcert alsofeaturedthepremiereofthethirdmovementof David's Concertino,arrangedespeciallyfortrombonechoirandsoloist, WillRoberts.

BravingthunderstormsinJuly,12membersoftheensemble performedadaringconcertofmusicfromHaydntoThe SpecialsattheHorshamCarfaxBandstand,andinAugust,the ensemblestagedaBigBandTakeoveratTheBrunswickin Brighton,formingabigbandcomposedentirelyof trombones.

Followtheensemble'sFacebookpageformoreevents,or contactMichaelPilleyifyouwouldliketotakepart.

TheTrombonistDigitizationProject

TomarktheSociety’s40th anniversary,aprojectisunderway tocompletethedigitizationofbackissuesofTheTrombonist, fillinginthedecadebetween1996and2006,andrescanning thepre-1996editions.Theyears1986,1997,and2001-2005 arenowavailable,asisissueNo.1,fromAutumn1985.

Thesecondinstrument,aGetzenSignature2000Custom Series,hasbeendonatedbythefamilyofPeteSmith.Pete SmithJrwrites,‘ThisisthetromboneofthelatePeteSmith, who,apartfrombeingabrillianttromboneplayer,wasalsoa well-respectedarranger.HehadhisowngroupcalledthePete SmithSeminarandwasthearrangerandconductoronthe groundbreakingBonesGalorerecordin1969,whichisstill performedinconcerthallsandcollegesaroundtheworld. We,asafamily,wouldliketodonateoneofhistrombonesto theBritishtrombonesocietytobeusedforstudentsintheir pursuitofamusiccareer.Iknowforafacthewouldbe delighted.’

Ifyouhaveanunusedinstrumentgatheringdust,whynot considerdonatingittotheSociety?

AndFinally…

ManchesterCityCouncilhasrecentlyunanimouslypasseda motiontoreinstatethe‘BigHorn’,aten-metretrombone sculpturebyDavidKemp,oncealandmarkoftheNorthern Quarter.CampaignerFionaMoinuddin’spetitiondrew publicsupport,promptingtheatricalcouncilbacking–includingatrombonesoloplayedinthecouncilchamberby DougNeil,whoperformedatthesculpture’soriginal unveilingin1999.

Trombone Toolkit

ShapeUp

Asthesummerdrawstoaclose,manyofuswillbethinking aboutgettingbackintoshapeafterhavingtakensomewellearnedtimeawayfromourinstruments.Quitewheretostart andwhattoincludeismuchdebated. Helpfully,earlierin 2025,JamesMarkey,basstrombonistoftheBoston SymphonyOrchestra,releasedRecoveringfromVacation. Inthisseven-daysetofguidedpracticevideos,heexploreshis journeygettingbackinto performanceshapeafteratwo-week breakfromplayingthebasstrombone.

Returningtoyourinstrumentafterabreakalsopresentsan opportunitytolookatyourplayingobjectively,atimeto focusonrebuildingatroublesomeareaoftechniquefrom scratchortryoutsomenewideas.Gatheredbelowaresome resourcesfromtheinternettogetyoustarted.

Air

Airisthebasisofeverythingwedoastrombonists.Inthis videofromtheBTSarchive,BTSPast-PresidentDávurJuul Magnussendiscusseshisconceptofhowairisusedinthe processofarticulatinganote.

Intonation

Practicingwithadroneprovidesaneffectivewaytosharpen yourmusicalskills,offeringastablepitchreferenceand helpingyouidentifyandcorrectsubtletuningdifferences. Youlearntoadjustyourslidepositionandembouchureto eliminateacoustic‘beats’ thosethrobbingsoundsthat happenwhenyou'reslightlyoutoftune.Playingscales,triads, andintervalsagainstadronehelpsyouinternalizethetonal centreofakey,whichisespeciallyhelpfulwhenworkingin unfamiliarkeys.

Startsimple,asdemonstratedinthevideobelow,from SchmittMusic.Chooseadroneinafamiliarkey,for example,concertBb.Playscalesandintervals,focusingon tuningeachnotetothedrone,especiallyperfectfourthsand fifths.Trysingingintervalsbeforeplayingthemtoimprove youreartraining.TheDigitaltrombonedronelibrarygiveseasy accesstodronesinallkeys.

BuzzingandCompletePracticeRoutine

Finally,twovideosfromDionTucker,alsoknownasThe ChopsShop.Thefirstdiscussestheprosandconsofbuzzing, inthecontextofpersonalrecoveryfromfocaldystonia.The secondgivesablueprintforawell-rounded20-minutepractice routine,adaptabletoallstandardsofplayers.

ATribute to AnneHiggs

(1955 2025)

ByHelenVollam

Annewasaforceofnature!InMarch,shewasbusyplanning anotherBonesApartvisittoCheddar.Theconcertwas plannedfortheendofApril,andsheletslipthatitwasmainly a70th birthdaypresenttoherself!Wehadbeenexchanginglots ofemailsandphonecalls,discussingthefinaldetailsofthe workshopandconcert.Acoupleofdayslater,shetoldmeshe hadtogotohospitalforsometests,whichshefoundvery irritating,butwasstillkeentokeepintouchaboutconcert plans.Herhospitalstaywaslongerthanshehadhoped,which wasveryfrustratingforherasshe’dhavetofindsomeoneelse totakebandrehearsals.Shewasevenlookingtofindaquiet cornerinherwardfromwhichtogivesomeZoomlessons! Sadly,on26March,justtendaysafterenteringhospital, Annesuccumbedtothesuddenonsetofsepsis.Theconcert stillwentahead,butasamemorialinstead,justtwodaysbefore whatwouldhavebeenher70th birthday.Thechurchwas packed,andamassedbandofstudents,BonesApart,friends andcolleaguespastandpresentperformedsomeofher favouritemusic.Thegrandfinalewasajoyousrenditionof

ComeFollowtheBandfromBarnum,afavouriteshowofhers. IfirstmetAnnewhenIwasseven.Wehadjustmovedto northSomersetandIhadstartedatthelocalprimaryschoolin Wedmore.Onemorning,ourmathsclasswasinterruptedbya jollylookingladyofferingusthechancetotryoutsomebrass instruments.Meandmynewfriendwerequiteinterested, especiallyifitmeantleavingamathslesson!Sooffwewenttoa roomdownthecorridorandAnnegaveuseachagoona cornet,aFrenchhorn,andatrombone.Asthetrombonewas theonlyinstrumentIcouldgetasoundoutof,thatkindof decidedmyfate.So,IstartedhavinglessonswithAnne,she enlistedmeintheCheddarValleyMusicClubTrainingBand andIwasaway,embarkingonajourneyofalifetime. AlthoughImovedawayfromtheareaacoupleofyearslater, wealwaysstayedintouch,andshewaskeentohearhowIwas gettingonwiththetrombone.

ItwasonlylaterinlifethatIreconnectedwithAnnein personwhenvisitingWellsCathedralSchoolforsome teaching.Itseemedtheperfectopportunitytomeetandcatch

AnneandBonesApart.L-RBeckySmith,HelenVollam,Anne,Sarah Williams,JayneMurrill

up,andnow,ofcourse,IwishIhaddoneitmuchsooner. Shortlyafter,shedecidedtoinviteBonesApartdownto Cheddar.Thequartetvisitedafewtimesovertheyearstogive primaryschoolconcertsandworkshopswithherbrass ensembles,alwayssharingacombinedperformancewithher armyofincrediblyengagedandwell-disciplinedbrassstudents.

OnethingIrememberfromlessonswithherwasthatshe madeyoufeellikeyoucouldachieveanything.Icanstill rememberhersaying,‘That’sit!Youcandoit!’withthatbig, beamingsmile!Hersheerenthusiasmandencouragementwas thegoldstandardforallteachers.

Anne’spartnerChrishasverykindlyallowedmetoshare someextractsfromhiswonderfuleulogy:

‘AnnewasborninCheshiretoJohn,anarmycaptain,and Elizabeth,ananny.Lifeon‘CivvyStreet’eventuallybrought thefamilytoSomerset,firsttoShipham,thenSandfordand Axbridge.Anne’spreferenceforacountrylifeneverlefther. HermilitaryheritageinstilledinAnnethemeticulous,ordered,anddisciplinedworkethicthatwastobecomeherpersonalhallmark.Frombothparents,Anneinheritedanaffable andsociablepersonathatwouldendearhertoanyone.

Aged11,Annewasfirstintroducedtothetrombonebyher HeadofMusic,TomShearman.Asshedevelopedasan instrumentalist,sheplayedintheWestonYouthOrchestra underthedirectionofanothermentor,thelateDenisCole MBE.Weston-Super-MarewastoprovideAnnewiththeideal outletforhercomplementaryskillset,stagemanagement. Overtheyears,shebecameindispensableatthePlayhouse Theatreandwouldtryherhandatpracticallyeverything: costumier,seamstress,prop-maker,electrician,lighting operative,cartoonist,magician,setdesignerandpainter, firearmsconsultant,firepreventionadvisor,stagemanager, andevenproducer.

EarlyinAnne’scareer,shebecamebusyteachingand playing,performinginoperahouses,concerthalls,andthe WestEnd,untilherplayingcareerwasincreasinglyblightedby aperforatedeardrum.Ononememorableoccasion,whilst conductingabaroqueensembleatWindsorCastle,Anne brieflypartedcompanywithherbaton.Itsailedthroughthe airbeforecomingtorestinthenearbyhandbagofQueenElizabeththeQueenMother,“Ithinkthisbelongstoyou”wasthe royalcomment.Thereafter,Annebecameknownforalways conductingwithonlyapencil!

PictureAnneinthedepthofwinter,formallydressedfor theorchestrapit,hurryingacrosstheSomersetLevels,hertiny handsfrozentothehandlebarsofhertrustymotorbike, trombonetetheredtoherback;herfamiliarflowinglocks securedbeneathasuitablycapacioushelmet,onlytobe engulfedbyasteamingmoundofsilage,unceremoniously dischargedfromapassingfarmvehicle.Heroicallybrushing herselfoff,Annecontinuedonhermerryway,determinedto fulfiltheevening’sengagement,albeitcreatingan‘atmosphere’ ofherveryown!

AttherecentCoronation,withjustalittleglintofpride, Annedrewmyattentiontotwoformerpupilsperformingin WestminsterAbbey,whilstfourothersprocessedintheir militarybands.Andforthesakeofpoliticalbalance,Ishould pointoutthataseventhprotégé,aservingpoliceofficer,was meanwhilekeepingtheRepublicansentertainedonTrafalgar Square.

Whetheroffstageoron,anaffableandunflappablepresence isalwaysmuchsoughtafter.Inadditiontobeingatrusty helpinghandforanyprofessionalinperil,Anne’ssocialskills madeforsomeextremelyunlikelyassignments.IsuspectAnne maywellhavebeentheonlyfemaletrombonistjudokaeverto havebeenthrownbybothEmmaPeelandPussyGalore,not tomentioncompetingatsquashwith“DelBoy”Trotter!

WhateveractivitycapturedAnne’simagination,shewould pursueitwithverveandvigour,andthetenacityofabulldog. Whenshegotherteethintosomething,asWinstonChurchill mighthaveputit:“Annewasanotherwhocouldbreathe withoutlettinggo!”

Annewouldgainthegreatestsatisfactionfromtaking instrumentalpupilstolevelstheymayhavethought unimaginable,instillingconfidencethatwouldservethemfor life.Shewouldnevercontemplateenteringpupilsforexams unlesssupremelyconfidentofasuccessfuloutcome. Whateverindividualchallengespupilsmayhavefaced,if,like Anneherself,theyjusthappenedtobewireddifferently,she wastheirchampion,fightingtheircornerwitheverymeansat herdisposal,withpracticallyhereverywakingbreath.’

AmosMiller,HeadofBrassattheRoyalCollegeofMusicand trombonistofOnyxBrass,wrotethesewordsinsupportofan ultimatelyunsuccessfulcampaignfornationalrecognitionof Anne’sworkintheNewYear’shonourslistafewyearsago:

‘OnbehalfofOnyxBrassIwouldliketoexpressour profoundadmirationfortheworkofAnneHiggs.

Asaverybusyprofessionalbrassensembleof23years standing,andonethatisextremelyexperiencedinthefieldof musiceducationinallitsforms,wehavebeenutterlybowled overbyAnne.Wehavevisitedherbrass"parish"inSomerset ontwodifferentoccasionstoperformoutreachconcertsand doworkshopswithherstudents,andonbothoccasionshave beengenuinelyastonishedbytheworkshehasdone.

Shehasenthusedgenerationsofchildren(manyofwhom wouldnototherwisehavehadaccess)withaloveand capabilityformusicwhichwilllastthemtheirlifetime. Herskillasateacherisequaltoherindomitableenergyand passion,andtoworkwithheristobeinspired.AtKingsof WessexAcademyalonetheyhaveabrassdepartmentwhich wouldbetheenvyofevenaspecialistmusicschool.

AnneconductingtheChedderValleyMusicClubBrassband,pencilinhand

Bycreatingasystemwithabrassbandforall,andthensmaller groupsforthemoreadvancedstudents,shehascreatedan environmentwherebyélitismofopportunityisanathemaand yetthereisaclearunderstandingthattobeexcellentis somethingthattakesapplicationandcommitment. Sheenablesherstudentstoundertakethisjourneyinasafe andcaringenvironmentwheretheybecomeempoweredby theirsignificantachievements.Anneexpectsalotfromher charges,andinreturn,shegivesthemunstintingtime, enthusiasmandcommitment,allofwhichtoalevelthatis waypastanyotherbrassteacherthatwehavecomeacross anywhereelseinourentireOnyxBrasscareer.Hergenerosity isalsospectacular.Everythingshedoesisforthebenefitofthe greatergood,andweknowforafactthatwhenSomerset CountyCouncilcuttheperipateticmusicteachingbudget, shecarriedonteachingthechildrenwhoseparentscouldnot affordtopayforlessons,fornothing.

Inconclusion,wefirmlybelievethatanawardfromthe nationalhonourscommitteewouldbeutterlyfittingforthis remarkablewomanwhohasandcontinuestoinspireallthose whomshemeets.’

SamanthaRoe,aformerstudentofAnne’s,paidthistribute:

‘IfirstmetAnnebecausemybestfriendSarahwaslearning thetrumpet,andIwantedtolearnthetrumpettoo.Anne toldmethat,sadly,shehadnotrumpetsatallandaskedifI wouldliketotryatromboneinstead.Manyyearslater,she admittedthatshehaddozensoftrumpets,butIhadgood, longarms,anditwouldhavebeenaterriblewastenottoget meontoatrombone!’

JonHopes,anotherformerstudent,isproudtocontinue Anne’slegacy:

‘Lookingback,IrealisethatIknewAnneformorethanhalf mylifebeforeheruntimelypassing.Ialsorealisedjusthow muchherfriendshipandsupporthadshapedmylife.

IwaseightthefirsttimeImetAnne.Myparentshadasked hertocomeandtalktomeaboutlearningtoplayabrass instrument.WhenAnnearrived,shebroughtinavarietyof instruments,includingtrumpet,Frenchhorn,euphonium, tubaandofcourse,atrombone.OnceAnnehadsettled,she “sizedmeup”and,withouthesitation,exclaimedoneword, “trombone!”.Nootherinstrumentswereremovedfromtheir casesduringthatlessonandsostartedmyrelationshipwith thetrombone.

Myparentsfoundthemoneytopurchasemyfirst trombone,aSelmerBundy,andwhenmyfatherwentto collecttheinstrumentandsettlethebill,theshopstaff informedhimthatAnnehadspentagoodfewhoursinthe shoptryingoutvarioustrombonesbeforesettlingonthatone forme.

Asateacher,Annestuckbymeforthenextdecadeorso and,underherguidanceandencouragement,Igainedaplace aTrinityCollegeofMusicinLondon,whichshapedmylife evenmore.Overtheyears,Annebecamemorethanateacher, shebecameatruefriend.Shecametomyeighteenth,Ihelped hermovehouse,andsheattendedmywedding.Shebecamea greatmentorandcolleague,andwewerealwaysthereforeach otherifneeded.

AfterAnne’spassing,Iwasaskedtotakeondirectingthe variousbrassensemblessheranaspartoftheCheddarValley MusicClub.ThiswasdauntingenoughasAnnehadbeen runningthesegroups,almostsingle-handedly,fornearlyfifty years.Annehadalsoamassedacollectionofinstrumentsthat couldbeloanedorhiredouttostudentsandtheirfamiliesat veryreasonablerates.

Withthehelpofsomeofherotherformerstudents,weare determinedtocontinuethetremendousbrasslegacythat Annesotirelesslyandlovinglycreatedhere.’

ClickheretofindoutmoreabouttheCheddarValleyMusic Club.

Anne’s60thBirthday.L-RSarah,Anne,Samantha

L-RPaulDenegri,JonHopes,Anne

ByBeckyPepper,AlastairWarren,JaneSalmonandTomLees

YoungBones

Spotlighton…Maxine

Howoldareyou,howlonghaveyoubeenplayingthe trombone,andwhoteachesyou?

I'm16yearsoldandIhavebeenplayingthetrombonefor nineyears.I'mcurrentlytaughttenorbyAndrew Connington,andbassbyRichardWard.

Whatmadeyouwanttoplaythetrombone?

Atschool,wehadaninstrumentaltasterday.Iremember hearingthetromboneforthefirsttime,playedbymyformer teacherRuthMolins,andIinstantlyfellinlovewiththerange ofcontrastingsoundsthatitcouldproduce.Thevarietyof pBonecolourstochoosefromdidn’thurteither!

Ifyoucouldgobacktobeingabeginner,whatwould youtellyourself?

Bepatient.Skillslikeplayinginthehigherregistertaketime andpractice.It’seasytogetfrustrated,butprogressdoes come.

Whatgroupsorensemblesdoyouplaywith?

IplayinarangeofensemblesattheRoyalCollegeofMusic JuniorDepartment,includingtheBigBand,Symphony Orchestra,andBrassDectet.Atschool,I’minvolvedin variousjazzensemblesandanothersymphonyorchestra. I’vealsotakenpartinnationalmusiccoursesliketheNational Children’sOrchestra,Chetham’sSummerSchool,andthe Brass Academy.

Whatareyouworkingonrightnow?

LastyearIstartedlearningthebasstrombone,thankstothe BritishTromboneSocietyInstrumentalLoanScheme. I'mfocusingonimprovingmylowerrangesoundqualityand stamina.Onthetenortrombone,I’mworkingonlegato playingandcontinuingtobuildmyhighregister.

Whatskillorpiecewouldyouliketolearnnext?

I’dlovetolearnandperformafullbasstromboneconcerto withanorchestra–maybeLebedev’ sConcertoNo.1

What’syourfavouritepiecetoplay?

ElegyforMippybyLeonardBernstein–it’ssuchauniqueand entertainingpiece!

What’syourfavouritepieceofmusictolistento?

PuddleJumpingbyMarshallGilkeswiththeWDRBigBand. Histechnicalskillonthetromboneneverfailstoamazeme.

WhatdoyouNOTlikeplaying?

Scales–Ifindthemabitboring,butIknowhowimportant theyareforimprovingmytechnique.

Whoareyourbiggesttromboneinspirations?

CarolJarvisandTromboneShorty.

Canyougiveusahottrombonetip?

Tobuildyourhighrange,trybuzzinghighnotesonthe mouthpiecefirst.Whilststillbuzzingahighnote,insertthe mouthpieceintothetrombonetoproduceasound–this helpsgetoverthementalblockofhittinghighnotes.

Whatisyourultimatetrombonedream?

ToperformattheRoyalAlbertHall.

Whatwouldyousaytootheryoungplayerswhomaybe findingthingshardrightnow?

Evenifitfeelslikeyou’renotmakingprogress,trustthe process.It’shappening!

Veryimportantquestion!What’syourfavourite pre-performancesnack?

Fruit,especiallystrawberries,alwayshelpstosoothe performancenerves.

OfficialTromboneEmoji

Afteryearsofrequests,it’sfinallyhere. The2025annualUnicodeupdate includesatromboneemoji!Lookforit onyourdevicesfrom9September.

HowTo…PlayHigher

Lasttime,JamesBucklehelpeduswithpedalnotes;thistime, RuthMolins,newlyappointedsecondtromboneinthe EnglishNationalBalletPhilharmonic,suggestswaysto developconfidenceinthehigherregister.

AsSeenOnTV

Thetromboneisaversatileinstrument;itpopsupinallsorts ofplaces,includingTVthemetunes.TheFlumps,achildren’ s TVshowfrom1977,featuredjazztrombonistGeorge Chisholmperformingthethemetune.Atotalearworm,turn topage20 andtryplayingalongtothismuch-lovedtune.

BradEdwardsLipSlurs/LipSlurMelodies

TinyTrombones

Haveyoueverstoppedtothinkhowmanydifferentsizesof trombonethereare?Youwillbefamiliarwiththetenor,the trombonemostpeopleplay,andperhapsthesmalleraltoand biggerbasstoo,butwhatabouttheevenbiggercontrabass trombone?Rarerstillarethesopranotrombone,soundingat thesamepitchasatrumpet,andthepiccolotrombone, pitchedanotheroctavehigher.Rarestandsmallestofallisthe piccolinotrombone.Onlyonecompany,TheinBrassin Germany,makeseverytrombonefromcontrabassto piccolino;hearthemalltogetherplayingThePeanutVendor

Canyoufindanotherchildren’sTVshowthatfeatureda tromboneinitsthememusic?Hint:it’sontheTrinityGrade 6examsyllabus. Getintouchandletusknow.

Whowas...GeorgeChisholm?

• Born1915,Glasgow,Scotland

• Died1997,MiltonKeynes,England

• Jazztrombonist,pianist,vocalist,arranger,and entertainer

• Beganplayingpianoatage14inGlasgowcinemas accompanyingsilentfilms,beforetakingupthe trombone,quicklybecomingoneofEurope’sfinest jazztrombonists.

Onedangerof

12th StreetRag,playedonapiccolo trombone.

• RelocatedtoLondonin1936,performingwithtop dancebandsandAmericanjazzlegendslikeFats Waller,ColemanHawkins,andLouisArmstrong.

• JoinedtheRoyalAirForceduringWWIIandplayed withtheRAFDanceOrchestra(TheSquadronaires) until1950.

• BecamearegularperformeronBBCradio,notablyon TheGoonShow,wherehealsoactedincomedicroles. Ontelevision,hefeaturedonPlaySchoolandPlay AwayandactedinfilmssuchasTheMouseonthe Moon,TheKnack...andHowtoGetIt,and SupermanIII.

• AwardedanOBEin1984forservicestojazz.

asmalltromboneistheshortslide:ifyoure notcareful,it’sveryeasytofallofftheend!Watchcarefullyat thestartofthisvideoof

YOUNGBONES

In1989,twotrombonestudents,SharonandGordon,met andbecamegoodpalsattheRoyalConservatoireofScotland. In1990,SharonmovedtoCardifftocontinueherstudies,and welosttouch.Wefinallyreunitedinearly2024andarenowa couple,withlotsofsharedinterests,onebeingtheideaof gettingournumeroustrombonefriendstogethertoplay throughensemblemusicforfun,abitofachallenge,andfor camaraderie.

Webothknowsomeseriouslytalentedandexperienced players,aswellassomelessconfidentones.Wereckonedthis couldbeagreat,relaxed,supportiveenvironmentfor trombonistsofallsortstoexploreanexcitingrepertoire.No pressure,nojockeyingforposition,everyoneplayingwhere theyarecomfortable,andeveryonelearningfromeachother. Onefriendaptlydescribedtheideaas‘adrop-incentrefor trombonists’!Throughourmulti-facetedmusicianfriend, Allan,wefoundavenueinSouthGlasgow,whichisidealfor ourneeds.WeheldourfirstsessionthereinJuly2024,which wasagreatsuccess.TheBoneCollectivewasborn.

Wenowhaveacoreofloyalregulars,fromAyrshire, Glasgowandbeyond,withothersjoiningusasandwhenthey can.Anykeen,competenttrombonistiswelcometocome along.OurfirstpublicperformancewasataDoorsOpenDay attheChurchwherewerehearse.Thiswentdownextremely well,withtheaudiencesurprisedandimpressedbythe

ByGordonKibble andSharonRoss

versatilityofagroupoftrombones.Theywereespecially amazedathowquietlywecanplay!Sincethen,wehave performedatfun,familyevents,alwaystothedelightand surpriseofouraudience.

Aswegetrepertoireunderourbelt,wearereachingoutto venuesinCentralScotlandforopportunitiestoshowoffjust howexpressiveandentertainingagroupoftrombonescanbe. Membersarealsofindingthemselvespleasantlysurprisedat thediversityofmusictheyaretacklingandmastering,aswell asthegloriousrangeofsoundstheyaremaking.

JoinTheBoneCollective…

Wegettogetheronceamonth,usuallyonthelastThursdayof themonth,atNewlandsSouthChurch,Shawlands,Glasgow G432EG.Wekickoffat7.30pmandplayforaroundtwo hourswithashortbreak.

Thereisplentyofspacetoparkontheroadsnearby. Langsiderailstationisashortwalkaway.Weshouldbeableto arrangealiftifyouneedit–wehaveplayerscomingfromfar andwide,sothere’sagoodchancethere’ ssomeonenearyou.

DatesforupcomingsessionsarepostedonourFacebook page,orifyougetintouchbyemail,wewillkeepyou updatedwithrehearsaldatesandanyperforming opportunitiesthatcomealong.

DenisWickMemorialConcert

ByDanJenkins

Whatamarvellousandrousingwaytocelebratethepassingof DenisWick,ahugefigureinourprofession.Ahighly entertainingandvirtuosicconcert,enjoyedbyanenthusiastic crowd.Theperformerswerestarsofallgenerations(which wasappropriateassomuchofDenis’slifewasdevotedto teaching)whoallshoneasvolunteers;indeed,asSteveWick, Denis’swell-knownson,whoorganisedtheeventsaid,‘It’dbe amazingtogetaline-uplikethisforanactualgig!’.

DudleyBrightconductedtheRoyalAcademyTrombone EnsembleinGordonJacob’ sTromboneOctet,andwewereoff toahappystart.BrettBakertookusbombasticallythrough thefirstmovementofthesamecomposer’ sTrombone Concerto,whichwaswrittenforDenisin1955,andperformed byhimmanytimeswiththeCityofBirminghamSymphony OrchestraandLondonSymphonyOrchestra.Thenthe groundbreakingquartetSlideActionsteppedintoplaythree shortmovementsbyBuxtonOrr,absorbingandunderplayed music,accomplishedwiththeirusualpinpointaccuracy, teamwork,andfinesse.

MatthewGeeplayedalittle-knownconcertobyGeorge Walkerwithstyleandcommitment,showingtoeveryonein thehousehowanorchestralPrincipalperformswithsoloistic authority.OneithersideofMattwereshortspeechesfrom IsobelDaws,describingaratherawedlessonshehadwith Denisattheageof11,andthenBrettBaker,whospokeabout Denis’sinfluenceonthebrassbandworld.

ConnaughtBrassQuintetplayedtwomovementsfrom Holst’ sMoorsideSuite,anditwasrefreshing,evenforone wholovesthesoundofanytromboneensemble,tobejoined

bythetrumpets,horn,andtuba.Amomentofmagicfollowed fromtheevergreenChrisHouldingwithasimplysunlit performanceofKorngold’ sTanzlied,inwhichyoucouldbask inhisseeminglyeffortlessproduction,warmsound,andthe simplebeautyofalovelytrombonesoloplayedasyouwould inyourdreams.

EricCrees,yetanotherstudentofDenis,andofcoursea colleagueforfifteenyearsintheLSO,saidafewhumblewords beforeconductingalltheperformers,oneswhohadpreviously playedandthosecalledinforthislastpiece,infivedynamic piecesfromthe1969albumBonesGalore,onwhichDenis played.Tenors,basses,altos,andevenvalvetrombonesswung togetherinthisrousingfeastofafinale,themagnificently classyPeteBeachillafeaturedsoloistintwoofthemovements. Theaccompanimenttothetromboneandpianoworkswas beautifullyplayedbyElliotLaunn,andthefinalebullientset wasbolsteredbyPaulClarvis,JeromeDavies,andAndy Vinterondrums,bass,andkeyboard.

Sittingwatchingandlisteningtothistremendousconcert, therewasarealfeelingofwarminclusivity,almostfamilial prideatbeingpartoftheoccasion,beinginthesameroomas suchoutstandingtalentandperformance,andofcoursewe canallowealotofthatfeelingtoDenishimself,oneofthe greatcreatorsoftheentiretrombonecommunityinthis country.

Thankyou,welldone,andrespecttoalltheperformers. Deniswouldhavelovedit.

ChristopherBillat DawkesMusic

BySamGregory

YouTuberChristopherBilltoDawkesinMaidenhead.

Theeventcametogetheratfairlylatenotice,butthe opportunityaroseforustohostaworkshopwith Christopher,kindlysupportedbyDenisWick,withwhom Christopherisanendorsee(heplaysaWick12CS mouthpiece)

Thankstoourrecentexpansionandrefurbishment,wenow haveapermanentlivestageinsituandtheabilitytoseatupto 80peopleforgigs,events,andmasterclasssessions.Assuch, wecouldhappilyaccommodateasessionwithChristopher, anditwaspleasingtoseeawiderangeofplayersinthecrowd. WehadsomeyoungstersfromtheexcellentChilternMusic AcademyandmanyadultplayerswhoknewChristopherfrom his@classicaltromboneYouTubechannel,wherehehasnearly 300ksubscribers!

Havinghostednumerouseventsovertheyears,it’salways interestingtoseehowartistsapproachamasterclassorgig. Christopherwasfantastictoworkwith.Hehadplannedouta goodnumberoftopicstodiscussduringthesession,along withpracticalplayingandtheoryexamplestosupporthis points.

Someofthetopicsdiscussedincluded:embouchure development,practicetechniques,diaphragmsupport,and sometimeonbasicimprovisation.Christopherwasvery flexibleandmindfulofthevaryinglevelsofexperienceinthe

audienceandmanagedtofindawaytoincludeeveryoneinthe massplayingensembles.

Interestingly,Christopheralsofieldedseveralqueriesduring theQ&AsessionabouthisYouTubeexperiencesandhow tobecome‘known’forplayingonvarioussocialmedia platforms.Itwasagreatopportunityforhimtosharehis musicaljourneywithus,includinghisexperienceofstarting outasaclassicallytrainedplayeratcollegewhothenstrayedto the‘darkside’offunk,jazz,pop,andmore.Whatstoodout wasthefactthatpractice,perseverance,andmakingmusical connectionswithyourpeersareallstillthemostimportant buildingblocksofsuccess.

Aftertheaudiencedeparted,wehadarrangedtorecord somevideoswithChristopher,includingsomevideoshorts coveringvariousFAQsaroundplayingandequipment.These arebeingreleasedontheDawkesYouTubeandInstagram channels.YoucanwatchtheHighNoteandLowNoteadvice videoshereandhere.We’llalsohavealongerinterviewwith ChristopherbeingreleasedlateSummerviathenewDawkes YouTubePodcastseries,whichwillfeatureconversationswith variousleadingprofessionalmusicians.Makesuretosubscribe togetnotificationsofanynewcontent.

AbigthankstoDenisWickforsupportingtheeventandto alltheplayersandparentswhocameoutonaSunday afternoon.It’sveryhearteningtoseeyoungerpeople, especially,beinginspiredbyleadingprofessionalswho reinforcethepowerofmusicandthepossibilitiesthatareout thereifyoudothehardwork.

PhotoCreditDawkesMusic

PhotoCreditDawkesMusic

ReachingfortheClouds

ByDanJenkins

IfI’vehadaBigIdeainthelastfewyears,Reachingforthe Cloudsisit.Inoticed,whenatstudentrecitals,thatmuchof therepertoirewasthesamestuffI’dbeenplayingatcollege30 yearsago.Togainthecontrastneededfortheirperformances, thestudentswerestillhavingtocrowbarintheSerocki Sonatina(notthatthatisn’tagreatpiece),theCastérède Sonatina,Defaye’ sDeuxDances,orbitsoftheHindemith Sonata

So,Idecidedtowriteanentireself-containedrecital,one wherethecontrastsandthedifferentstylesandmoodsare alreadybuiltin.Iwantedtotiethewholelotupmusically,so thatthepiecesrelatetoeachother,proceedinginabalanced order,withrecurringmotifs,andabeginningthatcomesback attheend,likeaprogrockalbum.

There’sasolid,trombonisticopenercalledBombasticity, followedbyasoloventureintothestratospherecalledThe Rocket.Thentwopiecestobeplayedasabrace,Giantsinthe Rain,andTheBeautifulGhosts.Thecentreoftherecitalisin factahomagetotheSerockiSonatina,apieceverymuchinits image(withoutanyhintofplagiarism,ofcourse),called PamieciKaz.Afterthis,theperformerisonthehome

straight,thoughthere’sstillexcitinganddifficultmusicto come!AbovetheCloudsisthelightnumber,butwitha show-offendingtodelightanaudience.Then,wecomefull circletoTheReturn,alsoknownasBombasticityII.Thisties upseveralofthe recital’sfeatures,especiallyinthecadenza, andbringstheprogrammetoasatisfyingfinish.Itallmakes sensetogether.Iftherecitalisthasanyoftheirchopsleftafter 40minutes,thereisanoptionalencore,whichalsotiesthings up,calledAndAnotherThing

Withverymuchthesameplanofcontrastsandbox-ticking forcollegerecitals,anotherBigIdeawasElements.Nowadays, ademonstrationofemployabilityondifferentinstrumentsis ahugeplus,sothefourshortmovementsareplayedontenor trombone,euphonium,basstrumpetandfinallyalto trombone,representingthefourelementsofEarth,Air, WaterandFire.ThealtoFiremovementisbreathtaking.

IrecordedReachingfortheCloudsin2018;youcanlisten toitintheVirtualVenueonmywebsite

OnefinedayinDurham…

BTSNorthEastTromboneDay

2025

ByPeterChesterandDavidThornber

Tromboneplayersmaycomeandgo,butonethingseemsto becertainabouttheTromboneDaysweorganiseinDurham, intheexcellentfacilitiesofCollingwoodCollege,andthatis thatthesunalwaysshines.Thiswasdefinitelythecaseon27 Aprilasagoodlynumber,some30+enthusiasts,arrivedto listentoasplendidarrayofguestplayersonwhatturnedoutto beamostsuccessfulday.Wewerepleasedtowelcomefellow trombonistsfromacrosstheregionandbeyond,withplayers fromLancaster,Carlisle,andCambridge,andourpresident, TomLees,evenbroughthisbike(andtrombone)onthetrain fromLondon,althoughhewasconcernedtodiscoverthat Durhamcitydoeshavehills.

NeverletitbesaidthatBTSNorthEastlacksprincipals. Wehadtwo!Ourguestlist,headedbyKatyJonesoftheHallé Orchestra,DávurMagnussenoftheRoyalScottishNational Orchestra,andthetrombonesectionoftheCarltonMain FrickleyCollieryBrassBandenabledustoofferavariedand packedday-itevenincludedalunchtimerecital.

TohaveKatyJonesconductthemassedblowwasalways goingtobeapleasureandweweretreatedtoherhallmark practiceofgentlephysicalmovementsandstretchesbeforewe playedanote.Itisallabouttheimportanceoflooseningup andrelaxation,arecurringmessagefrommuchoftheday’ s playing.HelenVollam’sbeautifularrangementofRepton

provedaperfectopenertoourplaying,beinganexcellent vehicleforpracticingasmoothsoundaswellasintonationand tightensembleplaying.Thislatterskillwasunderlinedby imaginingthequaverpulsesinthemusic.Somethingdifferent followedintheshapeofBluesleeves,alightjazzy-waltz arrangementofGreensleeves,byRobWillis.Thisisverymuch acloseharmonypiece,withchallengesarisingfromsome crunchychords,aswellasthegentlerhythms.

Ourperformancewasimproved,predictably,simplyby listeningcarefullyandpayingattentiontoaccentsand dynamics.WewereverypleasedthatKatywasabletobring twoofherstudentsfromtheRoyalNorthernCollegeofMusic (RNCM),oneofwhom,BenMoss,isnotonlyafineplayer, butatalentedarrangerandwehadthepleasureofplayingone ofhis.Itwasabeautifulballad,theLovethemefromSunflower, byHenryMancini.Thearrangementhaditschallenges,aseven Benadmitted,butitwasstimulatingtoplaysomethingnew, andcertainlyatthefinalplaythroughwewereabletodoit somejustice.OurfinalmassedblowpiecewasDerrickParker’ s arrangementofHotToddy,completewithfruitybasslines, handclapsandajazzsolofromvolunteerNigel.Aswithmuch music,itwastherhythmsthatgivesthemusiccolourand shape,andthiswepracticedtogoodeffect.

Tohavealunchtimerecitalwasapracticaldecision. CircumstancesintheCollegemeantwehadtobeself-catering, soitwaspackedlunches,andwehadtheopportunitytohosta quartetfromtheRoyalConservatoireinGlasgow,whoplayed whilstpeopleate.Anexcellentinformalrecitalensued,andwe weretreatedtosomewonderfulplaying,insixverydifferent pieces.Eachoftheplayers,EmmaClose,RobbieDowall,Greg DowallandSavvasAthanasiou,introducedthemusicinturn. TheirprogrammeopenedwithHandel’ sAchievedisthe GloriousWork;thencamePiazzola’ sLibertango,beforewe hadIsobelDaws’spastichetakeontheDavidConcertino SongsfromBernstein’ sWestSideStoryfollowed,andthen therewasacatchyCharleston,beforeafinalDaws arrangement,mostappropriately,ofLochLomond–lovely playingandbeautifulsoundsthroughout.

Beforewerestarted,amemberfromNewcastle,IanSankey, toldusaboutaneducationprojectheislaunchingtheresoon, calledWishbones,whichplanstooffertromboneteachingto children8-16yearsold.DavidThornberalsodrewour attentiontoacollectionfortheMotorNeuronDisease charity,whichbytheendofthedayhadraised£70from peoplepresent.

Asmanyreaderswillknow,KatyJonesisnotonlyoneofthe country’sleadingtromboneplayersandadistinguished teacher,shealsohasasignificantinterestinandknowledgeof healthypracticesandphysiologyinrelationtoplayingthe trombone,specificallybreathingtechniques,inwhichsheis alsoanaccreditedteacher.Thus,westartedtheafternoonwith averyinformativeandactivepresentationonbreathing,with guidanceonhowwemightimprovewhatwedo.Usingvideo clips,wewereintroducedtobasicanatomy,particularlythe impactofbreathingontheinternalmovementofthe diaphragm,heartandribcage.Tobe‘bodyaware’wasthe objective,inotherwordstobeinthemostcomfortable postureforefficientandrelaxedbreathing.Naturalbreathing throughthenoseasthenormwasrecommended,asacalmer alternativetogulpinglargebreathsthroughthemouth,which cancausetensionintheupperbodyandoftenmeansthatonly theupperpartofthelungsareused.Thebody’sactionsmust notgetinthewayofrelaxedbreathing.Balloonswereissued, andblownup,toillustratethedifferentsizesoflungsweall possessnaturally.Thiswasfollowedbytheassembled multitudebeinginvitedtolayontheirbacks,onthefloor, listeningtoKaty’sgentleguidanceonrelaxedbreathing,then

touseastrawthroughwhichtobreatheoutinacontrolled manner.Undoubtedlyabizarresight,butwhenKaty concludedthisveryinterestingsessionwithusallplayinga gentlemelodyonourtrombones,thesenseoftherelaxed approachtobreathingwaspalpable.Moral–justasan over-tightgripontheinstrumentcausesstress,then over-breathingcancausetensionswhichadverselyaffectour playing.(Seewww.katyjonestrombone.co.ukformore information)

DávurMagnussenpresidedoverthenextpartofthe afternoon:amasterclassinvolvingtwovolunteerstudent players,TimJeffersfromNewcastleandHarriettMastersfrom theRNCM.Ofcourse,wewereverypleasedtowelcome them,towhatisalwayssomethingofachallenge.Both acquittedthemselvesverywellandpresentedcontrasting pieces.TimofferedShoutbyRobWiffinandHarrietanextract fromLarsson’ sTromboneConcertino.TakingDávur’ scommentsontheperformancesasawhole,thefollowingpoints weremade:

• Playtotheaudience,notthemusicstand.

• Playingwithoutthemusicincreasesyourown confidenceandthatoftheaudience,withwhomyou arecommunicating.

• Don'tlooklikeyou'regoingforanOlympicgold medal,inotherwords,relax.Yourbreathingwillthen bemoreefficient.

• Believeinyourselfandbereadytotakerisks,for example,withdynamics.

• Tryplayingloudpassagesquietly,orquickpassages slowly,withouttongue,aimingtoimproveyourtone, whichshouldbeeven.

• Rememberthattheaccompanistwillalwaysfollow you.

Regardingaccompanists,wewereparticularlypleasedto welcomeAlisonGilltoplayforusthisyear.Alisonisabusy professionalplayerwithawideexperienceandhersensitive supportforthestudentsandfortherecitalsthatfollowedwas verymuchappreciated.

Inslide-Out.L-RSavvasAthanasiou,EmmaClose,RobbieDowall,GregDowall

Abizarresight!BreathingthroughstrawswithKatyJones

movementsfromtherelativelymodernConcertobyNino Rota.Thispiecerequiressignificanttechnicalskill,with extensionsparticularlyintothehighregister.Bencertainly gaveanimpressiveperformanceofwhatisachallengingwork.

Dávur’sownrecitalfollowed,beginningalmostbeforewe knewit,as,withoutanyintroduction,hewalkedaroundthe hallgentlyimprovising.ThiswasjoinedbytheInslide-Out quartet,discreetlystandinginacornerplayingarhythmic phrase.DávurtookthatphraseandtransformeditintoPaul McCartney'ssongBlackbird,andbeforeweknewit,wehad thesurroundsoundofbirdwarblerstosupportthismagical musicaleffect.Dávur’srecitalwasintendedtodemonstrate thevarietyofthetrombonerepertoire,anditcontinuedwith threepiecesfromIbert’ sHistoire.Theselittlepiecescouldbe describedas‘ditties’tellinglittlestoriesinmusic,eachgently atmospheric,withsomewonderfulsmoothpianissimosas wellaslivelyfunsections.Therefollowedapieceforsolo trombone,calledBellsofVineta,byBentSørensen.Itwas inspiredbythesombreimageofasubmergedvillage,whose churchbellcouldstillbeheard.Usingawa-wamuteand extensivemulti-phonicsthroughout,thispieceexploredthe extremesofadvancedtechniquesandwasmesmerizingto listentoaswellastowatch.Therecitalcontinuedwith Tomasi’ sTromboneConcerto,astablepartoftherepertoire andapieceoftenusedinauditions.Weweretreatedtoa masterfulperformance,leavingtheaudiencespellboundatthe greatrangeoftone,styleandpacethattheconcertodemands. Asgentlyasthisrecitalhadstarted,itended.Aquietmusical conversation,startedbySavvas’sbasstromboneinthequartet andjoinedbyDávurfromacrossthehall,ledtoapiecefor solotromboneandquartetbyToddDulanyecalledVictory belongstoJesus.Asitgrew,itwasindeedalmostgospellikein itsresponses,beforeitendedasmagicallyasitstarted.

OurfinalguestsforthedaywereJoeHeartfield,Richard WindleandPhilSpencer,inotherwords,thetrombone sectionoftheCarltonMainBrassBand.Theypresentedan outstandingdemonstrationofthecapabilitiesofatrombone sectionfromamajorbrassband,alldonewithgoodhumour andmodestyandwhatseemedtomanypresentanalmost unbelievablerangeoftechniquesandskills.Theprogramme includedRayPremru’ sFelicityandpiecesfromBrianLynn's wonderfullyquirkysuite,SteakandKidneySupper.

L-RTimJeffers,DávurMagnussen,HarriettMasters

BenMoss

DávurMagnussenaccompaniedbyAlisonGill

Thesewereofferedwithperfectlyjudgedstyleandpanache, butitwas,perhaps,theirexplanationanddemonstrationof someofthefiendishthingstheyareexpectedtoplayinbrass bandtestpiecesthatwasthebiggestrevelationtomany.

Musicdescribedas‘bonkers’intermsofitstechnicaland staminademandswasplayedanyway,towondermentand hugeappreciationfromtheaudience.Theypresented selectionsfromVariationsonanEnigmabyPhilipSparke, OfDistantMemoriesbyEdwardGregsonandTheLost CirclebyJanVanderRoost.Itwasclearthattherewasa greatcamaraderieaswellasmusicianshipinthisteam,and theirdelightfullylaid-backcommentarymadesome importantpointsaboutwhattheydidandwhytheydidit. Theyacceptedthatthecommitmentwasverydemanding, butitwasbothanenjoyableandrewardinghobby. Having playedsomeofthemostchallengingmusicwrittenfor trombonesections,however,theypointedoutwhatreally sortsoutbrassbands,especiallytrombonesections,isnotthe

fancyfireworksbut‘thequietslowstuff’.Richardalso suggestedforindividualsitwasimportanttoplayindifferent stylesandregisters,toexpandone’sskills.Attheend, however,whatisneededistobeabletomakeagoodsound andplayintune,andonceyoudothat,thenwe'reonthe waytomakingmusic.Andofcourse,thatsimpleadvice appliesinnomatterwhichfieldofmusicthetromboneis found.

Themusicplayedinthemorning’smassedblowhadafinal spiritedairingtofinishtheday,withthesound,enhancedby allourguests,beingevenmoreglorious.Onefunctionof BTSgatheringsistobreakdownthebarriersthatsometimes existbetweenthedifferentsectionsofthetromboneworld, anditwasparticularlygratifyingtonotetheadmirationand appreciationbetweenalltheplayerswhowerewithusin Durhamonthisoccasion.Inlisteningtoeachotherwe realisewesharethesameloveoftheinstrument,withallits challengesandpleasures.Agoodday

CarltonMaintrombonesection.L-RJoeHeartfield,RichardWindle,PhilSpencer

ConcertReview

By RaphClarkson

BeautifulEyes

SackbutFrenzy

EmilyWhite–DirectorandSackbut,HelenaKieser,JamesBruce–Sackbuts

GeorgeMeeks–SackbutinAandG,Recorders,RobinBigwood–Harpsichord

St

Martin

’

sChurch,NorthNibley,11May,2025

Thebeautiful,resonantSt.Martin’sChurch,perchedin amongsttheSouthCotswoldHills,wastheidealsettingfor EmilyWhite’ sSackbutFrenzytoshareatypicallyinventive programmewithawarmandenthusiasticaudience.Beautiful Eyeswasatruemeetingofthemusicalpresentandpast, embracingthethrillingcoreofwhathistoricallyinformed performanceisallabout.

Afterthemixtureofelegantdanceandmilitarybrutality withinthe16th CenturyPavaneBattaglia,Emilyremindedus ofthelowstatusofthosewhowroteinstrumentalmusicatthe time–thePavane’ scomposerisanonymous.Nevertheless,the hugelyvariedcoloursofthreesackbuts,alongsiderecorderand harpsichord,pointtowardsthemyriadtreasurestobe unearthedintheexplorationof,andexperimentationwith, thisrepertoire.

Incontrasttothelowlystatusofinstrumentalmusic composers,thosewritingsacredmusicwerecelebrated. Weweretreatedtoaseriesofpiecesbyfamed17th Century nuns,thesackbutsaperfectfoilforexpressivevocalmusic,the historyoftheinstrumentdeeplylinkedtoitsabilitytoblend withandmatchthequalityofthehumanvoice,mostnotably doublingbass,tenorandaltochorallinesinsacredrepertoire.

ThecounterpointofAssandra’ sAveVerumCorpuswas decoratedandenhancedbytheornamentsandimprovised connectionsbetweentheever-shiftingharmonylines, demonstratingtheensemble’sdeepunderstandingofthismusicanditspractice.

Campana’ sOcchiBelli,whichgavethenametothisconcert, wasayearningpieceofmusicalstorytellingbeautifully broughttolifebytheensembleofHelenaKieser,JamesBruce andGeorgeMeeks,underpinnedbycommittedlisteningand theunifiedleaningintoheart-wrenchingsuspensionsand surprisingharmonicdigressions.

ThesameensemblelaterperformedPerucona’ sOSuperbi MundiMachina,aremarkablyjoyousmusicalresponsetothe painandsufferingoutlinedinthebleakoriginaltext. Eachplayerhadamomenttoshineinthispiece,asdidevery memberoftheensembleacrosstheconcert;George’sskilled, fleet-footedbasssackbutplayingopeningthePerucona;James earliershowingusimaginationandcreativityinhisrealisation ofGrossideViadana’ sODulcissimaMaria,andHelena’ s delicate,humble,generousvirtuositybringingtolifedeRore/ Bassano’sdivisionsonAncorCheColPartire.Wewereeven treatedtoabonusharpsichordsolofromRobinBigwood, whoserhythmicexpressivenessmadeforaparticularlyexciting FantasiabyByrd.

Theheartoftheprogrammewasnew,modernmusicfor sackbut.PeterMcCarthy’ sO’rGalon(2019),calledfora dronetobepassedaroundthechurchwithplayersdotted aroundthespace(includingacameoforAndrewWhiteon doublebass),withEmily’ssolosackbutatthecentre–a typicallyexpressive,dynamic,andextraordinaryperformance thatinvolvedkeeningcriesatthetopoftheinstrument alongsidehugepedaltoneblastsandwildglissandi,thecomposedmusicpouringforthasifimprovised.

Summarizinghowtheexplorationofhistoricalmusic representsatruemeetingofthepresentmomentandthepast, weheardNyYuHng’ sCommentaryonBeethoven’sDrei Equali(2024)–agradual,organicblurringoftheBeethoven, analmostdreamlikeexperience,wherebyatacertainmoment youcouldbehearingtheoriginalmusicbeforebeingsuddenly transportedelsewhere–suddenperformativebrassystabs,the useofhandsasawah-mute,vocalchatterandpercussivehand tapsonthesackbutbells.YuHngwasabletodrawahuge varietyofcolours,moodsandnarrativesfromasingle historicalsource–somethingthatSackbutFrenzyachieved throughoutthisconcert.

Ithasbeen40yearssincetheformationofthe BritishTromboneSociety.Wecouldn'tletthis anniversarypasswithoutapropercelebration,so wearehostinganeventattheGuildhallSchoolof MusicandDramainLondononSunday,16 November,returningtothevenueoftheSociety’s veryfirstgatheringin1985.

Awholehostoffeaturedartistswillbe performingandgivingclasses,includingAudun BreenfromtheOsloPhilharmonicOrchestra, MatthewGee,theLionKing'sTracyHolloway, CallumAu,andHelenVollam.

ThetrombonesoftheBandoftheRoyalAir ForceRegimentwillbejoiningustoleadaside-bysidesession,focusingonmusicfromtheirrecent programmes,includingclassicalandbigband repertoire.Duringamasterclasswith Conservatoirequartets,BonesApartTrombone Quartetwillshowcaseandpassontheskills acquiredovermorethan25yearsasatopchamber ensemble,andtheRoyalOperaHousetrombones andtubawillpresentthemostfamousopera excerptsandtalkaboutlifeinthepitandtheskills neededtobeasuccessfuloperaorchestrasection.

Thedaywillcelebratesomeofthepeoplewho havemadetheBTSwhatitistoday.TheGuildhall TromboneChoirwillperformpiecesassociated withourfoundingpresident,PeterGane,and HelenandAudunwillgiveclassespassingonthe wisdomlearnedduringlessonswithDennisWick.

JohnKennywillbedirectinganIntercollegiate TromboneEnsemble,whichwillperformoneof StuartDempster'sspecialspatialpieces,makinguse ofthefoyerattheGuildhall,andEmilyWhitewill directasackbutensembleopentoall(bringyour ownsackbut!).Atlunchtime,JohnandEmilywill bejoinedbyMiguelTantosSevillanofora performancebyPandora’sBox.

Mostimportantly,therewillbeahuge communitytromboneensembleinvolving everybodypresent.

TheculminationofthedaywillbeaGala Concert,whichwillincludeaveryspecial performancebythecommunityensembleof CelebrationFanfarebyRobinBenton,the winningentryinthisyear’sBTSComposers’ Competition. Therewillbeadaptedpartssothat everybodycanjoinin.Thecommunityensemble willclosetheconcertwithEricCrees's arrangementof76Trombones,fromtheLondon TromboneSoundalbum,whichcelebratesits30th anniversarythisyear.Theconcertwillalsofeature MatthewGee,BonesApartTromboneQuartet, andCallumAu,andaspecialperformanceof ThePinkPantherintributetothelateRichard Edwards.

TheBTS@40Celebrationissponsoredbyour friendsfromRockSchool,whowillhavetheir materialtotryout,andConnSelmerand PhilParkerLtd,whowillbeprovidingtrade stands.Therewillbeplentyofopportunitiestotry outlotsofnicenewshinythingsandstockupon accessories.There’salsogoingtobeaprizedraw,so bringyourpocketmoneytobuysometickets!

Forthosewhowanttocontinuethecelebration, therewillbeanafter-eventpartyatTheArtillery Armspub–we ’vebookedaroomupstairsforajam sessionandanyoneiswelcometojoinin.

Wereallylookforwardtowelcomingyoutothe eventandcan'twaittoseeyouthere.It'sgoingto beaveryspecialoccasion.

Clickheretobookyourticket.

IntheBeginning...

ByBillFerrier

IamproudtosaythatIamoneoftheoriginalmembersofthe BTSandattendedthefirst-evermeetingattheGuildhallin 1985. Atthetime,IwasahistoryteacherworkinginEast London.Likemanyamateurmusicians,Iwasalwayslooking forwaystoimprovemytromboneplaying. Asastudentat Glasgow University,IhadprivatelessonswithPeterOram, whowastheprincipaltromboneoftheBBCScottish SymphonyOrchestraatthetime.Afterqualifyingasateacher andmovingsouth,oneofthefirstthingsIdidafterearninga salarywastobuyaConn88HandthenattendthePhilip JonesBrassEnsemblecourseinHorncastlein1980.

In1985,Iwashappilyplayingtromboneinvarious orchestrasandbigbandsintheEssexandEastLondonarea. IhavenorecollectionhowIcametohearoftheformationof anewtrombonesocietythatwasholdingameetingatthe GuildhallSchoolofMusic.HadIreadaboutitinmagazines suchastheBrassBulletinorseenanoticeinBillLewington’ s musicshop? Ican’t remember–therewasnointernetthen!

TheinauguralmeetingoftheBTStookplaceintheevening, andIwasabitlategettingtotheGuildhallandslightlyapprehensive,notknowingwhattoexpect.Iwalkedintoaroom fullofenthusiastictrombonists,therewascertainlyabuzzof excitement.

AtrombonequartetfromwhatisnowtheRoyalNorthern CollegeofMusicplayedapiece.Unbelievably,Irecognised oneoftheplayersasDaveAllenwhomIhadplayedtrombone withintheGlasgowSchoolsConcertBandasateenager. Whatacoincidence,andsomeoneIknew!Igotchattingto himandheintroducedmetoDennisWick.Iwasshaking handswithoneofmytromboneheroes–Imusthavereadhis bookoverahundredtimes.Irememberbeingmesmerisedand inspiredbytheplayingofJiggsWhighamsomuchsothatI boughtacopyofhisbookofsolotranscriptionswhichIstill haveandstillcan’tplay!

Therestofthemeetingisabitofablur.IrememberDennis Wick,andpossiblyPeterGane,givingstirringspeechesabout theaimsofthisnewtrombonesocietytheywerehopingtoset up.Afewweekslater,Ireceivedmymembershipofthenewly formedBTS.Ithinkmyoriginalnumberwas097andIhave beenamembereversince.

ImovedtoGermanyfor12yearsandalwayslooked forwardtoreceivingmycopyofTheTrombonistmagazine withallitsnewsandplayingtips.OnreturningtotheUK

IhavebeenabletoattendBTSeventsalloverthecountry includingGlasgow,Durham,LondonandWessextoname justafew. ThroughmylinkswiththeBTSIhavebeenableto havelessonswithprossuchasDonalBannister,Christian JonesandKevHolborough.ItwasataBTSeventthatImet upwithKevinSmithfromtheBournemouthSymphony Orchestraandendedupplayinginthebrassbandsthathe conducts.IlearnedsomuchfromsuchplayersthatIended mycareernotasahistoryteacherbutasaBrass/Trombone teacherinWiltshireandHull.Ihadagreattimeplayingthe tromboneandgettingpaidtodoso!Ihavealottothankthe BTSforoverthelast40years.

Reviewed

by

STILL

KrisGarfitt

KrisGarfittisthesoloistinthispremiererecordingofPeter Ruzicka’ sSTILL.Drawnfromthecomposer’schamber symphonyofthesamename,STILLissubtitled‘Memorial fortromboneandchamberensemble’andfocusesonthesolo voice,whichspreadsitsquiet‘singing’overalmosttheentire piece,backedbyasoftfieldofstringsandfloridinterjectionsin thewinds.Whilethesoloistengagesinlong,contemplative phrases,oftenascendingintotheveryhighregister,thisisnot calmingmusic.Amelodybasedonsemitoneandtritonesteps, andaccompaniedbyarecurringharmonicsequenceofseven chords,createsanimpressionofuneaseandanguish,which graduallybuildsinintensitybeforeleavingthesoloistexposed andalone,sustainingalongnotewhichfadesintosilence.

Garfittgivesatremendousperformance,displayingfantastic controlinthehighregisterandacrossthelongerphrases,all deliveredwithawonderfullymalleabletone.

PurchaseSTILLhere

SacredGeometry

BookofBrass

AmericanBrassQuintet

SacredGeometryandBookofBrassareacomplementarypairof digital-onlyreleasesbytherenownedAmericanBrass Quintet.

SacredGeometry,composedbyDavidBiedenbenderforthe AmericanBrassQuintet,isafour-movementworkinspiredby thearchitecturalandspiritualvisionofAntoniGaudí.

DrawingfromGaudí’sintricatedesignsintheSagradaFamília, hisgreatcathedralinBarcelona,Biedenbenderexploresthemes offaith,nature,andtransformationthroughbrasstexturesand geometricsymbolism.

Ripplesevokescathedralacousticswithchant-liketrumpet linesandreverberantharmonies,subtlyreferencingWilliam Byrd’ sAveVerumCorpus.Gaudíiswhimsicalandsurreal, reflectingGaudí’sjoyfulcreativity.Nautilus,isbuiltona small,simplephrasethatspinsandrotatesintolongerand longerthreadsandswirling,circularharmonicpatterns, reflectingthelogarithmicspiralofanautilusshell.Thefinal movement,Helix,unfoldsinacoiling,ascendingstructure, mirroringthetwistingformsfoundinGaudí’scathedralvaults.

AlastairWarren

SacredGeometry blendsliturgicalreflectionwithplayful abstraction,offeringameditativeyetvibrantlistening experience.YoucanexploremoreonBiedenbender’ swebsite.

BookofBrass,composedbyJenniferHigdon,oneof America’smostperformedlivingcomposers,featuresfour movementswhichcanbeplayedinanyorder,orasstandalone works.RampUpburstswithenergyandrhythmicdrive,and Acrosticunfoldslikeamusicalpuzzle,introspectiveand layered.Glide&Fadeexplorestonalshiftsandatmospheric transitions,whilePunchItUpsharesmusicallanguagewith RampUpbutismoreplayfulandurgent.Higdon’smusicis veryapproachable;herTromboneSongsareabeautifully melodicsetofvignetteswellworthexploring.

TheAmericanBrassQuintetisunusualinfavouringbass trombone(since1991thegreatJohnRojak)overtuba. Inthesetwoworksthemoreassertiveedgeandcrisper articulationprovidedbythetromboneservesthemusicvery well,withthefocusedsoundaddingclarity,especiallywhen melodicfragmentsappearinthebassvoice.

DownloadSacredGeometryandBookofBrasshere.

SuperTrombone

4TromboneswithMasaruImada

AreissueofararegemofJapanesejazz,SuperTrombone(1980) unitesfourtrombonists,HitomiUchida,MichioKagiwada, ToshinobuIwasakiandYoshioOikawa,withrenowned pianistMasaruImada.Imada’selectricpianoaddsdepthand expressiverangetoarichlyvoicedsession,whichmixesstraight aheadarrangementswithasprinklingofjazzfusioncharts, typicaloftheperiod.

StandardslikeYouDon’tKnowWhatLoveIsand’Round

AboutMidnightarereimaginedwithwarm,layered-brass textures,whileoriginalssuchasJoggin’andSpringofDreams showcaserhythmicflairandensembleprecision.Thefinal, unaccompaniedtrack,GopherSerenade,wouldmakeagreat additiontoanycontemporarytrombonequartet’srepertoire, shouldatranscriptionbemade.

Overall,SuperTrombonebalanceslyricalsoloswithtight arrangements,offeringasophisticatedyetaccessiblesound, wellworthaplaceinanyone’scollection.

ListentoanddownloadSuperTrombonehere.

Scorrete lagrimemie

MaximilienBrisson

ReviewedbyEmilySaville

It’snoteverymonththatwearetreatedtoanewalbumforsolo sackbut,butMaximilienBrisson’sdebutalbumservesasa reminderthatitcanbeworththewait.FocusingonItalian musicofthe16th and17th centuries,Scorretelagrimemiedraws togetherpiecesbyrenownedtorelativelyunknowncomposers, unitedbythethemeof‘tears’ ofsorrow,despair,and betrayal,butalsojoy,passion,andawe.

Inthe16th and17th centuries,instrumentalists–particularly windplayers–weredeterminedtoimitatethehumanvoiceas closelyaspossible.AsBrissonnotesintheCDbooklet,ample sourcesdocumentthisobsession,withSilvestroGanassiwriting in1535:

‘Justastheworthyandperfectpainterimitateseverything createdbynaturewiththevariationofcolours,socanwind andstringinstrumentsimitatethesoundofthehumanvoice. [...]theinstrumentimitatesthevoicewithvariationsofthe breathandofthemovementsofthetongue.[...]ThisIhave experienced,andIhaveheardotherplayerswhocanmakeeven thewordsunderstoodthroughtheirplaying.’

Thisvocalstyleofplayingisundoubtedlythestandout featureoftheentiredisc,withmoments ofanguish,suchasthe openingofBarbaraStrozzi’ sLagrimemie,andthereverent pleasinFrancescaCaccini’ sFermaSignore,arresta,all expressedwithsuchartisticfinessethatonemightalmostforget thisisatrombonealbumatall.

Embracinganotherstapleofthesackbutplayer’sdiet,several piecesaredevotedtothehistoricalpracticeofaddingelaborate ornaments,ordiminutions,toasinglevoiceofanexisting polyphoniccomposition–effectivelyreimaginingtheoriginal asavirtuosicsolopiece‘accompanied’bytheothervoices. GiovanniBassano’spopulardiminutionsonCiprianode Rore’ sAnchorchecolpartire,andBrisson’sowntastefully ornamentedversionofIlbiancoedolcecigno(JacquesArcadelt) offerengagingcontributionstotheprogramme.Thereal triumph,however,isBrisson’srenditionofGiovanniBattista Bovicelli’sornamentedIosonferito(GiovanniPierluigida Palestrina).Exceptionallyintricate,everyphraseislacedwith delicate,fast-movingornamentsdemandingexemplary

techniqueandmusicalnuance,allofwhichareexecuted superbly.ChristopheGauthierandLucBeauséjour,on harpsichordandorganrespectively,formaseamlessmusical partnershipwithBrisson,theirthoughtfulimitativeand anticipatorygesturesevokinganongoingconversation.

InadditiontoperformingacrossEuropeandNorth America,BrissonalsoteachesBaroquetromboneatthe UniversityoftheArtsinBremen.Evidently,hecanalsocount ‘ composer’among his accolades. In recentyears,therehas beenasmallflurryofnewworksforsackbut,notablyAlex Paxton’ sApocalypseFlowerandPeterMcCarthy’ sO’rGalons (bothperformedbyEmilyWhite),aswellastwopiecesby MartijnPaddingcomposedforMatthijsvanderMoolen. Whilemanyofthesecompositionsgleefullyexplore contemporarysoundscapeswithmultiphonicsandfluttertonguing,Brissonofferssomethingmorefirmlyrootedinthe past.Historicallyidiomatic,hisRecercadainthestyleofDiego OrtizisbasedonthepopularcantusfirmusLaSpagna,while hisSonataperilTrombonesolodrawsclearinspirationfrom instrumentalsonatasofc.1620.Thelatterpieceguidesthe listenerthroughavarietyofcharacters–fromapoisedand rhetoricalopening,throughharmonicallyexpressiveadagios, undulatingtriples,andtoafinaldeclamatoryclimax.

Thethematicsequencesindialoguewiththeharpsichordprove decidedlycatchy!It’seasytoimaginethisnowpublishedpiece makingrepeatappearancesontheconcertstage–andwhynot alsoonmoderntrombone?

Thisisabrilliantcompilationofdeeplyevocativerepertoire, highlightingthevocalandvirtuosiccapabilitiesofthesackbut withremarkablesensitivity.Brisson’ sdebutofferssomethingto beappreciatedwellbeyondtheearlymusicnicheandwould makeaclassyandinspirationaladditiontoanytrombonist’ s collection.

PurchaseorstreamScorretelagrimemiehere.

NanamiHarutamovedfromhernativeJapantostudywith MichaelDeaseatMichiganStateUniversity(MSU)in2023, fromwhereshe’ssincegoneontowinseveralawards, includingtheCarlFontanaJazzTromboneCompetitionand theKaiWindingJazzTromboneEnsembleCompetition. Allofwhichsuggestsherdebutalbumshouldbesomething special.

Harutahasassembledafirst-ratequintet,mostlyofMSU tutors.InadditiontoDease(tromboneandbaritonesax), XavierDavis(piano)andRodneyWhitaker(bass)arealsoon theroster,withMSUalumniChrisMinamiappearingon guitarforonetrack.UlyssesOwensJr(drums)completesthe lineup.Whatfollowsisastraight-aheadhomageto trombonistsoftimespast.

ThealbumopenswithGirlie’sWorld,anoriginalby CanadianpianistReneeRosneswhich,whilstfirstrecorded byRosnesin1995,couldhavebeenwritteninthe1960s,such arethesimilaritiestoFrankRosolino’ sBlueDaniel.It’ sa prettytuneinagentle¾,whereDeasetakesthefirstheadon baritonesax,afterwhichHarutatakesover,playing beautifullyintheupperregister,thengoingontotakethefirst solo.It’sanice,ifnotgroundbreaking,start.

Itinstantlyfeelslikethebandismoreathomewhenthey arriveatCurtisFuller’ sAlgonquin.Greaterurgencyinthe drumspropelstherhythmsectionwithmoreenergythanthe previoustracks,throughafaithfulrenditionoftheoriginal arrangement,completewithDeasefillingtheTateHouston roleonbaritonesax.What’slacking,though,isthefizzand urgencyoftheoriginal.Theslightlyslowertempodoesn’t help,butwithoutFuller’ssignaturebiteandthetrombonebaritoneharmoniesontheheadreplacedwithoctaveunison, we ’releftwithwhatfeelslikeatoned-downcopy,withthe hard,interestingedgesroundedoff.

TheVibe

NanamiHaruta

ReviewedbyMartinGladdish

TurninginsteadtothethreetuneswrittenbyHaruta herself,Toshiisagentle3/4swingerthatstartsoffpleasantly enough.Deasejoinsinonthere-statementofaheadthathasa lovely4-over-3passingchordsequence,whichunfortunately tripsHarutaupalittlewhenitcomestohersolo.It’ sarare, smallfumbleonanalbumofotherwisesecureplaying.

HeartstringsisalovelyballadthatsuitsHaruta’splayingstyle muchbetter;thequietervolumeallowsforabreathiertone, whichworkswonderfully.Itstandsshouldertoshoulderwith anynumberofthewell-lovedAmericansongbookand deservestobecomeastandardinitsownright.Thelastofthe trio,Woodpecker,isastraight-upmediumblueswhichgives Harutaroomtostretchoutandexploresomemoremodern lines,withoutgettingtoocarriedaway.

Whilstexecutedverywellindeed,TheVibeleftmewanting more.Theplayingispolishedthroughoutbutwithaheavy relianceonstocklicksandphrasesitneverengagedmeas deeplyasIhadhoped.Heartstringsisthestandouttrack, demonstratingHarutacanwriteawonderfultuneandplay beautifullyoverit–I’mverymuchlookingforwardto hearingmoreofwherethatcamefrom.

ListentoTheVibeviayourfavouritestreamingserviceor purchaseacopyhere

RichardEdwards ALifeinMusic

ByAlastairWarren

RichardEdwards,atrombonistofextraordinaryversatility, passedawayon22May.Hiscareerspanneddecadesof collaborationwithworld-renownedensemblesandartists;he leavesanindeliblemarkonclassical,jazz,pop,andfilmmusic.

Bornin1959,inDorking,Surrey,Richardwaseducatedat HorsellCountySecondarySchool,Woking,playingtrombone intheschoolbrassensembleandwiththe AldershotConcert Band.Attheageof15,hewas auditionedfortheBandofthe IrishGuards,andonleaving schoolat16,heenteredthe JuniorMusicians'Wingatthe GuardsDepot,Pirbright. AftertwoyearsatPirbright, hebecameapupilattheRoyal MilitarySchoolofMusic, KnellerHall,studyingunder ProfessorW.Teske.WhilstatKnellerHall,hewonthe CousinsMemorialTrophy,theCasselandWestminster prizes,andwasawardedtheWorshipfulCompanyof Musicians’ MedalfortheOutstandingMusicianoftheYear.

Forminganensemblealongsideclosefriendsandfellow Guardsmusiciansthatwouldgoontobethehouseband ‘upstairs’atRonnieScott’sJazzClubintheearly1980s, Richarddevelopedadeepunderstandingofstudioplaying earlyinhiscareer,learningthenuancesofliverecordingand fast-pacedsessionwork.Hiscompositionalflairandensemble intuitionwereevidenteventhen,asthisearlyrecordingshows.

OnleavingtheArmyin1983,Richardwasinhighdemand rightfromthestartofhisfreelancecareer,immediatelyjoining thepop/jazz/funkgroupWorkingWeekwithwhomhe recordedandtoured,performingatboththeMontreuxJazz FestivalandGlastonburyin1985.Theyregroupedin December2023foraone-offmemorialconcertatthe Camden Roundhouse.Richard’sjazzcredentialssawhimperformand recordwithCarlaBley,JohnSurman,ColinTowns,and GeorgeRussell.HetouredwithThePasadenaRoofOrchestra, JamesLast,NatalieCole,andJohnnyMathis,aswellas collaboratingwithlegendaryfiguressuchasQuincyJones, FrankSinatra,HermetoPascoal,andBillHolman.

Aconsummateorchestralplayer,Richardperformedwith theLondonPhilharmonicOrchestra,LondonSymphony Orchestra,RoyalPhilharmonicOrchestra,BBCSymphony Orchestra,andtheOrchestraoftheRoyalOperaHouse. HewasrarelywithouthisownchairintheWestEnd. AmemberofLondonBrasssince1991,Richardoccupieda spacewithintheensembleconnectingclassicaltraditionwith jazzexpression.Hecontributedmanyarrangementstothe group,includingPeeWeeEllis’ sTheChicken,recordedhere duringlockdownin2020.

Richard'scontributiontofilmmusicisastonishing. Heplayedonhundredsofsoundtracks,includingTheLordof theRings,HarryPotter,CasinoRoyale,Shrek,Narnia,Bridget Jones'sDiary,theFantasticBeastsseries,Inception,andThe DarkKnightRises.Instudiosessions,heworkedwithSting, AmyWinehouse,RobbieWilliams,JoniMitchell,EltonJohn, Jamiroquai,Blur,andPaulMcCartney,tonamebutafew.

Appointedasthefirst-everJazzandLeadTrombone professorattheRoyalCollegeofMusic(RCM),Richard taughtforover30years,inspiringgenerationsoftrombonists withhisinsight,kindness,anddepthofexperience.Afundin hismemoryhasbeenestablishedtosupportaprizeforthe mostversatileyoungbrassplayerattheRCM,afittingtribute toamusicianwhoembodiedadaptability,passion,and excellence.Clickheretocontribute.

RichardwasagreatsupporteroftheBritishTrombone Society,contributingtoTheTrombonistonoccasion;his adviceto‘eatfirst’hasbecomelegend.InmemoryofRichard, aperformanceofThePinkPantherfromtheLondon TromboneSoundalbumwillbededicatedtohismemoryatthe BTS@40CelebrationinNovember.Richardwasthefeatured

DaveLandandRichard.PhotocourtesyofDaveLand

jazzsoloistonthealbum;RobEgertonhastranscribedhissolo forusalltotry.Turntopage38toattemptit,andmarvelat howeasyRichardmakesitsound!

Thefollowingtributesfromclosemusicalfriendsspeaknot onlyofRichard’sartisticbrilliancebutalsoofhisunfailing warmth,humour,andgenerosity.

AdrianLane

MyheartsankwhenIheardthenewsthatRichardhadpassed away.Thetromboneworldhaslostatruegiantofthe instrument.Ourfriendshipbeganin1983whenwewerein thetrombonesectionoftheNationalYouthJazzOrchestra (NYJO)andthenMarkNightingale’ sBonestructure(created fromtheNYJOtrombonesectionofthetime–Mark Nightingale,RichardEdwards,ColinHill,me,andNigel Barr).Throughoutourprofessionalcareers,RichardandIsat togetherinthetrombonesectionofOliveralongsideDave StewartonbasstromboneattheLondonPalladiumfrom 1994-98,ChittyChittyBangBangalsoatthePalladiumfrom 2002-2004,thenLordoftheRingsatTheatreRoyal,Drury Lanefrom2007-2008.AsidefromourWestEndwork,we sharedcountlesstourbuses,hotels,andrecordingsessionsover a30-yearperiodbeforeIlefttheprofessionin2013totakeup afull-timeBrassteachingjobintheMiddleEast,whereIstill am,nowteachinginDubai.OnmyannualvisittotheUK, withoutfail,IwouldmeetupwithRichintheWestEnd, usuallybetweenshowsonaMatildamatineeday,andwe wouldcatch-upoverafewbeersandmuchside-aching laughter,reminiscingaboutthegoodtimes.

Richardwasanoutstandingmusician.Aworld-class trombonistaswellasaskilledcomposerandarranger,Richard wasequallyathomeacrossallmusicalplatformsandgenres–Jazz,Pop,Classical,smallbore,largebore,basstrombone,and heplayedthemalltotheenvyofthosewhowerespecialistson eachinstrument.Therearehundredsofrecordingsinwhich Richard’stromboneplayingcanbeheard,aselectionofwhich canbefoundwithinthesepages.Richardwasatrueartist–generouswithhistime,endlesslysupportive,andalways willingtosharewhatheknew.Hewasaninspiringfigure,not justbecauseofhisimmensetalent,butbecauseofhishumility andkindness.Tome,andtosomanyothers,hewasahero. Inmymind,Richardwasagiantnotonlyofthetrombone world,butofhumanityitself.Richardwasthekindestand gentlestofsoulswithanunparalleledsenseofhumour. MyheartgoesouttoRichard’swifePenny,hisdaughter Molly,andhisbrotherRob.Maytheyfindcomfortinthe countlessliveshetouchedandthemusicheleftbehind.

DaveStewart

IfirstmetRichintheearly1980satNYJOandvariousblow bandsacrossSouthLondon.I’dneverheardanythinglikeit; hewassoexcitingtolistentoandplayednotesIneverknew existedonthetrombone.

In1991,wehadavacancyinLondonBrassandRichjoined, takingthegroupinanewdirection.Therewasalotoftouring atthistime,andweateourwayaroundtheworldtogether. OurItaliantourmanagernicknamedthegroup‘Luncheon Brass’afteraparticularlygreedytrip.

Overthenextthreedecades,thereweremanyperiodswhere IspentmoretimewithRichthanwithmyfamily.We’dspend thedaytimesinthestudiosandthenheadintotheWestEnd fordinnerbeforeheadingtoourshows.Greattimes!

FamilywassoimportanttoRich.PeteBeachillandIwere his‘bestmen’whenhemarriedPenny,aftertheirromance blossomedoveracrosswordinaChiswickpub,andhedoted onhisdaughterMollyfromthemomentshearrived.

Apartfrombeingawonderful,versatileplayerand inspirationalteacher,Richwasthemostcaring,funnyand thoughtfulfriendonecouldhopefor.

Imisshimhugely.

EdTarrant

Richardwillberememberedbymanyformanyreasons.Ishall rememberhimforbeinghumble,hilariouslywitty,proud (especiallyofPennyandMolly),influential,grumpy (sometimes),talented(beyondbelief),thoughtful,hungry (alwaysplanningthenextmeal),compassionate,tall,admired, andrespected.Asayoungtrombonisttryingtocarvealiving inthismadandwonderfulbusiness,Richardwasoneofthe playersIidolised–hecoulddoeverything!Andthentobe askedtoworkwithhim,well,thatwasfantasyland!Yearslater,

Bonestructure

RichardandDaveStewart.PhotocourtesyofDaveStewart

itbecameapparentthatatsomepointalongthewayto workinginthefreelanceworld,weall,knowinglyornot,have hadamentororguardiangivingusalegup.Iquicklyrealised thatthatspecialcharacter,forme,wasindeedRichard.Only yearslater,Ikepthearingfromsomanycolleaguesaboutthis recurringthemethatwewereallhelpedatsomepointbythe samespecialperson,Richard.Humbleandgeneroustothe core!Iamhonouredtocallhimafriend.Iwillremember fondlythemany,manylaughswehad,thesplendiferous mealtimeswehad,thejoyoflisteningtooneofthemost incredibletrombonistsontheplanetand,ohyes,for introducingmetoVIZ!Butlikeeveryoneelse,Ishallmissthe opportunitytomeetupwithRichard,abeautiful,funnyand caringperson.

MarkNightingale

Richard’scolossaltalentasatrombonistandall-roundmusical forcewasonlysurpassedbyhismanyexemplaryqualitiesasa humanbeing.Aloyalfriend,hewaskind,generousand thoughtfultoeveryonehemet,possessingasparklingsenseof humourandunceasinglypositiveoutlooktolife.Andhelived hislifetothefullatalltimes,withaloveoffinefoodandwine, relishinggoodcompanyandawittyremarkorfunnystory. PennyandMollywerehisbedrockandthelovesofhislife,and heenjoyednothingmorethansharingtheirachievementsand funtimestogether.

Asatrombonist,RichardledthewayintheUK,beingthe firstpersontoplaybasstrombone,largeboreandsmallbore tenortrombonestoanequallydazzlinghighstandardacross everygenreofmusichewasfacedwith.Whethernailinga technicallydauntingfunkyphraseintheextremehighregister, improvisingwithpassionandfluency,anchoringthebottom ofatrombonesectiononthebass,orplayingclassicalmusic

withstyleandsensitivity,hecouldalwaysberelieduponto producethegoods.Asifthatwasn’tenough,hewasalsoa marvellouscomposerandarranger,aninspiringandhugely respectedteacher,andheneverfailedtobeatremendously supportiveteamplayerinanymusicalsituation.

Richardtouchedsomanylives,andIwillalwaysremember our42yearsoftreasuredfriendshipandmusicalcollaboration asbeing,quitesimply,joyous.

MikeHext

IfirstheardaboutRichfromDonLusherintheearly1980s. Donwasenthusingaboutthisfantasticplayerhe’dheard. Hesaid,‘Richardisafantasticjazzerandhecanalsoplay legit…’BylegitDonmeanthisextraordinaryversatility.The firsttimeweplayedtogetherwaswiththeWallaceCollection duringaminitourtoScotland.Iwasbowledoverbyhis playing.Histechniquewasstunningandtheeffortlesswayhe couldchangestyleswasaninspiration.Sincethattime,we’ ve workedtogetherfornearly40yearsinsomanygenres:inthe studio,playingjazzinapub,sittinginaWestEndpitand playinginasymphonyorchestra.

Hisabilityandhismusicianshipspokeforthemselves,but moreimportantly,hewasafriend.Evenifweweren’tworking together,weregularlymetupintheWestEndbetweenshows. Hissenseofhumourwaslegendary.WhenyousawRichona date,youalwaysknewyouweregoingtohaveagoodtime. Helovedhisfoodsowhereyoumetbeforeorafterthedate assumedasmuchimportanceasthedateitself!

Theweekbeforehedied,wedidathreetromboneand rhythmsectiongigathislocalinBurgessHill.Hehadbeen sufferingfromafewhealthproblemsbutonthatgighewas absolutelyonfire.AndyWoodwasonthegigtoo,andweboth agreedthatitwasvintageRich.Weweresogratefulthatwe hadthatchancetoplaywithhimathisbestjustonefinaltime. SleepwellRich.Thankyoufortheinspirationandthe friendship.

L-RPeteBeachill,MikeHext,Richard

Grumpy(sometimes).PhotoCreditDaveStewart

PeteBeachill

IfirstmetRichardatRonnieScott’sin1983.He’djustleft theIrishGuardsandwaskeentodiveintofreelancework. Iputhisnameabout,andbeforelongwewereworking togetherregularly.Backthen,Richhadn’tstartedtoplaybass trombone,sowewerealwaysbookedtogetherastwotenors. OurfirstbigtourwaswithShirleyBasseyin’88,andfrom thenon,webecamefirst-callformanyofthethirty-oddfixers thatwerearoundinthosedays.Wewereinseparableinthose days.Weevenwentonholidaytogether.

In1990,IgotaphonecallfromDerekWatkins–Hansi (JamesLast)neededanextratrombonistforsomesessionsin Hamburg.Richwastheobviouschoice.Thesessionswere directedinGerman,double-tracked,andpaidinglorious, generouscash –followedbyadinnerinvitefromHansi himself.Hedidn’tjustpaywell–hethankedyouproperly. 1996sawusformingtheLondonTromboneQuartetwith MarkNightingaleandDaveStewart.Werecordedanalbum appropriatelytitledSomeofOurBestFriends.Rich’splaying

AndrewsSisters.Wewereswappingaboutchairs,but obviouslyRichardwouldbeplayingthesolos,thoughI figuredIcouldprobablyhave‘muddledthrough’.UntilI heardhim.Itisnoexaggerationtosaythatitchangedtheway Ithoughtabouttheinstrument.Thebeautifulphrasing,the sound,thecontrol–itwasastonishing.Duringthemany yearsweworkedtogether,duringwhichIcametorealisethat hecouldplayjustaswellinallstylesandonallinstruments, includingbass,Ilearnedsomuchandneverstopped appreciatingRichard’stalentandgenerosityofspirit.

In1998,weperformedatQuincyJones’s65th Birthday ConcertinGstaadwiththeLMOBigBand.Thatnight,after thegig(andafewdrinks),Rich,ChrisDean,andIhadatopF competitioninthehotelbar.Rules:waitforatrackinFand larapoutasmanyloud,accuratetopF’satfffaspossible. Whataracket.Naturally,Ilost.RichandChris? Unforgettable.ThebesttopF’syouwilleverhear.Wewere barredfromthehotelinthemorning.

Wesharedthestagewithmanylegends–LizaMinnelli,Ray Charles,NatalieCole,JamesLast–andmanyyearsofTV work.Toomanystoriestotell.Thoughwedriftedaswork changed,everygigorsessionwithRichwasajoyandalaugh. Takecare,mybrother.You’llbemissedterribly.

Asyou’dalwayssaytome,‘SillyArse’.

PeteDavies

IhadmetRichardsocially,butitwasinthelate80sthatwe firstplayedtogetherwiththeRPOinKenwood. Theprogramme–40’shits,soamixtureof633Squadron, WhereEaglesDare,interspersedwithVeraLynnandthe

IgottoknowRichard’swife,Penny,anddaughterMolly andtoseewhatawonderfulhusbandandfatherhewas, indeedwhatagreatfriendhewastosomanypeople, musiciansandothers.

Amidstthesadness,Ifeelveryfortunatetohavespenttime withRichard,andforthosewhodidn’tgetthechancetohear him,IrecommendyoulistentoWorkingWeek,ofwhich groupRichardwasaconstantmember,orthemanyLondon

WithgratefulthankstoAdrianLaneandtheEdwardsfamily fortheirassistanceincompilingthismemorial.

InthestudiowithJohnWilliams,Richardfarright PhotocourtesyofPeteDavis

InSondrio,Italy.PhotocreditPennyEdwards

QuincyJonesTour,ZurichAirport.RichardandPeteBeachill PhotocourtesyofPeteBeachill

BONE-AFIDE

6.00pm,Saturday,6September

WellsMaltings,Wells-Next-the-Sea

7.30pm,Saturday,20September

StBarnabasParishChurch,Linslade

ENGLISHCORNETTAND SACBUTENSEMBLE

7.30pm,Sunday,7September

StMary'sChurch,Haddington

7.30pm,Friday,26September

StMartinintheFields,London

7.30pm,Friday,17October BreconCathedral,Brecon

6.00pm,Sunday,19October

StDavid'sChurch,Brecon

DENNISROLLINS

7.30pm,Tuesday,9September CAST,Doncaster

7.30pm,Thursday,25September RWCMD,Cardiff

8.00pm,Saturday,25October 1000Trades,Birmingham

6.30pm&9.15pm,Thursday, 18December

RonnieScott’s,London

EMILYWHITE

ProctorConcertoforSackbut worldpremiere

7.00pm,Saturday,21September DorchesterAbbey,Dorchester

RORYINGHAM

8.00pm,Wednesday,24September

8.00pm,Wednesday,29October

8.00pm,Wednesday,26November

8.00pm,Wednesday,10December

TheWoodman,London

ROYALPHILHARMONIC ORCHESTRABRASS

7.00pm,Friday,3October

TheHawth,Crawly

ONYXBRASS

7.30pm,Friday,3October MacReadyTheatre,Rugby

CONNAUGHTBRASS

7.30pm,Monday13October

St.Paul'sParishChurch,Wooburn

1.00pm,Friday,14November

StMartin-in-the-Fields,London

1.10pm,Tuesday,2December

BridgewaterHall,Manchester

7.30pm,Wednesday,10December

StGeorge’s,Bristol

MARKNIGHTINGALE &CALLUMAU

8.00pm,Tuesday,14October

PizzaExpressJazzClubSoho,London

DAVEKEECH

TOKYOEPLaunch

7.30pm,Wednesday,22October 100Club,London

CHRISTIANLINDBERG

LindbergperformshisTrombone Concerto,GoldenEagle,withthe PhilharmoniaOrchestra

3.00pm,Sunday,2November

RoyalFestivalHall,London

BONESAPART

5.00pm,Sunday,2November

StJohntheBaptist,CockayneHatley

PETERMOORE

HowardTromboneConcertowithBBC

PhilharmonicOrchestra

7.30pm,Friday,7November

RoyalConcertHall,Nottingham

7.30pm,Saturday,8November

BridgewaterHall,Manchester

MORGANBLAND

GrøndahlTromboneConcerto

7.30m,Saturday,15November

HolyTrinityChurch,Frome

OPERANORTHTROMBONETRIO

12.30pm,Wednesday,19November

TownHall,Dewsbury

3.00pm,Sunday,23November

HowardAssemblyRoom,Leeds

LAURAIMPALLOMENI

7.00pm,Wednesday,19November

TheCrypt,StMartin-in-the-Fields, London

EDMELLOR

1.05pm,Monday,24November

RoyalBirminghamConservatoire

Aswebeginthenewseasonformostorchestras,Iwaswonderingifmanyofyoumanagedtomakeittoany ofthisyear'sProms?It’snoweasierthanever,withProm-adjacenteventshappeningallovertheUK fromNewcastletoBristol.There’sbeensomefascinatingprogrammingwithachangeinthe management,soI’dbeinterestedtohearwhatpeoplethinkofthemostrecentiteration. 2025/26seasonsarenowgo,soletsseewhat’sinstoreforus–there’sanotableincreaseintheprogramming ofnewmusic,sowhynottrysomeoftheseoutandhearorchestrasstrayfromtheover-troddenpath?

BYJOSHCIRTINA//

PRINCIPALBASSTROMBONEOF

THEROYALPHILHARMONICORCHESTRA

SYMPHONICHIGHLIGHTS

Britten&Elgar

–CityofBirminghamSymphonyOrchestra

7.30pm,Thursday,25September SymphonyHall,Birmingham

Prepareyourselftobethrilledandexhilaratedbythis programmeofBritishmusic,spanningnearly100yearsand conductedwithcustomarystylebyNicholasCollon.Thomas Adès’ sHotelSuite:PowderHerFacefindsaDuchesslooking backonherlife,lustsandmemoriesofdancingthenight away.Brittenwasinhis‘boygenius’phasewhenhewrotehis DoubleConcerto.Itcrackleswithyouthfulenergyinthehands ofthebrilliantsoloists,VildeFrangandLawrencePower. Elgar’ sFirstSymphonyisaspassionateasitisnoble,imbued withwhatElgarcalled‘massivehopeforthefuture’.

FromDarknesstoLight

–ScottishChamberOrchestra

7.30pm,Thursday,2October UsherHall,Edinburgh

7.30pm,Friday,3October CityHalls,Glasgow

7.30pm,Saturday4October ConcertHall,Perth

FewcanbeleftunmovedbythepityofRichardStrauss’ deeplycatharticMetamorphosen,aprofoundlypoignant reflectiononthedestructionofWorldWarTwo.Fromits famouslygrippingopening,however,Beethoven’ s best-lovedsymphony–theFifth–forgesapathfrom compellingconflicttotheblazingradianceoftriumph.

Inbetween,superstarScottishpercussionistColinCurrie makesthefirstofhisappearancesthisSeasonascentral protagonistinSirJamesMacMillan’sjoyful,theatrical, visionarypercussionconcertoVeni,VeniEmmanuel–a dazzlingcelebrationofnewlifeandnewhope.Maxim Emelyanychevconducts.

AftertheRain–UlsterOrchestra

7.45pm,Friday,10October UlsterHall,Belfast

Thetimelessbattlebetweenfateandthehumanspiritunfolds acrossthreepowerfulworks,allconductedAndrewGourlay byItbeginswiththeworldpremiereofAmeliaClarkson’ sThe RainKeepsComing,astunningnewcommissionbytheUlster Orchestra,wherethesoothingrhythmsofrainfalllead throughcyclesofrenewalandreflection.Next,Beethoven’ s majesticEmperorConcertotakescentrestage,performedby VadimKolodenkho,itsboldpianoentrancesandtriumphant energycelebratingtheresiliencetoriseabovelife’schallenges. Finally,Tchaikovsky’ sSymphonyNo.4closestheevening, vividlyportrayingtheeternalstruggleagainstfateandthe questforhappiness.Aprogrammethatjourneysthroughlife's upsanddowns,thisperformancepromisesanunforgettable explorationofstrength,rebirth,andthepursuitofjoy.

Sibelius,Rudders,PaxtonandAdès –LondonSymphonyOrchestra

7.00pm,Sunday19October Barbican,London

TheLSOwelcomescomposerandconductorThomasAdès forthefirstconcertinaseriesexploringNordicmusic alongsideaselectionofAdès’ownworks.Here,Sibelius hymnsthebleaklandscapesandrichfolkloreofFinlandinhis SymphonyNo.3,DanishcomposerPoulRudersriffson Paganiniinanexhilaratingguitarconcerto,performedbySean

Shibe,andAdèsimaginestheebbandflowofunderground streamsinmusicofpalpablepowerandbeauty.British TromboneFestivalandnewmusicfanswillrecogniseAlex Paxton’ sname– amaximalisttourdeforcecomposerwhois alsoanimprovisingtrombonist.EmilyWhitepremiereda piecebyhimatthelastBTF.

Schubert’sGreatSymphony–HalléOrchestra

7.30pm,Thursday,23October

BridgewaterHall

Fromitsatmosphericbeginning,UnsukChin’ sLeSilencedes Sirènesevokesvividimageryofill-fatedshipsontopofgreat, swellingwaves:thescoreisalivewithcrashingpercussionand warningbrassinterjections,theenigmaticsirens’song providedbyFaustinedeMonès.UnsukChindrewupon severalclassicalsourcesforthework,includingHomer,Joyce and–mostnotably–Kafka,whoseshortstorygavethework itsname. Britten’ sFourSeaInterludesopenstheprogramme: orchestral‘scenechanges’fromhisoperaPeterGrimes conveyingthechangingmoodofthestorytelling,butalways withanatmosphericundercurrentofforeboding.Schubert’ s majesticSymphonyNo.9willroundofftheevening,with conductorElenaSchwarzshowingusexactlywhyit’sknown as ‘TheGreat’.

Beethoven&JohnAdams –LondonPhilharmonicOrchestra

7.30pm,Saturday,8November RoyalFestivalHall,London ‘WildNights!WildNights!Donewiththecompass–done withthechart!’Andso,tothewordsofEmilyDickinson,

BYALASTAIRWARREN// OPERAPICKS

Bernstein’ sCandideblurstheboundariesbetweenoperaand musical,andisoneofmyfavourites.Thecombinationofa dazzlingscoreandVoltaire’softenabsurdsatiremakefora wildrideinWelshNationalOpera’ scriticallyacclaimed production,whichcombinesmusic,animation,danceand politicalbitetobring‘TheBestofallPossibleWorlds’tolife atvenuesacrossWalesandtheSouthWestbetween 17Septemberand17October.

NorthoftheborderScottishOperaispresentingan intriguingdoublebill,pairingRavel’ sL’heureespagnolewith Walton’ sTheBear,bothone-actcomicoperasexploring treacheryandromance.Ravel’sscoreisimbuedwithSpanish influences,whileWaltonindulgesinsomeirreverent,though loving,pasticheofpastoperaticmasters.Atvenuesacross Scotlandbetween4Septemberand15November.

AtEnglishNationalOperatheeverpopularCarmenbyBizet isonattheLondonColiseumbetween8Octoberand

JohnAdams’schoralsymphonyHarmoniumliftsoffinto realmsofpure,pulsingbliss.ConductedbyEdwardGardner, withtheBBCSymphonyChorusjoiningtheLondon PhilharmonicChoir,this1980sclassicwillhitnewheightsof sonicecstasy.First,though,adifferentkindofwonder,asthe greatCanadianviolinistJamesEhnesbringsallhisinsight(as wellashisgleaming,goldensound)toBeethoven’ sserene ViolinConcerto.

Grace–BBCNationalOrchestraofWales

7.30pm,Thursday,20November HoddinottHall,Cardiff

ThisNovember,BBCNOW’sannual‘Grace’series,exploring boththemusicofGraceWilliamsandmodernwomenin music,showcasesworksbylivingcomposersSalinaFisher, AnnaSempleandJuliaWolfe,allunderthebatonof StephanieChildress.Fisher’ sViolinConcerto,performedby GenevaLewis,isaworldpremieresojointheBBCNOWfor averyspecialevening.

MacMillan’sChristmasOratorio

–BBCSymphonyOrchestra

7.30pm,Friday,19December

Barbican,London

SirJamesMacMillanconductsastarryperformanceofhis huge,life-affirmingChristmasOratorio–musicthatspeaks tolistenersofallfaithsandnone.JoiningSirJamesandthe BBCSOisscintillatingsopranoRhianLoisandnational treasureofabaritone,RoderickWilliams.Suretobe anincredibleevening.

5November.Fulloffamiliarmelodies,suitesofwhichmany ofuswillhaveplayedinbands,brassensemblesand orchestras,whynottakethisopportunitytoexperiencea completeperformanceofthistimelesstale?

AcrossLondon,theRoyalOperahasseveralgreatoperas programmed,byPuccini,VerdiandJanáček,butIwould plumpforMozart’smasterpiece,TheMagicFlute.Greatfun forallconcerned,includingthetrombones,between 10Octoberand3November.

Finally,atOperaNorththereisreallyonlyonechoice. Puccini’ sLabohème,isperhapstheworld’sfavouriteopera andforgoodreason.Atimelesstaleoffriendshipand romancethatwillmakeyoulaughandcryinequalmeasure, combinedwithsomeofthemostbeautifulmusiceverwritten. AtvenuesacrosstheNorthbetween18Octoberand 22November.

BeckySmithisaway.