The Trombonist - Autumn 2007

british trombone society

www.trombone-society.org.uk

Autumn 2007

Don Lusher solo competition is launched The BTS invites young trombonists to perform jazz ballads and compete for top prizes The BTS is proud to remember one of the world’s great trombone players with an exciting new competition, which gives young players the opportunity to display their melodic ballad style of playing. Don was renowned worldwide for his mastery in this genre of playing.

Trombonists up to the age of 22 are invited to submit a recording of two arrangements by Bill Geldard – Stardust and Harlem Nocturne for trombone and piano by 10th December

2007.

Three finalists will be chosen by a distinguished panel of judges to perform in a final at a major BTS event during 2008.

The winner will receive a trophy from Diana Lusher and a trombone kindly donated

by Yamaha – a choice of YSL 697Z or YSL 881 Xeno.

Please see the BTS website for full details and the application form.

Website: http://trombone-society.org. uk/competition/

New ladies in Bones Apart Bones Apart have entered a new era, having recently welcomed Arlene Macfarlane and Helen Vollam into the quartet. Since the all-female trombone quartet was formed at the Royal Northern College of Music in 1999, they have undertaken many international tours, made their Wigmore Hall debut, performed recitals at several International Trombone Festivals and are now Ensemble in Residence at the University of Salford.

Founder members Becca

(l-r) Becky Smith, Helen Vollam, Arlene Macfarlane and Lorna McDonald

Harper and Carol Jarvis have left to pursue other interests, making way for Arlene, who works with all the Scottish orchestras and is a member of the Thistle Brass Quintet, and Helen who is Principal Trombone of the BBC Symphony Orchestra.

Website: www.myspace.com/ bonesaparttrombonequartet

Arthur Wilson’s 80th birthday celebration Best known for a distinguished career in the Philharmonia Orchestra in the 1950’s, 60’s and 70’s, Arthur Wilson recently threw a party for his 80th birthday, attended by 45 of his friends, col-

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leagues and former students.

Arthur Wilson comes from a family of trombone players. He spent his National Service in the Band of the Coldstream Guards, attending the Royal College of Music

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during the same time. After a wide variety of freelance work, and one year with the London Symphony Orchestra, he joined the Philharmonia Orchestra as 2nd trombone in 1951 and appointed Principal

in 1963. He moved to the Royal Opera House, Covent Garden for a year in 1979, before resuming freelance life. He was a professor at the Royal College of Music from 1967 to 2000.

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1 Legends from the Philharmonia Orchestra: David Mason (Tpt), Arthur Wilson (Tbn), John Jenkins (Tuba) 2 Keith McNicoll, Rob Burtenshaw, Tom Winthorpe 3 David Purser, Maurice Murphy & Frank Mathieson.

The Trombonist | Autumn 2007 |

NEWS

NEWS

Trombonanza features as Oundle day welcomes all ages The popular Oundle trombone day organised by Ben Bouzan returns this year on Sunday 7th October, so do come along, whether you’ve been playing for a month or fifty years! The youngsters taking part will get the benefit of their own

massed blow and will rehearse for a performance of a specially commissioned piece, suitable for the ‘5 note brigade’ right up to Grade 8 students.

For not-so-youngsters there will be plenty of blowing too. Large trombone choir

Trombonanza have been booked to perform and Ben is hopeful to have jazz and classical performances too. As usual the trade stands will be available, and the BTS AGM will take place during late morning.

Tromboneers swoop on Blandford Forum day ensemble. With a vast array of playing capabilities and ages, all were taking part and enjoying the experience.

Maestros, under the ownership of Tony Evans and the stewardship of Geoff and Kerry, started to unwrap their talons ready to swoop on their unsuspecting prey, but the tables turned rapidly. Being the only trade stand that turned up, they became the prey and the tromboneers became the hunters. Tony had to lie down in a darkened room with a cold flannel after he had sold his sixth (yes sixth) trombone and had all but cleared his stand of accessories. “Not a bad day,” he said!

The Army Air Corps

were there, introduced

by Bandmaster Caroline Constantine, followed by lunch at the hotel. A quartet rehearsed for the final performance later in the day and then it was time for Jonathan Warburton and entourage’s mini-recital – some superb performances, including a new piece from composer John Frith.

Sincere thanks to all the professionals who gave up their time to be there and, most importantly, the individual tromboneers that braved the foul weather to come and make the day possible. See you on the next one!

Paul Coker

BTS Readers, c/o The Editor Hola Amigos!

I started working in Chile with the Orquesta Filarmonica de Santiago back in March and am having a fantastic time down here. We are primarily the opera orchestra of the Teatro Municipal, Santiago (Santiago Opera House) but we also play ballet and symphony concerts. Since I arrived we have performed (among other things) Verdi’s Don Carlos and Nabucco, Donizetti’s Daughter of the Regiment, Tchaik Swan Lake and lots of symphony concerts. We are currently in the middle of a run of Wagner’s Tristan and Isolde – some serious counting practice!

The trombone section is truly international, with a Danish Principal (Lars Hastrup), Spanish CoPrincipal (Miguel Tantos), Chilean 2nd (Juan Raynes) and an English Bass Trombone (me). We work very well together despite the occasional language problem!

Chile is a great country and the people are very welcoming. Most days off are spent either at the beach or up in the mountains. Unfortunately there are no Indian restaurants or real ale (good for the waist-line!), but the vino tinto is excellent.

Best wishes to all, Chris Gill 2 | Autumn 2007 | The Trombonist

Contact: Ben Bouzan 01763 260351

News in brief Chris Houlding is set to accept a Professorship at the Folkwang Hochschule in Essen, Germany, starting next month.

He intends to continue at Opera North and the RNCM for the time being, but with a view to becoming resident in Germany in the future.

In May, Dennis Rollins won the inaugural Ronnie Scott’s Jazz Award in the trombone category. He will also be performing at Ronnie’s with his band, Badbone & Co, for three nights from 29th November.

Tony Howe (CBSO) and Phil Dale (sackbut) will be giving lecture recitals in Swadlincote, South Derbyshire this Autumn.

Contact Peter Lacey (01543 414605) or check the BTS website for details.

John Kenny is delighted to be performing at a whisky distillery. He will actually be recording the trombone inside a whisky still (empty of course!). He also had the idea to actually play the still itself, by attaching a very long conical tube to the outlet!

Robert Holliday is joining the Royal Liverpool Philharmonic Orchestra as principal trombone, moving from the BBC Philharmonic. Trials in Liverpool have proceeded since Kevin Price became Head of Brass Studies at the Royal Welsh College of Music & Drama in 2005.

Paul Milner will join the London Symphony Orchestra on bass trombone this month.

He has been at the Orchestra of Opera North in Leeds since 1993. He follows on at the LSO from Bob Hughes who is now conducting and teaching.

Tutti Trombones in Gloucs

ITF Europe - Rotterdam

Gloucestershire Music hosted two well-attended events for the benefit of trombonists in the region earlier this year.

On Sunday 14th January, ten local trombonists gathered to support the Gloucestershire County Youth Brass Band in their annual fundraising concert. With guest players from Cardiff, Bristol and Birmingham, we performed four pieces from the legendary Tutti’s Trombones recording made in LA during the 1960s.

Warwick Music has done a wonderful job in publishing four titles from Tutti’s original pen and my thanks to Warwick Music for sponsoring the backing trio.

In a second event, 27 trombonists aged between 8 and 82 attended the ‘Trombone Fest’ on Sunday March 25th at Bournside School, Cheltenham. This event was supported by BASBWE and Michael Rath Trombones. Brett Baker was

An exciting number of new trombone pieces were performed during Rotterdam’s ‘Slide Factory’ in the first week of May. The trombone festival featured the Dutch host ensemble ‘New Trombone Collective’ in several varied performances, alongside other trombone stars including Michel Becquet, Wycliffe Gordon, Ben van Dijk, Jiggs Whigham and Mark Nightingale.

Jiggs led a 20+3 trombone salute to 80th birthday boy Urbie Green, Les Sacqueboutiers played Scheidt and Castello with sackbuts and cornetts, Gordon and Nightingale

on hand to take us through a massed blow before focusing on basic techniques and advanced skills which allowed all participants to take home some first class advice. A former Gloucestershire resident, Brett also performed with our County Youth Concert Band in a wonderful arrangement of Londonderry Air before wowing the audience with a traditional air and variation.

Steven Legge – Head of Brass, Gloucestershire Music

HANS SPEEKENBRINK

Stair rods. That is the only way I could describe the rain. That could mean one of only two things. I either have an outside gig today…or…it must be the Blandford Forum trombone day. Guess what? I bade my wife ‘happy birthday’ (she was less than impressed!) and started to swim to Blandford’s Crown Hotel.

The day started with Bob Hughes running the forty keen tromboneers through a massed warm-up, which continued with Kevin Morgan leading some flexibilities. Turn and turn about, Bob and Kevin demonstrated their expertise and knowledge of how to get a large group of players motivated and playing as an

Registration is at 9.30am and the event kicks off at 10, all in the Great Hall, Oundle School, near Peterborough. Further details will be published on the BTS website.

soloed with the Rotterdam Jazz Orchestra, several new pieces were premiered at a cathedral concert with the Royal Netherlands Navy Band, Quatuor Kimoiz gave a distinctly French trombone quartet recital, and the massed trombone choir gave a spectacular outdoor performance of Tallis’ Lamentations of Jeremiah with contemporary interludes written by Koen Kaptijn.

Of particular highlight was Ewazen’s Duet of our Time performed by Jörgen van Rijen and Brandt Attema accompanied by the NTC. David Read The Trombonist | Autumn 2007 | 3

FEATURES

Special award for Tony

Eric Crees’ Las Vegas for 16 Trombones World Premier: ITF North America Las Vegas 2007 On receiving an invitation to direct the William Cramer Memorial Trombone Choir at the ITF North America in Las Vegas, I decided that it would be a great opportunity to expand the ensemble repertoire with a brand new piece. Knowing that preparation time might be crucial and having worked on Eric Crees’ Orage on a number of occasions, I asked him if he would write a companion piece for 16 trombones. Having secured an ITA commission for Eric, I awaited the arrival of what was to have been a short five minute world premier. The result was a grand piece of around twelve minutes tracing the historical evolvement of Las Vegas in musical terms.

Following in the footsteps of Orage, Las Vegas contains a mixture of very accessible and appealing thematic figures. Different groupings, effective rhythms and tonal colours make this substantial and challenging new work eminently playable by a wide range of technical abilities. The five descriptive movements use the Dies Irae theme as inspiration, flowing continuously from Meadows (Las Vegas in Spanish) to Mines and Railroad into the ‘up tempo’ Showtime finale.

The work was of course a great success and I hope will deservedly receive many more performances around the world when it appears in Warwick Music’s catalogue later this year.

Chris Houlding

Chris Houlding conducting the William Cramer Choir

Retiring after the best part of 20 years as Editor of The Trombonist, the BTS was to present Anthony Parsons with a special award at the LSO trombone day. Unfortunately severe problems on the Suffolk rail line thwarted his journey to the presentation, so we are pleased to give him the chance here to say a few words.

It was a very pleasant surprise to hear from Geoff Wolmark about the award. I am grateful to dozens of musicians whose contributions made The Trombonist what I hoped was always a newsy and informative read. They know who they are, and I thank them most sincerely.

Three people though need special mention. Sheila Tracy produced fascinating interviews with jazz virtuosos and travelled great distances often at her own expense to make sure that the jazz trombone scene always got excellent coverage in the magazine.

On the production side, I worked very happily with Danny Robins, amateur trombonist and professional graphic designer.

He was patient, unflappable and was largely responsible for the magazine looking classier as the years went by.

The person who endured me in my most exasperated, deadline-dreading condition was, of course, Jane. I’m sorry for all I must have put her through, but grateful for the gin and tonics at just the right moment and her gift of seeing the best way out of editorial situations when I ran out of inspiration.

I think that even a short speech should make a point about something. Mine would have been: open your minds and your ears as widely as possible. In particular, don’t accept that everything there is to know about trombone playing is contained here in the British Isles. There were no recordings in my youth, but now there are hundreds to listen to and learn from. Best of all, visit live trombone performances wherever and whenever you can.

It is a great shame that a tragedy prevented me from taking a couple of minutes to say these things in person, but I have now collected the very handsomely designed award (and consumed the very acceptable accompanying bottle of bubbly) and am very touched that the BTS committee should want to make a fuss of me.

Anthony Parsons

Crossing the Great Divide!

For as long as I can remember, trombone players in the music profession have in general been pigeon holed as either straight players or jazz players.

There are valid historic reasons for this situation, apart from the fundamental differences between the styles. When I was learning to play the trombone at school, nearly everything was geared around a classical syllabus. There was little or no teaching of jazz in the large majority of schools. There was plenty of choice for those who wished to study classical trombone at music college or university. However if one wanted to study jazz in higher education in the late 1970’s the choices were very limited.

As I remember it, Trinity College and Leeds College were in the early stages of setting up jazz courses. If you wanted to study both styles then there were no options at all. Little surprise then that players ended

up being pigeon holed.

I was very fortunate during my formative years since my father (who taught me the trombone) encouraged me to listen to and play as many styles as possible. Most players will remember particular moments in their early playing days when they were inspired by a player or piece of music. Mine included J J Johnson and Kai Winding playing Georgia on my Mind and the London Philharmonic Orchestra under Sir Adrian Boult playing Brahms 1 (just the trombone chorale of course!) Two more diverse styles could not be imagined yet they both remain etched in my mind. I spent many hours attempting to emulate both of these styles.

Having taught at both the Royal Academy of Music and the Royal College of Music in the last twenty years I have observed a number of changes that are

bringing about a gradual change to this pigeon holing. In addition to the classical syllabus, both the Associated Board and Trinity Guildhall currently offer jazz exams. And now there is a wealth of jazz programmes in higher education too. And most significant of all is the fact that players can now study both classical and jazz at the same time. In the long term this will surely lead to a situation where more players will be versatile enough to play in any style.

The article continues with a discussion of the pros and cons of attempting to master both styles and gives some tips for crossing the divide into the jazz world.

Mike Hext Read the complete article on the BTS website: www.trombone-society.org.uk/articles

WWW.

The Trombonist | Autumn 2007 |

FEATURES

FEATURES

Pianissimo con sordino Amanda D’Arcy

Denis Wick describes his frustration with metal mutes at very low dynamics and how design ideas for his own wooden mute came from German opera houses, violin making and a wonder glue recommended by a local boat builder!

It must be difficult for the younger players of today to realise how different and unsophisticated things were 45 years ago.

It must have been in about 1960 or 1961, on one of those German tours with the London Symphony Orchestra, when we arrived at Hamburg to play a concert at the Opera House. We were introduced to Ernst Engemann, the orchestral porter, pit manager and general backstage factotum.

Every orchestra has one: such a person is more important to the smooth running of a complicated organisation like a symphony or opera orchestra than any outsider could possibly imagine. Ernst was more than any of these things. He was also a mute-maker, a welcome sight at a time when available mutes in the UK were either too small, with poor low notes and/or extreme sharpness of pitch or dull in sound: not much use in loud playing. He proudly told us that he had supplied the brass sections of all the great German orchestras.

His mutes were all hand-made out of very thin plywood with a base of rather primitive plastic. We all duly bought them in their various sizes and were pleased with the results.

Keeping up with the composers Since those early days in my career, events have moved on. I first designed my metal trombone mute out of sheer desperation.

Even by 1968, although there were metal mutes available, they were either too small (as in 1960!) or so wide as to be unmanageable by normal hand sizes. Working on what was known as the Goldilocks principle, I eventually made a metal straight mute that could be handled easily and which played all the notes. The Rite of Spring became a joy rather than a health hazard! At last I could play easily all those low and awkward (usually solo!) muted notes that kept cropping up in film music and contemporary music - what was known irreverently as “squeaky gate”.

Old Ernst’s wooden mutes also continued to work well for very soft playing, when muted did really mean very quiet.

Although one of the set got itself squashed under a moving grand piano, we still used them. So although I was naturally pleased that I managed to solve what had been a continuing problem in making my metal mute, I still had a hankering after the old | Autumn 2007 | The Trombonist

wooden ones.

It is, of course, perfectly possible to play very softly with metal mutes, but the result often sounds like very soft unmuted playing, especially on the trumpet and cornet.

What was needed was a straight mute that would sound really muted at the softest dynamics, and which would respond to the tiniest lip vibration, so that the very special soft but clear muted effects could be made easily. There were two problems. Working in wood is rather different from the wellunderstood systems of metal spinning that we had used for the last 30 years. It was also very labour intensive, so that making high quality wooden mutes that could be sold at a sensible price presented yet another challenge.

Practice makes perfect I found a sympathetic timber merchant who had secret aspirations to be a violin maker - the holy grail of woodworking. He, of course, knew the answers to my questions

almost before I asked them: steaming plywood, bending (and splitting!) plywood, finding the best varnish, discovering (from a local boat builder) an incredible Norwegian glue, working out a trepanning system for the bases, finding the best material for the base-plate resonance. There were weeks of setbacks but slow, steady progress. After many experiments we came up with what seemed like a perfect solution. We had perfect tuning and what turned out to be an even better, clearer, pianissimo than old Ernst’s mutes.

We made a double skin, using vulcanized fibre as an inner lining and extremely thin plywood. Both the plywood and the fibre can be cut easily, but together, bonded with our wonderful Norwegian glue, they are as strong as aluminium and even lighter. Metal ferrules were added to give additional strength.

Using our special system of clamping and a well-organised production routine, we can now produce in reasonable quantities at sensible prices. For me, that niggling wish to make the perfect wooden mute seems to have been fulfilled.

Acoustic feedback I have always found that my professional colleagues were the hardest to please with my mouthpieces and mutes. If there was a problem, they would find it! If I could please them, the rest was easy. Now I have retired from playing, one of my few remaining musical activities is coaching the trombones and sometimes all the brass of the Gustav Mahler Youth Orchestra, by common consent one of the finest young orchestras ever.

(Youth is a comparative term - the average age seems to be about 23, and the players are the best that the music conservatories of Europe can offer.) I am the only Englishman involved on the staff: my colleagues are mainly past or present members of the Berlin and Vienna Philharmonic Orchestras.

The German and Austrian brass players much prefer wooden mutes - it is part of a cherished tradition - so I was mightily pleased when the trumpet and horn professors from Berlin expressed their unreserved approval. The French horn mute with its carefully worked out tuning device was described as the best ever, with a suggestion that the Berlin Philharmonic would order eight!

So there you have it. Now that most young brass players have a degree of sophistication that was undreamed of even by the best professionals in 1960, I hope that they will enjoy this touch of central European brass culture, with perfectly muted pianissimos.

Johnny Edwards remembered Johnny Edwards, who died on 5th June aged 79, played with the bands of George Evans, the Squadronaires, Joe Loss, Jack Parnell, Cyril Stapleton, Geraldo and Ted Heath. He also fronted his own small group “Slightly Latin” which was heard on Radio 2 in the days when ‘live’ music was a major part of that network’s output.

He took up the trombone comparatively late, at the age of 21 having played drums at school and then moved onto the double bass when in the RAF during World War 2.

Having found a trombone in Singapore, left behind by the retreating Japanese, he decided to take lessons on returning home after his demob. A friend in his home town of Plymouth, who was with the George Evans Band in Newcastle, tipped him off there was a vacancy and after a successful audition, he gave up his day job with National Benzol in Plymouth and started out on what was to become a highly successful career.

Johnny soon became busy on the session scene and following the death of Ted Heath continued to play with the band after Don Lusher took it over from the mid ‘70s. But in 1985, disaster struck, when at

the start of a Heath concert at Wimbledon Theatre, Johnny suffered a stroke. He duly recovered and within a few weeks was able to continue playing and remained with

the Heath Band up to its final concert at London’s Royal Festival Hall in December 2000.

Johnny, with his wife Sylvia, retired to Plymouth where he continued playing with local bands, but within a few years, they were back in Surrey, building a new house.

But disaster was to strike again when Sylvia, who had been working very hard creating the garden, was unable to cope and so life for Johnny, with a partially disabled arm from his stroke, became impossible.

For the past 12 months, Sylvia and Johnny have been in care homes but visited regularly by former colleagues such as Bobby Lamb, Bill Geldard, Ronnie Hughes, Ted Barker and Stan Reynolds who found him in good spirits right up to the time of his unexpected death.

Along with his family, a large number of musicians were present at Randalls Park Crematorium to pay their respects and remember Johnny. The service opened with a recording of him playing his own composition Ladies of Bahia and later his beautiful solo on Wally Stott’s arrangement of Ruby recorded in the ‘60s.

Sheila Tracy The Trombonist | Autumn 2007 |

FEATURES Injury is every musician’s nightmare: Martha Ann Brookes’ story serves as a warning

It’s behind you!

I have been forced to take sabbatical since 23rd September last year when I was literally “attacked” from behind whilst rehearsing the Mozart Requiem in a church in Warwickshire! I heard some music fall to the ground behind me, which I assume had been dropped by the alto of the choir standing behind me. Unfortunately she decided to pick the music up and on standing up again her shoulder caught the back of my trombone, whacking me in the face.

The cartilages on both my jaw joints were dislocated by the impact, my lower jaw being forced backwards. I have been left in severe pain, unable to chew properly (for a while I was on soft foods and liquids only), I have headaches, head pain, earache and restricted mouth opening, leading to problems with sleeping, etc.

I have had four lots of X-rays, an MRI scan, six weeks of intensive physiotherapy and most recently a bilateral TMJ arthroscopy. While I was under general anaesthetic the surgeon pinned my right cartilage back into position, but it looks like artificial cartilage may need to be fitted on the left side.

My surgeon, Mr Bernard Speculand (Priory Hospital Birmingham), has been excellent. The Musicians Union has been supportive, and the Royal Society of Musicians has been very generous with their financial support (many thanks to trombonist John Edney for his help in this).

I hoped to simply claim my loss of earnings, cost of the operation, etc. against the public liability of the choir.

However, as the choir is amateur (unpaid) I was not covered. It looks like I cannot claim against the orchestra either since the injury was not caused by one of the players. So I am left with the option of suing the choir member – something I never wanted to do.

I would be very grateful to hear advice from anyone else with similar experiences, whether in getting back into playing again or any legal tips. I would also like to set up a list of specialists, surgeons, and dentists that you have found sympathetic towards trombonists.

Martha Ann Brookes is a freelance trombonist and teacher in the West Midlands. She is principal trombone with sinfonia ViVA, Birmingham Opera Company and a member of In-Slide-Out trombone quartet.

Martha’s advice n Have medical insurance. n Have plenty of room between you and the choir – refuse to play until there is.

Contact: 0121 444 5655 or philmarthabrookes@tiscali.co.uk | Autumn 2007 | The Trombonist

Realising a dream For some time now my ambition has been to bring together fellow players of the leading brass bands to form various regional trombone choirs and to increase awareness of BTS activities amongst brass band trombone players.

To add momentum to this I recently embarked on my second recording project with Paul Woodward and the Black Dyke Trombone Quartet. Recording at the Royal Northern College of Music over Easter, we invited brass band trombonists and BTS members to help us record a grand finale – courtesy of John Challis’s trombone choir arrangement of Saint Saens’ Organ Symphony.

Bands that were represented included: Carlton Main, Black Dyke, Fodens, Grimethorpe, Faireys, Leyland and YBS, and I was also delighted at the response from BTS members. After the recording the Black Dyke Trombone Quartet gave a masterclass on quartet and solo playing, and Kevin Wilson, Bass Trombone at the Leyland Band, gave us a preview of his forthcoming diploma recital.

On the 12th May, Don Jenkins organised and led a trombone choir in Bristol with the Bristol Easton Brass Band and the Boscombe Salvation Army Songsters. Having met Don at the ITF in Birmingham last summer, I was pleased to be invited to lead a public trombone workshop in the afternoon. Members of the choir were: Don Jenkins, Steve Jenkins, Nathan Jenkins, Paul Woodward, Kevin Lea, Bill Geldard, Brian Midgley and myself, and the repertoire included Dudley Bright’s arrangements of A Glenn Miller Selection and On Parade.

Most recently I organised a trombone choir to perform to the audience awaiting the results of the Cambridge International Masters contest on 27th May. Again many of the leading brass bands were represented, including Jaguar Coventry, Faireys, Fodens, Black Dyke, Carlton Main and Dutch band Soli Brass.

Brett Baker

REVIEWS J. S. Bach: The Gamba Sonatas Mike Hall alto trombone, Rebecca Bell harpsichord Apparently a non-commercial researchbased project at Kansas University, this recording shows that with the right sort of approach the alto trombone can be expressive, nimble and capable of holding its own as a serious recital instrument.

Bach’s three Gamba Sonatas present the familiar usual problems of phrasing, ornamentation, flexibility etc. that are encountered in the Cello Suites, but as these pieces are, in effect, three part inventions – the harpsichord providing the other two voices – there is a little more space for breathing and, hence, better opportunity to control the musical line.

Mike Hall shows that the low register passages and ornamentation in these sonatas can work well on the valved instrument but on the straight alto a little careful editing will eliminate any low note problems and some judicious decisions about how to perform embellishments could provide, in my view, a more tasteful result.

The tessitura of the pieces, with only the occasional visit to the notes above high B flat, is not unreasonable for use with the tenor instrument.

Roger Harvey

are superb.

Rossini’s Barber of Seville and Vivaldi’s Suite from L’Estro Armonico, arranged by Helen Vollam and Lorna McDonald respectively, have great rhythmic momentum and character, which can only be achieved with flawless ensemble playing, as admirably demonstrated.

The two original works, the Equali by Beethoven and the Bruckner Motets, can easily sound laboured but here they are performed with thoughtful dynamics and tasteful phrasing.

The ballet and opera numbers are perhaps the most challenging for an arranger and a great deal of imagination has been used to recreate the orchestral palette with the more limited resources of a trombone quartet. Tchaikovsky’s Sugar Plum Fairy exemplifies this with the use of mutes and even the addition of extra valves!

A raucously virtuosic Kabalevsky’s Comedians Gallop finishes this entertaining and highly musical CD. It is a joy to hear

such fine ensemble playing and, despite the almost inaudible little sigh of relief at the end of the Vivaldi, they don’t half make it sound easy!

Kevin Morgan

From the first note of this disc, the emphasis is on quality. The rich and often melancholic harmonies of Bozza’s Ballade are brought to the front of the texture

by Alison, and Ian allows the trombone cadenza to flow naturally. The last section of the piece changes mood, becoming more playful, and so the piece as a whole provides a showcase and sets the scene for the rest of the disc.

Two arrangements of Debussy’s piano music follow, in Clair de Lune and the Menuet from Petite Suite for Piano Duet. The overall shape of each of these pieces has been carefully crafted; every phrase is well paced and has intent. I particularly enjoyed their arrangements of these two pieces, as well as Gounod’s Le Soir which ends the disc.

Say “Deux Danses”, and most trombone players automatically think of Defaye’s top F in the first few lines. However it is testament to the consistency of Ian’s rich sound throughout the whole register that this note sounds just like any other, and so the phrase still makes musical sense.

The Danse Profane has a suitably incessant

pulse, which is kept rock-steady by Alison’s incredibly rhythmic playing.

The next four pieces constitute real stalwarts of our repertoire: Dutilleux, Gaubert, Ropartz and Saint-Saëns. But there is nothing stale about Ian’s carefully considered renditions, full of different colours.

One of my favourite aspects of Ian’s playing is his ability to create long melodic lines that draw you into his performances. For me this can make his live concerts spellbinding, especially in the quietest moments. Those risks are much harder to portray on CD, although this recording does manage to capture the essence of Ian and Alison’s very special duo partnership.

For students preparing any of this repertoire, it must be essential to listen to these versions.

With immaculately thought-out phrasing but not over-sentimentality, the CD is an inspirational lesson in performing with style and grace.

Katy Jones (née Pryce)

Enigma Bones Apart Egon CD-SFZ137

This latest CD from Bones Apart focuses on classical repertoire and, as you would expect, the playing and recording quality

French Collection Ian Bousfield and Alison Proctor Camerata CM-28117

This release mostly features standard French trombone repertoire, set alongside arrangements of French piano music, all recorded in Vienna. With Ian Bousfield reportedly very happy with the result, I was looking forward to having a listen.

10 | Autumn 2007 | The Trombonist

Menagerie Mike Hext, Edmonstone Trio Mainstem.co.uk MSTCD0043

The one thing people know about Mike Hext is that he was the very first winner of the BBC Young Musician of the Year, way back in 1978. This led to a distinguished career in the Hallé, London Philharmonic and the Royal Opera Orchestras. The other thing a lot of people don’t know about Mike Hext is that he is a great jazz trombonist.

Over the last couple of years, Mike has organised, hosted and featured in the Tuesday Lunchtime Jazz sessions in the Floral Hall of the Royal Opera House. And his regular pianist Malcolm Edmonstone, drummer Ben Reynolds and bassist Julian Jackson join him for this recording, providing beautifully understated accompaniment. Julian has a duet with Mike on Don’t Get Around Much Anymore.

Mike not only beautifully produced the CD, but did all the arrangements too.

Regular guests on these sessions: Nick Rodwell – lyrical alto sax; Richard Edwards – ebullient trombone; and Mark Lockheart – great tenor sax; are all heard to advantage in duets with Mike.

However, the highlight for me is Mike’s ballad style in I Got it Bad – think dark, cool, creamy Guinness!

Dave Chandler

The Trombonist | Autumn 2007 | 11

REVIEWS Frolic for Trombones… & Tuba Wingates Band, Hallé Trombone section & Tuba Doyen AMSCD099

One of five CDs recorded by the Wingates Band in 2006, this particular CD is unusual in that it involves a partnership between the band, itself historically one of the UK’s most successful contesting groups, and the trombone and tuba section of the renowned Hallé Orchestra, its Principal Trombone being the Musical Director of the band on his days off! The trombones and tuba, namely Andrew Berryman, Rosalyn Davies, Adrian Morris and Ewan Easton, perform on almost three-quarters

of the tracks.

The trombone items have an attractive familiarity about them with the exception of the bass trombone solo Saddleworth Sounds – attractive and unfamiliar to this reviewer. Roz Davies performs Where ere You Walk (Handel) and Embraceable You, showing off her sound and control. Andrew provides the fireworks with Pryor’s The Supervisor, joins with Roz in Scarborough Fair (arr. Langford) and all three trombones perform the title track.

This is an entertaining CD blending the best of amateur music-making with the artistry and technique of outstanding professional soloists.

Andrew Justice

LAST WORD A message to our members regarding our publication, The Trombonist You’ve no doubt noticed the significant changes to The Trombonist recently. Since the end of Tony Parsons’ editorship (see page 5), the BTS were challenged to continue without his huge contribution.

After experimenting last year with a volunteer professional editor in the form of Alison Henry we soon realised that it was too great a task for a single voluntary person but we were impressed by her ideas on design. Unfortunately Alison decided

she was unable to continue to commit to the scale of the work, so we came to the conclusion that we would have to employ more than one person for this task. We must thank Alison again for the work she did and for her continued advice.

We now employ David Read as our Supervising Editor and Rebecca Caro as our Designer. Chris Fower will become Advertising Manager. We have kept the full colour, glossy look and intend to be more up-to-date with four issues per year rather than three.

BTS Contacts

Diary Dates

Full contact details available at: www.trombone-society.org.uk

Sat 8 Sept Manchester Tue 18 Sept London Sat 22 Sept London Sun 30 Sept Scarborough Sat 6 Oct Somerset Sun 7 Oct Northants Mon 8 Oct Kent Sat 13 Oct Edinburgh

Thu 18 Oct Leicester Fri 19 Oct Germany Sat 20 Oct Netherlands Fri 2 Nov Liverpool Thu 15 Nov London 29 Nov – 1 Dec London Sat 1 Dec Bedfordshire 22 Dec Kent

Executive Board President Bob Hughes (ex officio) 01494 433722 Vice-President Gordon Campbell (ex officio) Chair Brett Baker Vice-Chair Ben Bouzan Education Liaison Stewart Drummond Secretary Geoff Wolmark, 07775 562644, 1-3 Church St, Hutton, Driffield, YO25 9PR Treasurer Matthew Parry Staff Membership Manager Vacant Webmaster Edward Solomon Web Associate Mike Saville Editor David Read 07812 080933 Magazine Designer Rebecca Caro Advertising Chris Fower 07973 146397 Regional Representatives Scotland Chris Stearn 01360 860220 Wales Mark Eager 01446 775126 North Vacant East Midlands Peter Lacey 01543 414605 West Midlands Simon Hogg 07971 54158 Northern Ireland Stephen Cairns 028 92602646 Central South Phil Tarrant 01491 832109 South Paul Coker 01428 609741 South West Tony Evans 01752 263069 East Anglia Ben Bouzan 01763 260351 Brass Band Nick Hudson 01643 709250 12 | Autumn 2007 | The Trombonist

BTS People

Bones Apart Trombone poetry Dennis Rollins Dennis Rollins Dennis Rollins BTS Event Onyx Brass His Majestys Sagbutts & Cornetts Bones Apart Bones Apart Bones Apart Onyx Brass Onyx Brass Dennis Rollins Fine Arts Brass His Majestys Sagbutts & Cornetts

Since taking up trombone at school in Leicester aged 13, Anthony Parsons passed through the Royal Academy of Music, the Coldstream Guards, Sadlers Wells, and the Halle Orchestra before being appointed as coprincipal trombone at the BBC Symphony Orchestra in 1970.

He was a founder member of the BTS in 1986 and editor until 2006. Retired from the orchestra since 1998, Tony now lives in Suffolk. Always keen on jazz, he is now relishing playing on cruise ships.

We must of course ensure that the magazine comes within budget, limiting us to 12 pages. With so many BTS activities and other interesting contributions submitted we are experimenting with providing some articles as tasters in the magazine: the full versions appearing on our website. Of course we welcome your views and feedback – please contact Geoff Wolmark.

We hope you enjoy this edition of The Trombonist.

BTS Executive Board

12.30pm Great Northern Arts Festival Freedom of Expression, Croydon Canary Wharf Jazz Festival Scarborough Jazz Festival Tacchi-Morris Arts Centre, Taunton See page 2 1pm Gulbenkian Theatre, Canterbury University Georgian Concert Society 1pm Leicestershire International Music Festival Sauerland-Herbst Brass Festival 1pm, Arnhem St Georges 1pm Read Lecture Theatre, Imperial College Ronnie Scott’s Leighton Buzzard Theatre Tudeley Festival

Rebecca Caro is a freelance art editor and graphic designer.

She has been designing for over 10 years within the publishing sector. Her experience includes graphic design for magazines, books, events and reports.

She has also worked on marketing and advertising projects.

Rebecca studied Graphic design at Falmouth School of Art (BTEC HND), and Portsmouth University (BA hons). She lives in Hampshire with her husband and young daughter.