The Trombonist - Autumn 2009

british trombone society

The Trombonist Autumn 2009

sshtrombonesociety.org htrombonesociety.org

Bones Apart 10th birthday

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NEWS 10 years of Bones Apart – celebrating Britain’s favourite trombone quartet musician you’ve met on tour? (Helen) Gordon Campbell, who invited us down to play at the Marines School in Portsmouth earlier this year. He’s a wonderful musician and fantastic guy!

He makes the most beautiful sound. When we were up in Elgin playing at the Moray Spirit of Brass Festival a couple of years ago, we managed to catch the last set of a gig he did – his Somewhere Over The Rainbow was unforgettable.

What’s your favourite piece to perform? (Helen) I enjoy playing the Sonata by Simon Wills; it’s so well written and a fantastic example to any composer wanting to know about the variety of sounds and textures a trombone quartet can achieve. (Jayne) I particularly love Jason Carr’s Poem Unlimited – it makes me feel very happy every time we play it. Lorna has done a brilliant arrangement of Tico Tico which is on our soon to be released new CD ‘Ten’. It may well become the quartet’s current favourite piece!

What happened to make you realise that Bones Apart is actually doing really well?

(Becky) We were really pleased to be invited to give a series of concerts across the UK with Music In The Round. We were the first brass group to be featured in their series – they normally promote string quartets and the like. Also our concert with Christian

It started off like so many ensembles, as four seemingly random 1st years put together by the Royal Northern College of Music. But they seemed to have a lot more fun than most groups, worked harder than most and the results speak for themselves. They proved their musicianship winning a Royal Overseas League chamber music prize and have always charmed audiences.

Since then Bones Apart has been an important part of their professional careers and is the best known and active trombone quartet in the UK. As Bones Apart celebrate their 10th year with a UK tour, the BTS talks to Helen Vollam, Jayne Murrill, Becky Smith and Lorna MacDonald about life playing with the group: What’s the best place you’ve visited on tour?

(Becky) We played at the Cayman Arts Festival in the Caribbean a few years ago. We stayed on Seven Mile Beach with the most incredible view.

Our first appointment was a photo shoot on the beach at 9am! Not a bad start to a tour!

Where was your best audience? (Helen) I remember a tour of Texas where the audiences went wild and wanted photos, autographs and signed CDs and posters!

We were completely mobbed afterwards! I hadn’t experienced anything like that before.

Who’s your favourite

The British Trombone Society (Northwest) Presents its

Annual Solo and Quartet Competition at

Peel Hall, University of Salford on Sunday 6th December, 10:00 AM Categories: Junior Slow Melody (under 16), Open Solo, Junior Quartet (two players under 16) and Open Quartet Please register your interest ASAP to secure your place. For more details and application form contact Gareth Westwood at: northwest@britishtrombonesociety.org or 07756 105524

didn’t work on that occasion – it has since been shredded!

What would you like to do in the future? (Lorna) I’d like to see us continue to commission new works and arrange as much music as possible. I remember how little repertoire there was when I began playing in a quartet at college. (Helen) We also want to increase the general awareness of the trombone quartet as a worthy musical ensemble. We hope that people can look beyond the relative novelty of four trombones and discover that it can be as flexible and varied as any chamber combination.

What would you like to say to all the young trombonists reading this? (Helen) Just enjoy the music and listen to as many different styles and genres as you can. The trombone is just a means to make music. Express yourself and hopefully have a lot of fun on the way!

Lindberg at the Wigmore Hall really helped raise our profile.

Any big tour disasters?

(Becky) This has to be the time when Lorna lost her passport within minutes of landing at Amarillo airport (where it seems nobody has heard of the legendary song!) at the beginning of a 10 day tour of the US. Our free day in Houston was spent at the Embassy waiting for a temporary one so we could all fly home together!

(Jayne) Also in Finland last year our luggage missed the connecting flight in both directions and when we got back I had to borrow my Mother-in-Law’s underwear the next day!!

What was the most difficult concert? (Helen) One particularly tricky programme was a Russian/American theme concert where we started with an arrangement I’d done of Glinka’s Russlan and Ludmilla Overture! It really

The British Trombone Society Presents the

Don Lusher Competition 2010 for

Young Trombonists (up to age 23) Can you play a tune really beautifully? Make it your own?

Draw in the audience? Or is it a dieing art? The BTS is calling all young trombonists to perfect their lyrical ballad playing with the Don Lusher Competition, running this Autumn.

The competition was last held in 2008 and was a fantastic success, with the winner Robbie Harvey praised by judges Gordon Campbell, Bill Geldard and Jeremy Price. He was presented with a handsome trophy from Diana Lusher and a top of the range Yamaha trombone.

We are enormously grateful to Yamaha UK who have again agreed to donate one of their top model trombones as 1st prize as well as prizes for the runners up.

The competition is open to

UK based trombone players under the age of 23. They will be required to submit recordings of DL Blues and I loves you Porgy by 20th January 2010.

A panel of top judges will select three finalists who will be invited to play at a major BTS event in 2010.

The competition is generously supported by Diana Lusher who will present the winner’s Don Lusher trophy.

The aim of the competition is to celebrate the wonderful playing of Don Lusher and to encourage young trombonists to explore the lyrical side of playing for which Don was so renowned.

The full details and application form to receive the pieces are on the BTS website: www.britishtrombonesociety.org/ competitions/index.html The Trombonist | Summer 2009 | 3

NEWS

RSAMD, Glasgow

RAM, London

th

Sunday 7 June The Guinness Room at the Royal Scottish Academy of Music & Drama recently played host to a wealth of tromboneplaying talent, when it was the venue for a trombone day organised by Chris Stearn, bass trombonist with Scottish Opera and trombone tutor at the RSAMD. The event showcased a mixture of professional players and the institution’s entire trombone department. In all the breaks, participants flocked to a trade stand from Band Supplies who were showing off shiny new trombones and their associated bits and pieces.

Following a brief introduction and welcome to the enthusiastic audience from Chris, the first of two professional trombone quartets took to the stage.

TONE comprises former RSAMD student Andrew Foden on bass, with current students Davur Magnussen and Rui Pedro Alves and former Scottish Opera Principal Matt Gee on tenor. As Matt explained, they were keen to highlight the vocal qualities of the instrument, and featured a diverse programme from JS Bach’s Toccata & Fugue to Trois Chansons by Debussy. An outrageous encore featured the remarkable Davur Magnussen, 3rd year student and RSNO principal trombone, on the slide trumpet in Sousa’s Star and Stripes. Davur was then featured the same evening as soloist in the fantastic Trombone Concerto by Buxton Orr, accompanied by the Scottish National Wind Orchestra.

Following TONE on stage were two ensembles from the RSAMD; first of all, trombone quartet Slide Too Far, only formed at the beginning of the academic year, but already making considerable progress. They featured a programme of music written entirely by Dan Jenkins, including the Ballet Dance of a Hippopotamus, aptly featuring some contrabass trombone playing, from student Gordon Seith.

Contrabass is just one of the specialist avenues which can be explored by trombone students at the RSAMD, and who better to teach students about the instrument than the man who helped design this particular Rath model, Chris Stearn. In addition to the monstrous contrabass trombone, the notably smaller alto is also on hand and taught at the Academy. Indeed, alto was played by John Connolly in the RSAMD Trombone Ensemble, comprising all 9 nine of the RSAMD’s terrific trombonists conducted

by Chris Stearn.

Additional specializations on offer to students are in the fields of early and contemporary music. On the staff at the Academy is one of the world’s greatest 4 | Summer 2009 | The Trombonist

Sunday 21st June specialist practictioners, John Kenny, and with alto, tenor and bass sackbuts contained in the Academy’s instrument collection, there are many possibilities open to the trombone students.

Returning to the Trombone Day, and one of the most interesting aspects of the event was a discussion forum.

Chaired by Chris, he was joined by fellow professionals and teachers at the Academy, Lance Green (RSNO), Simon Johnson (BBCSSO) along with Matt Gee, now Principal at Opera North. During the discussion, many fascinating topics were brought up, including extraordinary musical experiences, mental preparation for auditions and opinions on using different “equipment” for music from different styles and periods. It was also an ideal platform for some members of the audience to put their queries forward and all in all, proved to be an enthralling listen for all those who were present.

Following the forum was the professional quartet Slide Effect, feauring RSAMD graduates Nigel Cox, Gregor Stewart and Paul Stone along with Derek Bishop on bass. Again, they performed a varied programme which was in two parts, either side of brief masterclasses with Chris and Simon taking turns to work with a couple of the academy’s proficient young students.

Finally, Derek Bishop (of Mitre Music and freelance player) led anyone who wanted to play through a splendid massed blow to round off a fantastic day of trombone-related antics. It was great to see so many of Scotland’s professional players join forces with the students and enthusiastic amateurs for this great conclusion.

A huge thank you is owed to everyone who took part in the Trombone Day and made it such an enjoyable event.

Particular appreciation is directed to organiser Chris Stearn who ensured it ran smoothly and efficiently from beginning to end. I certainly look forward to the next time such an occasion is repeated here at the RSAMD. Mark Good, student, RSAMD

This was yet another cracker of a day organised

by BTS President Bob Hughes, courtesy of the Royal Academy, to whom many thanks.

Some 25 players of all sizes, shapes and abilities enjoyed a massed blow under Bob’s expert hands and listened to the excellent RAM trombones with rhythm section and Gordon Campbell as featured soloist.

Four from Chetham’s and eight from Wells Cathedral School made the trip and some of them took part in an inspiring masterclass from Denis Wick.

London Brass Trombones and Bones Apart join together for the grand finale

BTS Tromb all around Brett Baker conducts the massed trombone choir in a performance for Durham’s BRASS festival

Blandford, Dorset Sunday 13th September The latest event for the South region attracted players from as far as Cornwall! The emphasis was on maximum playing, with participants expertly led by Bournemouth SO Principal Trombone Kevin Morgan and Tony Evans.

Music rehearsed varied from Dave Hankin’s Superman arrangement through Robin Benton’s Spiritual, to the March from Tchaikovsky’s 6th.

It was all captured by microphones and Kevin will be distributing CDs shortly! Cliff Bevan

NEWS

Durham University Sunday 5th July The day ended with quartet playing of the highest order. London Brass Trombones played Bozza’s Quartet, Richard Edwards’ Beyond the tie and a piece by Richard Bissill. Bones Apart followed with Simon Wills’ Sonata, a movement from Walton’s Henry V, Poem Unlimited by Jason Carr, Gershwin’s 3 Preludes and Intermezzo

by Gimenez. The two groups combined for a rip-roaring finale – The Trolley Song. If you missed this fabulous event, make sure you get to next year’s!

Geoff Wolmark

(Lower): Quartet from Chethams – Tom Berry, Edward Horsey, Chris Runkee and Simon Minshall

one Days the UK James Stretton shows his baroque trumpet, with instruments and a fascinated audience all around

and Phil Humphries arrived with serpents and ophicleides and stunned everyone with their performance and fascinating talk during lunch. A couple of young players took part in masterclasses from Kevin and Tony and there was the usual feeding frenzy at the trade stands; this year joining Maestro’s was Minns Music.

It was a great day and particular thanks to sponsors Chaffers Building Society and organisers John Pritchard and Kevin Morgan.

This BTS workshop was special because it took place in such a beautiful city as Durham and it is the first time the BTS has staged an event here. A slightly different format to normal BTS days took place which allowed us to take part in Durham’s prestigious “BRASS – Durham International Festival”.

Brett Baker started proceedings with a warm up and massed blow of a hymn setting, Immanuel’s Tide. Around 25 members attended the day, which was held in the concert room at the music department of Durham University, adjacent to Durham Cathedral.

After the massed blow, Brett introduced some new repertoire for trombone and piano, including a new piece by Phillip Harper entitled Salsa Pandero, Iona Boat Song by Howard J Evans, Fantasie by Dan Jenkins and Fantastic Polka by Arthur Pryor.

A treat for the BTS was to feature James Stretton of Oricalcum World of Brass and pianist Iain Jackson. James is a rare musician who can play a variety of brass instruments during a performance of a piece. He began his demonstration by playing the overture to the Barber of Seville and played a huge variety of 13 different instruments from soprano, alto and tenor trombone to piccolo trumpet and from that to tuba in the space of several minutes. He also included the euphonium, the tenor horn and baroque trumpet. After this he played Der Boogie Man, a jazzed up version of the Schubert song The Earl King, with four different instruments representing the characters of the song. He then completed his mini recital by playing a piece called Haydn Sleek, a jazzed up version of the second movement of the Haydn Trumpet Concerto.

It was truly amazing to watch James alter so quickly from one instrument to another and also match the tone, sound quality and style to suit the playing in question. There were many questions about the techniques used to change from one instrument to another from BTS members. James then added an encore in the form of Grandfather’s Clock played on euphonium, trumpet, cornet, tenor trombone and soprano trombone and we moved swiftly from that to lunch whilst Simon Johnson of the BBC Scottish Symphony Orchestra used the room to rehearse.

After lunch there was another opportunity for the delegates to rehearse a number of pieces for a concert in the town square at 5pm. Before that, however, the delegates had an opportunity to listen to the Leyland Trombone Quartet who

played Bill Reichenbach’s arrangement of Scarborough Fair and a number of swing arrangements. The mini recital concluded with a performance of Marc Owen’s Trombone Quartet, a fiendishly difficult piece to play with many complicated rhythmic structures, and this was all without the aid of a conductor – very impressive to watch!

Then the second rehearsal with delegates took place; the pieces eventually chosen were 12th Street Rag, Thunderbirds, The Simpsons and Immanuel’s Tide, as the audience would be the general public listening to a variety of outdoor street performers throughout the day.

After this massed rehearsal it was time for solo performances from a number of delegates who had been rehearsing with piano during the morning with help from Brett Baker. During the performance Simon Johnson gave some feedback to each player – it was a wonderful opportunity for all players to get some expert advice. The players involved were Richard Leonard playing the David Concertino, Hayley O’Connelly playing Morceau Symphonique, Gilberto Almeida from Portugal playing Hindemith’s Sonata, Elizabeth Bateman playing Covenant by T.V. Mack, Elizabeth Bateman and Adam Reid on bass trombone playing Mike Davis’ popular duet Trombone Institute of Technology. To round-up, a quartet made up of Elizabeth Bateman, Hayley O’Connelly, Richard Leonard and Adam Reid played Mr Sandman. The standard of playing was exceptional; my only disappointment was that there were not more people to hear the fabulous playing taking place.

We then moved on to the highlight of the day and this was Simon Johnson’s recital with pianist Fenella HaworthSmith. They played the third movement of Casterede’s Sonatina, Weber’s Romance, Oblivion by Piazzolla, Terry Jones’ One Day and a second half of Mihauld’s Concerto d’Hiver. It was great to hear Simon’s playing, the delegates listening and watching intently to every note.

It was then time for the final rehearsal and a trundle down the hill to the City Square to play in front of the masses who were enjoying the street musicians.

The pieces went extremely well and the concert rounded off a fine day of music making it the 6th BTS event in as many months.

Brett Baker

The Trombonist | Summer 2009 | 5

NEWS Diary Dates 16 Oct 17 Oct 22 Oct 25 Oct 27 Oct 30 Oct 6 Nov 7 Nov 8 Nov 12 Nov 12 Nov 12 Nov 13 Nov 14 Nov 17 Nov 18 Nov 20 Nov 25 Nov 29 Nov 1 Dec 3-5 Dec 6 Dec 8 Dec 12 Dec

Bones Apart Christian Lindberg RNCM Brass Bones Apart Bones Apart Bones Apart RCM Brass / Zone One Fine Arts Brass Thistle Brass RAM Trombone Choir Dennis Rollins’ Velocity Trio Chaconne Brass Dennis Rollins’ Velocity Trio Michael Buchanen Onyx Brass Onyx Brass Denis Wick masterclass Univ. Manchester & Vaganza Brass Brett Baker workshop City Brass Quintet Dennis Rollins’ Badbone & Co BTS Solo & Quartets Competition Bone Supremacy & Mark Bassey Dennis Rollins’ Badbone & Co

London London Manchester Manchester Glasgow London London Leicestershire Skye London Dorset London London Lincolnshire Cambridge London London Manchester Surrey Manchester London Manchester Southampton Lincolnshire

7.30pm St John’s Smith Square 7pm Nordland Music Festival, Cadogan Hall 1.15pm RNCM Concert Hall, free 7pm Peel Hall, Salford 7.30pm RSAMD 7.30pm Royal Overseas House 6pm Amaryllis Fleming Concert Hall, RCM 7.30pm Uppingham School 7.30pm Skye Arts Guild, St. Columbia’s, Portree 6pm Dukes Hall, Royal Academy of Music Poole Lighthouse Theatre Cadogan Hall, London Queen Elizabeth Hall, London Jazz Festival Drill Hall – F. David concerto with Lincoln SO King’s Chapel, Cambridge Music Festival St Margaret’s Church, Westminster Abbey 2pm, RCM, Recital Hall, free 1.15pm BBC Studio 7, Oxford Rd, free Cranleigh Bandroom www.scaba.co.uk 7.30pm RNCM Studio Theatre Ronnie Scott’s Jazz Club, W1 Peel Hall, Salford – see p3 8.30pm So’ton Uni – southamptonjazzclub.org Dennis Rollins spends a The Sands, Gainsborough week at Ronnie Scott’s

Onyx Brass continue to perform new and modern repertoire, with November recitals in Cambridge and Westminster Abbey playing works by Jonathan Dove,

Steve Martland and Benjamin Britten. They return in January to perform a tribute the legendary Philip Jones Brass Ensemble at the RNCM Festival of Brass .

Brett Baker will be leading a Surrey-based workshop for trombonists on 29th November, hosted by the Southern Counties Amateur Bands Association.

In Brief

Soloists looking to make their mark on the international scene can compete in Markneukirchen next May. There’s €5000 to the best trombonist, as judged by Ian Bousfield, Jonas Bylund,

Heinz Fadle and others. For full details see their website: www.instrumental-competition.de

29 year-old composer Benjamin Ellin has won the Brigham prize – a $20,000 trombone concerto commission for Joseph Alessi.

The BTS has a new Membership Manager. Lisa Penn takes over from Derrick

The North-West Composers Association is calling for members’ brand new compositions for brass quintet for a performance by Manchester group City Brass Quintet on 1st December.

With a top prize of £1000, the Newark Brass Festival returns this January – perhaps it will be another trombonist to win this time? It was Wells Cathedral School student Michael Buchanan last January and he performs a concerto on 14th November.

Denis Wick is the patron and judges have included John Kenny and Paul Archibald.

Classes are for ages 11-14, 15-17 and an ‘open’ for11-30.

The festival includes concerts and workshops from the judges and Guildhall students over 23-24th January.

Parker this November and takes responsibility for processing members’ address and payment information.

Her contact details are listed with the other BTS contacts on page 26.

Phil Parker Ltd The Brass Musical Instrument Specialists 106a Crawford Street, London. W1H 2HZ 020 7486 8206 sales@philparker.co.uk www.philparker.co.uk 6 | Summer 2009 | The Trombonist

FEATURES Les Lake is the longest serving trombonist in the UK! On his retirement from English National Opera after 43½ years as Principal Bass Trombone, his friend and colleague, ENO’s Principal Trombone David Whitson, looks back at some great times and memorable music making.

A celebratory drink with the ENO low brass – David Whitson, Nick Hitchens, Les Lake and Martin Kelly, 2009

Les Lake I

t may be hard to believe that Leslie Lake has been a member of English National Opera since 1966!

Of course ENO was born out of the Sadlers Wells Opera, which was also a touring company in those days. Then ENO took up residency at the London Coliseum and so the job evolved, taking Les with it!

The journey that Les has taken as a musician can only be described by Les himself: “The over-riding impression I have is how fortunate I’ve been to get away with a modest amount of talent and a great deal of luck!”

This just shows how Les can be so modest. He was not just at the Coliseum all those years, but also formed The Locke Brass Consort, was a founder member of City of London Sinfonia and also Bass Trombone for the Raymond Gubbay organisation’s London Concert Orchestra since its inception.

Les was born in 1944 in Northampton whilst London was being bombed. Both sides of his family were rooted in SouthEast London and his mum and dad met at Deptford Salvation Army. His father had played baritone in a local Christian Mission Band and then moved across to the SA

– Deptford had a big band in those days under Bandmaster Archie Lambert.

Les was taught by his dad when he was old enough to hold a cornet and one of his early memories of playing was to “struggle” with the hymn tune Duke Street!

He then went on to tenor horn, baritone, euphonium and eventually, at the age of fourteen, was asked to move to the trombone.

This “luck” that I have quoted then played its part for the first time in Les’s career: “it was when I took up the ‘overgrown safetypin’, as there aren’t too many vacancies for tenor horn or baritone in the orchestral scene”!

However, Les does remember doing a ‘Poirot’ session on tenor horn in a mock Salvation Army Band and earning the most he had ever earnt for a single session! The players on that recording included Bert Ezzard, Roger “Crusher” Brenner and Robin Turner.

Being in the SA meant that if you played an instrument then you went to SA Band Camps, where about 200 teenagers come together from corps throughout the country.

The tutors that Les encountered on these

camps included Dean Goffin, Norman Bearcroft, George Snook (Swindon) and Alf Springate (Gillingham). That was where he also met for the first time Malcolm Smith (later to become Principal Trumpet with the BBC Concert Orchestra and LSO), Chris Mowat (who became Principal Trombone with the Hallé, RPO and BBC Symphony Orchestra), George Wall (Principal Tuba, Royal Opera House) and the very fine trombonist Les Piper from Spennymoor.

Modestly, as usual, Les is quoted as saying: “At this time my own expertise was minimal and since there weren’t enough G trombone players around, I was relegated to playing the bass trombone in ’C’ Band, which involved getting to grips with the mysteries of the bass clef from scratch!

Another piece of enforced luck!”

Les started to think about what career to embark on. There was virtually no history in the family of anyone going to university and so he began to think about music college.

Les did an extra year at school (Beckenham Grammar) as a prefect with just a few lessons to attend and went part-time to the Guildhall School of Music, which was sited at Blackfriars (John Carpenter Street) The Trombonist | Summer 2009 | 7

FEATURES in those days.

He was given a minor award from the county to do piano with Lawrence Gerrish CBE and trombone with Morris Smith OBE. Les met Philip Priest whilst at the Guildhall as a full-time student and they became very close friends.

Phil taught me before I went to the RAM in 1972. I got to hear a lot about Les from Philip before coming to London.

Les also got to know Tom Winthorpe who had been a student at the Royal Academy of Music. Tom went to the BBC Northern Ireland Orchestra. They both met at Maida Vale Studios one day whilst auditioning for the 2nd trombone job in the BBC Symphony Orchestra.

Pierre Boulez was very much present at the audition, complete with pencil. The audition consisted of the usual 2nd trombone repertoire – Tuba Mirum, Rhenish Symphony, followed by a piece by Berg all on one note – B !

There were ‘H’ and ‘N’ markings all across the part, tempo markings everywhere and lots of dynamics. After two or three goes it went from embarrassing to amusing – with Boulez conducting with a pencil!

Les rang Tom in Belfast the next day. Tom said, “I heard Les playing one note all the time and wondered what was going on.”

Neither got the job!

In 1966 Les auditioned for the Sadlers Wells job. Up until this time he was always playing 1st trombone at Kent Youth Orchestra, Guildhall School of Music and Jeunesses Musicales, with whom he went on a trip to play in the Concertgebouw in 1964.

He also auditioned for the 2nd trombone chair in the Hallé and bass trombone job in the Bournemouth. Another job that Les enquired about was the Radio and TV Orchestra in Tehran! They were expanding to cope with a Wagner-sized orchestra and needed players to do bass trumpet and contra-bass trombone. When Les contacted Alun Francis who was the MD, he

Les Lake, Philip Priest and Peter Harvey on a cross-channel ferry in the 1960’s

said that being in a secure job was more sensible. The Shah was deposed about a year later!

Kent would not give a grant for a fourth year, Les had gained a Graduate Diploma (GGSM) and so the days at Guildhall came to an end. But a job (the first job that Les saw advertised) came up at Sadlers Wells Opera.

Les got hold of a Besson B /F trombone from a fellow student trombonist and went on a Friday morning in 1966 to Sadlers Wells Theatre to audition for the post of bass trombone.

It took ten days to be told that he had got the job!

It had really been an exercise in finding out what an audition entailed, not thinking that he would be in the frame for it! Except for the low ‘C’s in Ein Heldenlaben (Les had never been down there before) the rest of the audition had gone well.

The accompanist was Terence Kern, who was a sub-conductor, and who Les had known from Guildhall. The rest of the panel

Les Lake, Gordon Carr, Crispian Steele-Perkins and Jenny Coultas

8 | Summer 2009 | The Trombonist

consisted of Charlie Covenman (Orchestra Manager) and the famous George Maxted (Principal Trombone of the ‘T’ Company of Sadlers Wells, which was originally the touring part of the company.)

Martin Nicholls had been the previous bass trombone, but along with the trumpet section, had decided to go freelance.

That left vacancies for three trumpets and a bass trombone.

Les was appointed along with Barry Kerry (a friend from Kent Youth Orchestra days), Len Rice (a Welshman who had been with Les at Guildhall) and David Appleyard (who had moved from Covent Garden).

The Musical Director was Bryan Balkwill (who followed in the footsteps of Colin Davis). The ‘S’ Company (the non-touring part of Sadler’s Wells) had Mario Bernardi as its Musical Director. Charles Mackerras was 2nd oboe some years before Les joined and then came back after a period with the BBC Concert Orchestra when Sadlers Wells had by then moved to the London Coliseum as an amalgamated orchestra.

There was a strike in 1968 when the move happened – the company said that they could not afford the Covent Garden rates, but promised to pay as soon as they could!

The strike lasted for two weeks and the orchestra agreed to work more hours to get the season started on time.

Les covered for Frank “Porky” Mills on Ariadne whilst still doing his own allotted schedule.

Later when Frank Mills (Principal G Trombone at Sadlers Wells Opera and the London Coliseum) died in Dubrovnik, Les agreed to the section being changed from two tenors and two basses to three tenors and a bass trombone. This meant that the 3rd player (Tony Lincoln in those days) would be doing two-thirds on tenor and one -third on bass trombone.

Les rang Tom Winthorpe saying that a job was going on 2nd trombone at that time.

FEATURES

Leon Taylor, Les Lake, John Smith and David Whitson in the early 1980s. The other member of the section at that time was Tony Lincoln.

Tom had decided to leave the BBC Northern Ireland Orchestra. He had bought a left-hand drive van for driving to Germany to see what jobs were to be had there. Tom was friendly with John Godbehere, a trumpeter based in Hamburg.

The outcome was that Tom ended up playing 2nd trombone to Jim Ketchen with

a bit of 1st trombone thrown in and driving a left-hand drive van in Bromley, where he was well-equipped for giving Les a lift home after work!

Whilst at Guildhall in the early 1960’s, Pat Strevans formed the Kent Brass Quintet to educate school children in the art of brass playing.

The group consisted of Barry Kerry, Crispian Steele-Perkins (trumpets), Pat Strevans (horn), Les on trombone and Ian Hills on tuba.

After having had a slight disagreement with Pat Strevans, Les decided to form his own quintet. Thus the Locke Brass Consort was formed. The group consisted of Brian Rance and Malcolm Hall on trumpets, John Pigneguy (horn), Les and David Honeyball on tuba.

The first date was on February 14th 1966 in the London Borough of Redbridge. Not one member could hire a car in those days because they were under 21. So they had to hire a car and driver!

The elaborate pick-up points from Harrow through Dollis Hill to Holborn went awry! They ended up doing the first concert with only a horn, trombone and tuba. The trumpets arrived for the second concert!

Les knew James Stobart from Guildhall days and had played in his orchestra – the New Cantata Orchestra.

When he decided to explore the larger brass repertoire, Les called on Jim to conduct. Thus the Locke Brass Consort developed in two directions. The quintet continued with work in education doing hundreds of school concerts all over the UK. The larger group played at big festivals at home and abroad and also began to make recordings.

Locke Brass Consort at Rosslyn Hill Chapel – the trombone section was James Ketchen, Tom Winthorpe & Les with John Smith on tuba

The Trombonist | Summer 2009 | 9

FEATURES The most famous and exciting recordings were made at Rosslyn Hill Chapel of Richard Strauss brass music. This included the world premier recording of the mighty Festmusik der Stadt Wien, which Jim Stobart copied down from a nearly illegible manuscript of the composer’s own writing.

The most enjoyable tour was to Munich – six concerts in churches and town halls around the area. They were lucky to stay in one hotel and have the services of ‘King’ Georg and his coach to take the group to the various venues. He always maintained a full “cool-box”. On that trip the players included ‘Fletch’ (the famous tubist John Fletcher) and Maurice Murphy on trumpet.

Raymond Gubbay, the famous entrepreneur, started his London Concert Orchestra over 30 years ago. This was a development from the Johann Strauss Orchestra. Les became involved and has been doing concerts throughout the country ever since.

The trombone section evolved through the death of Tony Moore to being the trombone section from the London Coliseum where the players then included James Ketchen, Tom Winthorpe, Les and John Smith on tuba. John, of course, is now General Secretary of the Musicians Union. Tom left the ‘Coli’ to go to the BBC Symphony Orchestra and then on to the Royal Opera House.

I joined Les working for Raymond Gub-

10 | Autumn 2009 | The Trombonist

Les Lake, David Whitson & Martin Kelly backstage at the Coliseum after playing off-stage in Magic Flute, dressed as priest – dressing up for a bit of fun, as it was to be the last time that Les would perform The Magic Flute at the Coliseum.

bay in 1976 when Jim Ketchen needed a deputy and then permanently for Raymond when Jim had his car accident and had to stop playing. It was then that I joined ENO because of Jim’s accident. Thus I have stayed in the company of Les for

nearly all my career!

Les has had a long and illustrious career, maybe due to a bit of his so-called “luck,” but definitely because of his great love for music and a lot of talent for a bit of trombone playing!

FEATURES

Teaching Network Mark Horton – Director of Trombonanza Juniors, full-time brass teacher for Hillingdon Music Service The key to success in recruiting young potential trombonists in schools is to get the children to think: “Now that looks like fun!”

We teachers are all sold on the trombone and know its possibilities and potential but in order to “sell” it to a young crowd it’s got to come across to them as a worthwhile activity they would really like to try. The best way I’ve found to do this is to show how fun playing the trombone can be.

In a presentation keep all talk of the mechanics of how it works down to a bare minimum as many are not likely to remember a great deal of what you’ve said about the instrument beyond what it’s called! I’ve seen the hose-pipe routine done so many times but I’ve rarely seen it really fire-up kids enough to want to play, sadly.

If you’ve only got 10 minutes to present the trombone, play as much as possible as the visual impact is every bit as strong as what it sounds like to young people.

In junior/primary schools, play music that the vast majority of the children are likely to know e.g. Eastenders, Coronation Street, James Bond and Simpsons themes.

They will instantly be switched-on to what they hear and will respond very positively, which means you’re half way there! Don’t forget to include a silly over-the-top version of The Acrobat too. Yes, it’s hackneyed and done to death, but it never fails to get plenty of laughs from children (even some surly teenagers!), but only when it’s really hammed-up!

What has even more impact is if you have other trombone students at the school. Get them to play some of these well-known tunes as well, because there’ll be plenty of children with low confidence watching who will think it’s too hard for them, but this opinion may change once they see some of their peers managing to do it!

For the older children at high school this approach may not work so well. In this instance try and bring the music a bit more up-to-date, i.e. recent hits or maybe music showing-off the funkier side of the trombone. Playing classical music on the trombone may appeal to a few, but usually this will simply turn-off many more. Something grittier will attract a lot more interest, particularly as the trombone has to compete with a general leaning towards drums and guitar at high school. Unless the trombone looks and sounds “cool” they’ll ignore it.

One of the best ways of attracting kids to learn trombone is by giving a demo to a class. You might only get 10 minutes to hook them on brass and no doubt you’ll be competing with the saxophone and piano.

We asked some experienced teachers for their tips for the best presentation.

To sum up: know your audience and what music makes them tick, and make it appear like a lot of fun! If the trombone performance looks/sounds cool, the kids really dig it and want a piece of it!

Carol Jarvis – trombonist and ensemble coach at Trinity College of Music The trombone is often associated with being the ‘comedy instrument.’ Playing on that, with a few glissandos, always wins kids’ votes. From experience of giving masterclasses all over the world I’ve find it is also good to show the beautiful tones that the trombone can produce. Be it a bit of Tommy Dorsey or a simple classical work, it can capture people. The most important thing is to make it fun, and the versatility of the trombone never fails to get people to sit up and notice.

Alan Hutt – trombone teacher, Wells Cathedral School Having taught at Wells Cathedral School for some 31 years I appreciate the need to recruit new players from the Junior school as well as other “feeder” schools. Young trombone players remain thin on the ground and if we did not go out and grab their attention they might never realise the opportunity they are missing.

At Wells we are fortunate to have a brilliant Head of Brass, Paul Denegri, who offers free brass lessons for a term to all who want them. The result over the years has been impressive with some going on into the profession. With our outreach projects, run by percussionist Jan Faulkner, coupled with our internal recruitment we can boast a full week of teaching for our five-strong brass teaching team.

The key for us is how we recruit. Initially we take ensembles from within the Senior school and perform a programme of fun music, followed by talks from the players on how the instrument works and how to

produce a sound. Those who want to can have a go, under supervision, and find the instrument that seems to suit them. By using the pupil ensemble for the demonstration the youngsters can relate to the fact that they are not that much younger and are less likely to be intimidated, the magic has started and some will be hooked.

The key to all successful teaching and especially recruitment is encouragement, go over the top if you like, but a boy or girl who feels good about themselves is a willing and happy student.

Pete Lacey – Trombone teacher, Birmingham Junior Conservatoire, Nottingham Boys High School, Keele and Nottingham Universities and Head of Brass at Alderley Edge School for Girls I sometimes wish that the Simpson girl had chosen the trombone instead of the saxophone! But seriously, our biggest issue in selling the trombone to a class of children is that other instruments can come over with much more “street cred.” than ours.

The way I’ve tried to overcome this is by making instrument demonstration sessions as “hands on” as possible.

Always: • Get the whole class buzzing, explaining that if they can do this they can get a note. I always begin by asking how I get a note, to which the answer is “blow down it.” From this point I can demonstrate why this doesn’t work and eventually someone will suggest blowing a “raspberry!” Then we are on our way!

• Class teachers generally love it if you can bring in the principle of the longer the tube the lower note.

• Always use a popular film or TV theme as a demo piece. It has much more impact than something serious. Keep it short. Get them to name it.

• Use lots of questions to inspire discussion and participation.

• Select some “victims” from the class to see who can blow a note. I often do this as a competition between boys and girls. Always make sure it’s a draw!

Experience has taught me that no amount of ability can come through without the motivational spark. This first session is vital in this respect and I’ve always based my demonstrations around making the child want to play, and not worrying about their ability until a later stage. Good luck!

The Trombonist | Autumn 2009 | 11

FEATURES

Reconstruction of a trombone from the time of the English Civil War Can an old painting provide clues about how we played the trombone 400 years ago? Just how well did the art imitate life? Bill Tuck shares his observations as he gives the first blow of an instrument based on a 17th century painting.

D

ouble slide instruments (commonly referred to in England as sackbuts) have been around since at least the fifteenth century and though they differ in many respects from the modern trombone they are recognisably of the same family.

Hard evidence of the actual structure of trombones from the 16th or 17th century is, however, difficult to come by. We have a few instruments carefully preserved in museums, though many of these are likely to have been altered over the intervening centuries through repairs, replacements, embellishments and so on. There are pictures, of course, though often they are rather fanciful: angel wings sprouting from a trombonist’s back, as in this detail from the ceiling of Bolsover Castle (shown in the illustration at the bottom of page 13) lead one to question the veracity of the instrument as well. Notated music marked for

Plate from Michael Praetorius’ book Syntagma Musicum, written 1614-1620

12 | Spring 2009 | The Trombonist

trombone (or sackbut) may give some idea of pitch, range and the agility required, but few clues as to the detailed structure of the instrument. The well-known diagrams and descriptions in Praetorius’ Syntagma Musicum (see below) provide perhaps the most solid evidence of the structure and dimensions of the whole trombone family, but give scant indication of how they were held or played.

In the case of English instruments of this early period our knowledge is even more limited. Although the Tudor and early Stuart Courts are known to have employed as many as a dozen trombonists at any one time, nothing remains of their instruments. Even pictorial representations are rare. Among the few surviving illustrations is a tiny detail on the painted casework of a chamber organ dated 1643 (see page 13, top-left illustration). We know nothing of the artist involved and very little of the organ’s maker, one Christianus Smith.

The provenance of the organ itself is also rather obscure – though on the assumption that the date is correct, the instrument depicted originates from just before the English Civil War (which broke out in August of 1642). The costume of the trombonist is characteristic of a Royalist – as is that of his companion cornettist -- so we can assume that the musicians, along with their instruments, probably belong to a Court ensemble, or to an aristocratic Royalist household.

But what can we say about the instrument depicted? It looks rather strange, with some quite unique features. Is it ‘real’, or yet another figment of an artist’s imagination or product of imperfect recall? To test this out, the well-known sackbut maker Frank Tomes was commissioned to create a replica, incorporating all of the features visible in the painting: slide handle linked to upper slide arm rather than cross-stay; slide-stay at the midpoint rather than top

of the outer slide; and no top-stay. It was assumed to be a bass instrument by virtue of the handle, though its precise dimensions were difficult to guess because of the perspective used in the illustration. For testing purposes it was set it in E (closed or first position). The resulting instrument is shown in the above photo.

The first problem in trying to play the instrument was how to hold it. It was assumed that the stays were flat, (they appear so in the painting and all surviving examples of bass trombones from before about 1680 have flat stays). An underhand grip, with the inner slide-stay balanced between thumb and first finger, was found to work well as it enabled some leverage to be exerted on the mouthpiece receiver, thus helping to counteract the tendency of the slide to twist. It also helped balance the heavy front-loading created by having the bell at fourth position (typical of all early sackbuts).

The slide handle was another problem.

Our initial assumption was that it would be necessary to have at least two degrees of freedom for the handle, with rotation about the axis of the slide arm through a loose ring coupling around the outer slide, and a pivot connection perpendicular to the slide arm (most bass sackbut reconstructions employ a slide handle

FEATURES

Bill Tuck strikes a pose with the new Tomes instrument, copying the organ painting from 1643

with a universal joint connection to the cross-stay). In the event this proved totally unmanageable – the slide was simply too wobbly (a result, no doubt, of there being no top stay on the outer slide). To regain control we tightened the connection to the slide arm by insertion of metal strips under the hinged ring. The angle of connection could then be set to the player’s preference, which depended on the general style of grip (underhand, or modern Detail from the ceiling of Bolsover Castle

‘fist’ grip). Reducing movement in this manner to one degree of freedom enabled much better ‘torsion control’ of the long and loosely coupled slide. It also enabled some of the weight to be taken on the right arm – an advantage in a front-loaded instrument, but rather contrary to modern trombone playing style, where nearly all of the weight is carried on the left arm and shoulder.

Our conclusion from this experiment is

that, despite its rather peculiar features, the trombone illustrated in the picture does actually work quite well. In comparison with the usual bass sackbut construction, with a top-stay on the outer slide and a centrally mounted slide handle (with universal joint), the feeling of control one has over the instrument is actually better.

I have several times played for more than two hours in rehearsals without any significant feeling of strain. A rather subjective evaluation of the sound of the instrument, compared to a standard bass by Frank Tomes, suggests that it is somewhat richer in tone colour – perhaps as a result of the looser coupling allowing the whole to vibrate more freely. Many of these aspects clearly need further research, but our initial conclusions are very positive. A more conjectural idea is that the type of instrument shown in our picture is characteristic of English-made sackbuts of this period.

Its features are quite distinct from those of other European-made instruments, and in particular from those made in Nuremberg, the principal centre for trombone manufacture throughout the 16th and 17th centuries. Further investigation of the provenance of the painting may yield addition support for this conjecture.

The Trombonist | Summer 2009 | 13

FEATURES In June the International Trombone Festival was hosted by neighbouring Denmark.

With star trombonists flying in and plenty of Danish talent too, the festival was full of fresh and inspiring music and was also the perfect place for trombonist camaraderie.

Postcards from Århus

Rolling Stones’ trombonist Michael Davis in late night jazz, New York style

Jorgen van Rijen

Yoga stretches start Jonas Bylund’s warm-up

Three of the world’s leading jazz/session artists: Mark Nightingale (England), Alex Iles (Hollywood) and David Taylor (New York) Håkan Björkman relaxed in recital

Having never written for chamber orchestra before I remember the butterflies in my stomach on arriving at the first rehearsal , and the huge thrill when the orchestra played my piece and it all worked .

I was even more delighted when Elgar Howarth took the time to tell me how much he liked it after the concert.

Mark Nightingale

14 | Summer 2009 | The Trombonist

After taking 14 hours to travel from Köln to Aarhus by air - a distance I could have driven in 7 hours and thus missing ALL my scheduled performances at the ITF, my overwhelming memory is a roller-coaster blur of opening the final concert without a shower, never mind a warm up, followed by the best cold beer I’ve ever had in my life!!

John Kenny

FEATURES

Tom Plsek from Berklee, Boston

Jesper Juul and Steen Hansen in concert with Prinsens Musikkorps, conducted by Elgar Howarth

Chris Houlding

The summer of ‘09 began with a spectacular trombone party, featuring some of the most wonderful trombonists on the planet. It was truly an honor to be part of it – thanks to all!

Jiggs Whigham

Jiggs Whigham leads the ITA’s Jazz Trombone Ensemble winning Guildhall students who travelled from London

Niels-Ole Bo Johansen brought together a sensational event with a subtle choice of artists in a magnificent venue . But to provide a specially brewed ITF Beer as well was nothing short of inspirational!!!

Typically flamboyant Christian Lindberg conducted the opening concert and later gave a recital.

Chris Houlding in a light moment during his talk about British brass bands he gave with Elgar Howarth

Jonas Bylund in recital with the renowned Stockholm Chamber Brass

Calling All Young Trombonists: Join the fun at the Royal College of Music Junior Department!

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Study at the highest level under inspirational teachers such as Amos Miller and Peter Harvey Make music, perform and compose with other young people of similar age and ability Financial support available

To find out more, request an information pack from: Royal College of Music Junior Department, Prince Consort Road, London SW7 2BS T: 020 7591 4334 • E: jd@rcm.ac.uk • W: www.rcm.ac.uk/junior The Trombonist | Autumn 2009 | 15

FEATURES The modern trombone is the result of generations of designs over 500 years.

Along with charting the instrument’s lineage, it also can be fascinating to examine the more unusual designs. With this in mind, a large selection of instruments from collections around Europe were on display this summer at the “Sackbut and Trombone” exhibition in Edinburgh. Trombonist Claire McIntyre, whose work includes playing sackbut at the reconstructed Shakespeare’s Globe Theatre, reports on the exhibition.

Tracing the ancestors A

s a trombonist with a particular interest in all things historical, the prospect of seeing some original instruments spanning four centuries was quite an exciting one. So at the end of August, camera in hand, feeling a bit like a kid in a sweetshop, I fought my way through the Edinburgh Fringe crowds to the Reid Concert Hall in Bristo Square. The Sackbut and Trombone exhibition, curated by Professor Arnold Myers, augments the permanent display of some of the instruments in Edinburgh University’s sizeable collection. The selfexplanatory title of the exhibition had led me to expect to see a fair few early instruments; in fact, there was only one sackbut, a tenor instrument made in 1594 by Anton Schnitzer of Nuremberg. After leaping forward two centuries, we find the next oldest

instrument, a tenor trombone from 1794

by Joseph Huschauer of Vienna. It is worth noting that, apart from a slightly larger bell flare, the dimensions of this trombone were very similar to those of the Schnitzer sackbut. The rest of the exhibition dealt with the more dramatic developments in the evolution of the trombone, which took place in the nineteenth and twentieth centuries.

Many of the trombones on display illustrated important milestones in the instrument’s development, creating a sort of timeline and giving the collection a narrative. Highlights included an instrument from c. 1800 by Francois Riedlocker, who is said to be the first maker to add a tuning slide to the trombone; Robert Piering’s mid-twentieth-century B /F trombone, which was the first B /F (as opposed to

G/D) trombone to be used regularly in a British orchestra, this particular instrument having been played from 1951 by Percy Cook, bass trombonist in the Scottish Orchestra; and various instruments showing the trend towards larger instruments, from the wide-bore, large-bell instruments produced by German maker Christian Friedrich Sattler c. 1840 to the bigger instruments (corresponding to a modern medium-bore) by Vincent Bach from the 1940s favoured by US Forces bandsmen, including Glenn Miller.

There were also various curiosities: a French ‘over the shoulder’ trombone from the mid-1800s, presumably designed so that the player could deafen anyone behind him (the instrument also had an interchangeable tuning slide which allowed for

Riedlocker trombone, Paris c.1800, with the inner bell decorated in red and gold colours

16 | Summer 2009 | The Trombonist

FEATURES

Octagonal bell of mid C20th German jazz trombone ‘Exakta’

conventional assembly of the instrument – so that the player could deafen those in front as well); several monstrous-looking contrabass trombones, including a Boosey model from 1898 known as ‘King Kong’; while Holton’s ‘Superbone’ from c. 1980, based on an original idea of Adolphe Sax’s and developed in conjunction with Maynard Ferguson, is an instrument whose three piston valves and slide could be used simultaneously. Some of the trombones were particularly aesthetically pleasing; I found the nineteenth-century Courtois trombones very elegant, and there were other instruments with unusual decoration, including the ornately colourful inner bell of the Riedlocker trombone already mentioned, and the octagonal bell flare of the mid-twentieth-century German jazz

trombone ‘Exakta’.

Although there was a lot to see at this exhibition, I found the quantity and depth of information just right – enough to inform, but not so much as to overwhelm the visitor. Neither was it too technical – a catalogue listing instruments’ dimensions and other detailed specifications was available on request to cater for the organologists and others in search of statistics, but the layperson was not obliged to wade through this information in the main exhibition. In addition to the labels next to each instrument inside the display cases, audio guides were available, featuring short recordings of Sue Addison playing some of the trombones on display – lacking the opportunity to play the instruments myself, listening to the recordings

was the next best thing! Some of the information was already familiar to me, but I learned new facts too; I had never before realised quite how many valve trombones were made, nor how many different valve mechanisms there were. I also discovered that the practice of manufacturing trombones with interchangeable tuning slides for playing at A=440 and A=430, familiar to those of us who play modern reproductions of Classical-era trombones, was in evidence as long ago as 1865 (possibly even earlier), as shown by a Courtois tenor trombone which could be played at either pitch. All in all, this was a very informative and well-presented exhibition – worth the visit!

Tenor sackbut in A by Anton Schnitzer, Nuremberg, 1594

ANTONIA REEVE

16-ft C Contrabass C, double slide.

Boosey & Co, London 1898 Trombone in C with pavillon tournant and 6 independent piston system valves, Adolphe Sax, Paris 1864

RAYMOND PARKS

RAYMOND PARKS

The Trombonist | Summer 2009 | 17

FEATURES Following on from the Edinburgh exhibition of trombones since the classical era, Denis Wick surveys the changes in trombones he has experienced in orchestras and the politics of getting the best instruments.

Twentieth Century Orchestral Trombone Styles in the UK

U

ntil the 1940s the small bore (0.450”) trombones that Elgar and Holst had known and played were in universal use in symphony orchestras. They continued to be standard equipment in the many thousands of brass and military bands that existed after World War II until the 1960s.

When one realises that these early 20th century orchestral trombone here in Britain had a completely different sound from what has now become a world standard; the question of how we arrived at what we have today is now a matter of history.

The older generation of orchestral trombonists, John (Jock) Ashby in the LSO, Sidney Langston at the BBC, Sam Holt in the Hallé, were all very good players who made rich, full and telling sounds on their small-bore instruments. The instruments they used – now long lost museum– pieces, were the British Hawkes Artist’s Perfected, Boosey Perfecta, Higham, and occasionally a French Courtois Conservatoire Model. There were subtle distinctions in bore sizes and the orchestral models were very slightly larger in bore and bell diameter than those used in brass and military bands. German trombones, with completely different design, which so much influenced American makers during the 20th century were completely unknown in Britain, as was the alto trombone. Curiously, one of my oldest trombonist friends, Arthur Wilson, had a treasured photograph, taken in the 1860’s of his great-great-grandfather, then in the Scots Guards band, in his full military regalia, holding what is obviously a German trombone, complete with the traditional tuning-slide snakes-and-acorns decoration.

The slides of these British and French “pea-shooter” trombones were heavy and their action cumbersome by modern standards, but they had no bad notes and very even intonation. The one absolutely unique aspect of British trombone playing was, of course, the G bass trombone, which needed a handle on the slide to reach 5th, 6th, and 7th positions. This was to be found in every kind of band and orchestra. By the late 1920’s Boosey had, in consultation with one William Betty, produced a slightly larger (0.523”) orchestral model G bass trombone, with a tightly wrapped rotary valve system to D. This could play the 18 | Summer 2009 | The Trombonist

missing low C and B required in the symphonic repertoire that had been written for the continental F bass trombone. The mystery of a G rather than an F bass trombone in Britain has never been satisfactorily explained, except possibly guessed at by me in my Trombone Technique (OUP 1971). My theory was and is that playing in the front rank of a marching band, the spectacular effect of tonic-and-dominant “oompah” notes was really effective in the traditional keys of A and D , where a six foot length of trombone slide was waving about. A sight to behold! I have always described the G trombone as the musical equivalent of coarse fishing. On the positive side, I have to say that the low C in the loud chorale in the last movement of Brahms’ 1st symphony seemed bigger and nobler than anything since. The low E in Uranus from Gustav Holst’s The Planets had a similar feeling – it seemed to support the entire orchestra. The best symphonic exponents, Bill Coleman, Gerry McElhone, and Frank Mathison, were good players, but primarily good musicians.

The many excellent jazz and dance band players had moved on from these small bore trombones on which they had made their earliest beginnings, and some bigger American instruments – mainly from pre-war days, were to be found by 1950 – King 2B, Conn 6H and “Super” Olds. The orchestral purists looked down their noses at such exotic imports, but had to concede that both in sound and playability they were much better for that kind of music.

In July 1950 my career as a professional orchestral player began when I took the job as 2nd trombone of the orchestra at Bournemouth, then known as the Bournemouth Municipal Orchestra, working in that very pleasant seaside town.

There were relatively few orchestral musicians around in those far-off days and their career paths were very different from those of today. Most brass and many woodwind players had been military musicians early in their lives and had acquired infallible reading skills and general resourcefulness that made them superb at professional work. The average age would have been about 45, so that as a 19-yearold I felt very junior. My natural cockiness was just about tolerated but I found that

my more experienced colleagues were very powerful influences. I improved my orchestral playing skills fast – I had to!

In the Bournemouth Municipal Orchestra we used the more easily available Boosey and Hawkes Imperial trombones, with a bore size of just under .500”. They were regarded at the time as big instruments – they were much darker in sound, smoother in legato and had a better slide action than the small-bores. It seemed to us like a quantum leap. Pre-war American instruments were so rare that we did not realize that the Imperials were generally inferior to them.

Outside influence Post WW2 there were five symphony orchestras in London, as there are today. The most distinguished was the newly (1945) formed Philharmonia Orchestra. Sir Thomas Beecham, the legendary greatest conductor ever, had his Royal Philharmonic, also newly founded, vying with the Philharmonia for star players, in addition there were the longer-established BBC Symphony (1930), London Symphony (1904) and London Philharmonic (1929); all good but perhaps not quite as brilliant as their newer rivals.

In 1953, Alfred Flaszynski arrived on the London scene, as the new 1st trombonist of the Philharmonia Orchestra. Alfred was a larger-than-life character who had been a violin student in Cracow, Poland, at the beginning of WW2, with trombone as 2nd study. When the German SS Opera Company arrived in Cracow (yes-they had a complete touring opera company, on a special train, which toured to entertain members of the SS) they needed a trombonist and took Alfred. As he told me – “I had a choice – play the trombone or be shot, so I played the trombone”. Towards the end of the war, when the Allies were fighting in Antwerp, Belgium, in 1944, the SS Opera members were sheltering in a bunker in what had become the front line.

Alfred told me that he promptly put on his civilian suit, changed sides and offered his services to the allies as an interpreter. He eventually found his way to Scotland when the war concluded, where he did forestry work, then played the violin professionally in a summer season orchestra, married a Scottish girl and became 1st trombone

FEATURES of the Scottish National Orchestra. This sounds too far-fetched even for fiction, but it happened!

Walter Legge, who then owned the Philharmonia, welcomed Alfred, who with his background was just what conductors like von Karajan, then often on the Philharmonia rostrum, needed. Alfred, naturally, played a German trombone: a Gronitz which apparently had no high register whatever. To play Bolero, he had to borrow a Boosey and Hawkes “Imperial” – not the greatest, but it at least it had enough notes.

The visit of the New York Philharmonic Orchestra to the Edinburgh Festival in 1951 had been the stuff of legend so far as the British orchestral trombone world was concerned. Word had gone around that Pulis, Van Haney and Ostrander made the most fantastic sound with enormous trombones and mouthpieces that beggared belief. Very few people had actually heard them but there was very much pubtalk over the ensuing years. Nobody had much idea about these instruments. In any case, because (it was said) of the presence of a certain Mr. Geoffrey Hawkes on the British Board of Trade, it was illegal commercially to import foreign-made musical instruments. Of course, the same was true of any other foreign manufactured goods, but it affected us particularly as the home produced instruments were so inferior.

Unless a British orchestra made a US tour, we could only dream!

I have always described the G trombone as the musical equivalent of coarse fishing.

By 1954, Arthur Wilson, the Philharmonia 2nd trombonist, had managed to find an elderly Conn 88H with the help of a friendly American serviceman and in 1955, the Philharmonia Orchestra made a tour of USA, conducted by Herbert von Karajan. Our friend Alfred had managed to find an 88H so that there were now two in the same team. This excited some curiosity, but with a rather poorly played G bass trombone in the section the effect was not very spectacular and most trombonists seemed not to be convinced.

Farewell to G trombones I joined the London Symphony in April 1957, having also played 1st since 1952 in the City of Birmingham Symphony. By now I was using a Besson trombone slightly smaller than a Conn 6H. The LSO of those days was very much an “also ran” orchestra, but at last, I was working in London! We broke some new ground in that my bass trombone colleague, Tony Thorpe used an ancient German Fischer B bass trombone.

Happy memories of on an LSO tour around 1968-70. (L-R) John Fletcher, Denis Wick, Peter Gane, Frank Mathison, Tony Parsons.

He actually had a small handle made to make it look like a “G,” in case conductors objected!

Tony was probably the prototype of Walter Mitty, but more imaginative. One of those incredible “characters” that simply could not exist in the music profession of today.

By 1958, when WW2 had been over for 13 years, we all felt that the reasons for the embargo on imported instruments no longer existed, so most musicians signed a successful petition to parliament to reverse this law. I jumped the gun on this, having privately – thus legally – bought my first Conn 8H from the Persy shop in Brussels when the LSO played to a near-empty hall at the Brussels International Exhibition in May 1958. Between rehearsal and concert, bassist Stuart Knussen and Barry Tuckwell, our 1st horn came with me to the shop to make sure that this gigantic trombone would be suitable for the orchestra (that’s the way it seemed then!) “It just sounds like you, but more so,” Barry said. For us the London trombone revolution had now begun in earnest. The first problem was, of course, balance. I could so easily simply swamp my colleagues, so I had to be very careful. Fortunately, by September 1958, when the import embargo had been lifted, Chris Devenport, my other colleague, had also managed to acquire an 88H. I have to say this was not an easy transition. We all knew perfectly well and had in our minds the unmistakable directness and clarity of the old small-bore trombones. The new instruments needed bigger mouthpieces and so many different approaches. The problem was made worse because of the appalling acoustics of our then main concert venue, the Royal Festival Hall; even worse than today – completely dead, with no resonance whatever. So to get the maximum result we eventually set-

tled on what were then regarded as smallish bass trombone mouthpieces, Bach 3G for Chris and 4G for me. Tony found a disreputable-looking very old small tuba mouthpiece which enabled a shattering (if short-lived) .

Eventually, when the LSO, having improved beyond belief, began to spend most of its life in the recording studios, recording producers demanded a better level of trombone playing, so Chris and Tony had to be replaced. In some ways this was a great relief, but I missed the characters.

New sounds required By the mid-60s, with Paul Lawrence and Frank Mathison (now playing a Bach 50B) in the team, like many other British trombone sections, we were making darker sounds than most American sections at the time.

We then began to re-think the kinds of sound that our section was making in the now (slightly) improved Royal Festival Hall, and also in the various halls that we used for recording. I felt that more definition and colour were needed. Loud playing was never a problem, but a real trombone sound in soft playing could be so much more telling than the soft anonymous, homogenous, horn/ trombone/harmonium effects that our “G” mouthpieces made. Paul Lawrence, who made probably the darkest 2nd trombone sound ever, became a tuba player and rejoined his former orchestra, the London Philharmonic in 1968, when Peter Gane and John Fletcher came to the LSO. In 1973 Peter left and Eric Crees joined.

By 1969, I was deeply into mouthpiece design, using experience, instinct, endless trial-and-error and listening to every “take” in the recordings. Finally, with help from so many enthusiastic colleagues – and Bob Giardinelli in NYC – eventually getting the first trombone mouthpieces that The Trombonist | Summer 2009 | 19

FEATURES seemed to do everything. I had no idea at this point that this was the beginning of what became such a big enterprise, but that is another (rather long) story.

I was also able to influence Boosey and Hawkes who eventually managed to make a reasonably good large bore symphonic trombone which was adopted by some professionals but mainly by brass band players. Slightly lighter in sound than American instruments, I found it worked well for solo playing and small ensembles such as Philip Jones’ brass ensemble.

There were some very fine players of my generation – Evan Watkin (RPO), Derek James (LPO), Harold Nash (Covent Garden Opera) – all coincidentally from South Wales – who all eventually used the same kinds of large-bore trombones and found their own ways of coping with change, so that by the early 1960s large-bore trombones were the norm in all the orchestras in the UK. Conns were the only large bore instruments that seemed to work for us.

Occasionally other makes – Olds and King were tried, but could not match the Elkhart Conn sound quality. The main reason for the use of this size of trombone was primarily because the instruments were so much better than anything before. Their bore-size was, I think, a secondary issue. My old friend Jay Friedman had always said “You gotta try a Bach.” For reasons which I never understood, Vincent Bach trombones from these times were hardly ever seen in London. I remember George Maxted describing a 42B that he had tried as “like trying to play a bicycle frame.”

Whenever the LSO played in New York, we visited Bob Giardinelli’s shop. Bob had been very helpful when I was working on my first mouthpiece and we were good friends.

For some reason, my colleagues Eric Crees and Roger Groves managed to see Bob before me, and came to a rehearsal with some new Bach trombones. Eric had asked Bob to put aside a particular Bach 42 for me, thinking – correctly, as it turned out – that I should like it. It was a combination of lightweight slide, open leadpipe and red-brass bell that worked perfectly for me. I later designed a mouthpiece that made it work even better (5ABL) and used it for many years with the LSO, although I always kept my trusty Elkhart 8H. This was the second example of the 8H as the original 1958 model wore out completely and was replaced in 1968.

Recent times Since I retired from playing in 1988, Ian Bousfield and, since 2001, Dudley Bright have occupied my former LSO seat; the ideas that we pioneered 50 years ago have evolved with perhaps a gentler, less aggressive approach. It is flattering that so many of my former students have based their orchestral playing styles on the pioneering work that we did so long ago and have evolved their own refinements. Every British orchestral trombone section is now at a higher level than I had ever thought possible, with even better instruments from so many fine makers.

All 1st trombonists now also play the alto trombone – it is now a standard requirement at music colleges. I bought my first Lätzsch in 1964 and at the time was the only 1st trombonist to use the alto.

I tried to persuade all my friends in the other orchestras to use it and in time most of them did so.

By 2009, much of my tale is history, some of it fairly ancient.

Most of the early participants are long gone. I still feel the same way about orchestral trombone sound quality; that it should have something of the small-bore character, be absolutely massive in loud playing but have that very special clarity and real beauty in and .

Bass trombones and bass trombonists have developed so much since the old days. Ray Premru when a member of the Philharmonia (from 1958) set standards of playing which are now absolutely normal but which then were revolutionary. Sheer musicianship, of course, as well as being a former Remington student.

In UK we seem to have escaped the “bigger is better” – tuba mouthpiece / no leadpipe – malaise that infected so many US bass trombonists, and the bass trombone retains its clarity and beauty of sound whether loud or soft.

Tuba revolution The British tuba scene when there was such a miscellany of mainly indifferent players, was completely transformed by John Fletcher, with the big CC tuba in the LSO. The velvet cushion (his words), the crackle and brilliance, warmth and sheer quality of his sound have never, to my mind, been surpassed. The omnipresent Besson EEb tuba in British orchestras has its virtues, of course. It is a fantastic compromise and does most jobs very well indeed. But Prokofiev 5 or Mahler symphonies on John’s York-Holton CC were something very special. Mainly John, of course. Curiously, the Besson company eventually followed my advice of 30 years ago and for a short time, working with Walter Nirschl, the specialist German tuba designer, produced possibly the best CC tuba ever made. How I wish that John Fletcher, who lobbied at least as much as I did, was still with us to enjoy it.

Peashooter comeback?

It is strange that 50 years on, none of my students has ever seen, much less played, an original small-bore British trombone. There has recently been a freelance orchestra in London, the New Queens Hall Orchestra, which attempts to re-create some or all of these sounds from the past. A step back? I think so, although an interesting curiosity, in line with the idea of using period instruments for old music. My feeling is that because of the poor acoustic qualities of London concert halls, the fact that modern instruments are better in every way and most importantly, that the quality of today’s trombonists in UK is so incomparably better than 50 years ago, it must be. The downside of modern orchestral brass is that really loud playing is boring and unnecessary apart from just a few seconds in any piece. Large bores in every sense!

This article was also published a few years ago in the International Trombone Association journal and reproduced here for British readers.

Markneukirchen Germany

45th International Instrumental Competition Markneukirchen May 6 - 15, 2010 Oboe – Trombone Patronage: President: Age limit: Deadline for application: Prizes to be awarded:

Prof. Kurt Masur Prof. Peter Damm 30 years January 31, 2010

total prizes 22.000,00 Euro; engagements

Address:

Internationaler Instrumentalwettbewerb Markneukirchen Am Rathaus 2, 08258 Markneukirchen / Germany

Phone: Fax:

+49 (0)37422 41 160, 41 161 +49 (0)37422 41 169

E-Mail: Instrumentalwettbewerb@markneukirchen.de Website: www.markneukirchen.de Member of the World Federation of International Music Competitions

FEATURES

Trombonist’s island discs Peter Gane started to learn the trombone at the age of 12 with Charles Smith, 1st trombone of the Bournemouth Symphony Orchestra and then with Denis Wick and Terry Nagle. At the age of 16 he won an open scholarship to study at the Royal Manchester College of Music and at the age of 19 he became a member of the London Symphony Orchestra.

A founder and former president of the British Trombone Society with many publications to his credit, Peter Gane has earned particular recognition for his work with young people. He has a long-standing association with the National Youth Orchestra of Great Britain and the European Union Youth Orchestra where he has been profes-

sor since 1977 and 1984 respectively.

As a teacher, brass specialist and conductor he has taken master classes and workshops in many European Conservatoires and with professional groups in Germany, France, Denmark, Sweden, Norway, Spain, Holland, Austria, Italy and the USA. His international reputation has recently been confirmed by the presentation of the “Neill Humfeld award for excellence in trombone teaching” by the International Trombone Association.

He became a professor of the Guildhall School of Music and Drama in 1971, was elected a Fellow in 1981 and was Head of the Department of Wind, Brass and Percussion from 1988 to 2008.

Count Basie – E=MC2 = The Atomic Mr. Basie, EMI 1957 The 60’s was a great time for big bands. Luckily for me, they all came to play in both the Winter Gardens, Bournemouth, and the Free Trade Hall, Manchester. I remember going with friends to the Free Trade Hall to hear the Basie Band at their second sitting. Wow, what an experience! That night they played some of the numbers on this record. The sheer energy, the thrilling, electrifying, rhythmic drive and tight ensemble was quite awesome!

Sibelius 7th Symphony; Respighi Fest Romane – Eugene Ormandy, Philadelphia Orchestra, CBS 1961 At this time I think the orchestra was at its finest. I remember going to the RFH to hear their performance of Daphnis and Chloe and being blown away by the quality of the orchestra and in particular the sheer magic of their woodwind. The colour, vitality and brilliance of the Respighi along with the depth of the Sibelius is beautifully matched and makes this recording quire special. In the Sibelius you can feel the vast open spaces and breathe in the cold fresh air.

Debussy Quartet in G minor; Ravel Quartet in F – The Julliard String Quartet, CBS 1973 For me this recording by the original Julliard quartet captures the expressive intensity of these two amazing quartets and is breathtakingly beautiful. This quality of music making is what any chamber ensemble should be aiming for. The Paris Trombone Quartet with Michel Becquet may have got close!

We Get Requests – Oscar Peterson Trio, EMI 1965 (Ray Brown bass and Ed Thigpen drums) This record is a sheer delight. It is entertaining, relaxing, enjoyable, approachable and just so inventive. The music has clarity, space, rhythm and colour. I have been to so many concerts when jazz musicians perform feats of virtuosity, get totally embroiled with technique and just sound like they are playing for themselves or for other musicians. This certainly is not one of those recordings!

Britten – War Requiem – LSO conducted by Benjamin Britten.

Decca, Kingsway Hall 1963 It was in 1963 when the LSO came to the Winter Gardens, Bournemouth, and, as normal, I sat behind the trombones as one could in those days. On the programme they played Strauss Till Eulenspiegel and Denis Wick and Paul Lawrence talked all the way through – how could you do that especially without getting lost?! They had nice shiny trombones and boy, could they play! The War Requiem came out that same year and I must have played the Dies Irae at full volume a hundred times, or more – what a brass section! This

confirmed my ambition to become a member of the LSO. Jazz Olympic Series – Jay Jay Johnson and Kai Winding – Philips 1956 When at college in Manchester, Jim Wortley and myself teamed up and played most of the Jay and Kay duets. We just played these recordings endlessly until we had them all either written down or off by heart. This record is one of my all time trombone favourites, full of invention, energy, melody, artistry and is full of very fond memories, including not seeing daylight for a good two weeks!

Denis Wick mutes and mouthpieces – great designs beautifully engineered for today's musicians. Our product range includes everything from accessories for beginners to top-ofthe-range professional equipment, and is manufactured in the United Kingdom to the highest standards.

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The Trombonist | Autumn 2009 | 21

FEATURES It is always a joy to meet people like Derrick. He’s a trombonist who is not only firedup about making music, but he is tireless in supporting it: he plays in a wide range of amateur groups, has been a mainstay of the BTS organisation and encourages young players by running his trombone choir. The BTS asked Steven Greenall to interview his long-time friend and colleague at Warwick Music.

Derrick Parker

The Joker!

Hot Toddy with the Coventry Consortium Big Band for whom Derrick is Musical Director.

Trombones (l to r): Jon Webber, Nigel Riley, Raj Narula, Gur Rotkop and Derrick

D

errick does not really understand why the BTS have commissioned this article – perhaps that says it all.

But behind each of us is a fascinating story and when I sat down with him, someone whom I have known for many years, I learnt that there is really so much more to this man from humble beginnings in Doncaster.

Born in 1945, Derrick followed his father and grandfather into the Salvation Army on cornet at the age of seven. Besides a quick detour onto euphonium, by the age of ten he’d found his instrument of choice – the trombone. A strong commitment was needed with daily rehearsals or events, including six services on Sundays. As Derrick describes he really “learnt by playing not by having lessons”. It is a method with which I’m sure many readers will be familiar.

Educated at Doncaster Grammar School, Derrick won a place at the Schools’ Music Association Orchestra (in those days considered the Junior NYO) including a highly prestigious first performance at the Royal Albert Hall in 1959 conducted by Malcolm 22 | Summer 2009 | The Trombonist

Arnold. Two years later, he progressed to the National Youth Orchestra alongside esteemed colleagues John Iveson, Colin Sheen, Chris Mowat and Peter Gane. While attending a special reception for the NYO Tour of Poland, seemingly an excess of drinks from the “Adults’ Table” brought the wrath of (Dame) Ruth Railton, founder of the orchestra and a distaste for Gin which has lasted to this day. Needless to say, she was not amused! When pressed to name his co-offenders, he remained staunchly silent. What happens on tour, stays on tour!

At 8 but on the wrong instrument!

At this point, I found myself asking why had he not pursued a career in music, as clearly the talent was there! Like father, like son. His Dad had been an engineer, working all his life on the railways. For Derrick, there was to be a natural progression. His back-up was to be the Royal Marines, but it wasn’t needed. He won a place at Leeds University to read Mechanical Engineering – at a time, of course, when less than 5% of the population went into further education.

He kept up his trombone playing courtesy of various orchestras and shows. Amateur orchestras quickly welcomed Derrick into their ranks at Leeds and Huddersfield.

As Salvationists will know, the high pitch of SA Bands (at that time A = 452 Hz), led to some interesting challenges when playing in orchestras. After a while, pulling out the tuning slide and transposing wasn’t going to work and courtesy of his parents, he became the rare owner of a Boosey & Hawkes B /F trombone, which could be converted to high pitch. With the plug came popularity and a busy schedule of gigs.

At a trombone quartet contest with colleagues from the Huddersfield Philharmonic, Derrick recalls the ever-supportive comments of the Mayor while presenting prizes, who in that typical blunt Yorkshire way commented, “I’ve never been so bored in all my life!”

Alongside his musical escapades, Derrick was on the way to establishing a successful career in the world of engineering at David Brown in Huddersfield. After graduation, he was accepted onto their Graduate Apprenticeship Scheme including working and developing some of the earliest Computer Aided Design (CAD) tools available. His appetite whetted he decided to return to university and study for a Masters in Tribology (aka the study of friction, wear, lubrication and design) most apt for a trombonist it would seem!

In 1969, Derrick was snapped up by one of the world’s leading automotive companies, GKN Vandervell and dispatched to Maidenhead to work in the newly

FEATURES

Derrick in SA uniform, 1962

Doncaster Citadel YP Band in the late 50s, Derrick is 1st trombone (also, Dr Keith Wilkinson of Brass Band fame is on baritone – 2nd from left, 2nd row)

formed Product Research Department.

Through work, his colleague Ray Norton, introduced him to the famous Hanwell Band and their formidable conductor Eric Bravington. Derrick’s arrival coincided (?!) with a great period of success for the band including numerous Area Championships and a very reputable 3rd place in the National Finals in 1970 where they performed Gordon Jacob’s Pride of Youth.

Being ‘multi-functional’ meant he played at various positions in the band, including Bass Trombone, E Bass and Desert Rat on the Christmas TV Special of Please, Sir. His personal claim to fame was being with Hanwell when it backed Peter Skellern on the single You’re a Lady, which was a sizeable hit, and playing baritone in a brass quintet on Skellern’s follow up single Our Jacky’s Getting Married, which wasn’t.

Work-wise, he was already establishing a productive engineering relationship with car maker Fiat, aided substantially by his

involvement in using early computers to deal with the complex mathematics of his research. By 1972, he had clocked up so many airmiles travelling back and forth to Fiat headquarters that Vandervell decided to send him there for good and help head up the new factory they were building in Bruneck (Brunico) in the South Tyrol region of Italy. His tenure in the Hanwell Band was abruptly brought to an end, but a whole new musical genre was opening up for Derrick in the form of the Burgerkapelle Bruneck (this was the German-speaking part of Italy for the more geographically challenged amongst us). As the Vandervell lorries left England for Italy in January 1973, an old E Bass had found its way amongst the bearing parts and tools much to the amusement and interest of the locals.

The Südtirol has a strong banding tradition with five or six bands in Bruneck, a town of just a few thousand, each with around seventy players. Either you play

Burgerkapelle Bruneck uniform, 1974

The Alpenecho in Bruneck (Brunico) in the early 80s

in the band or you join the fire brigade. It didn’t take long for Derrick to find a local band – perhaps not the standard of the British top section, but much enthusiasm and drinking ensued. Responsibly, of course. It was here that Derrick faced up to a problem – his customers at work spoke Italian, but the band spoke German – the solution, to learn both, and occasionally to speak them with a thick Yorkshire accent for fun.

Playing in the band was a major commitment – twice-weekly rehearsals, over 100 engagements a year including park jobs, church services, fetes, beer festivals and playing cards till late most evenings.

By this time, he had returned mostly to trombone but as one of only two slide trombones even this was somewhat of a novelty. The traditional uniform was most fetching as well. His musical prowess meant that Derrick rose through the ranks to Assistant Band Master, including step-

The Trombonist | Summer 2009 | 23

FEATURES (left): Burgerkapelle Tracht, 1985 (right): Derrick invited back for Burgerkapelle Bruneck’s 150 year concert,1985. He is last trombonist on the left. (below): 2003 with an ad-hoc jazz ensemble. Trombonists (l-r): Pete Hassan, Nigel Riley, Steve Sanders, Roger Key and Derrick.

ping in for the Kapelmeister. One on such occasion, he was an Englishman leading a German speaking Italian Band on tour in France. Live music was (and still is) very well supported in Italy. With a wry smile, Derrick recalls his time with Alpeneco, a small elite folk and dance band where he played trumpet and trombone. It is easy to understand why he became known as “Jolly” (which translates as Joker) because like in many card games the Joker can be used anywhere.

The European work-style led to numerous trips to Monza, meeting many F1 drivers of the day and greats of the past such as Stirling Moss and Graham Hill.

His most fond memory is of a meeting with Enzo Ferrari who lamented to Derrick that F1 was too expensive and Italian Grand Prix drivers were undisciplined.

How times have not changed. However, it was another meeting in 1974, to a young Englishwoman, Joan, teaching at the local language school which would have the most impact. Married the following year, they returned to the UK in 1984 with two young boys in tow who they were keen to be educated at home. As Derrick reminisced on his time it Italy, he commented, “It taught me how universal music is as a language. If you can play an instrument, you immediately gain friends.”

His fundamental British roots meant that life back in the UK came easy, as did finding new gigs rejoining the Windsor and Maidenhead Symphony Orchestra. If the repertoire had no trombones, the section would go off and play quartets often performing in the foyers before and after concerts.

Arranging was becoming another string 24 | Spring 2009 | The Trombonist

to his metaphorical bow. Hearing about the BTS through his friends, he joined in 1986 and attended many of the early get togethers including the legendary Eton festival in 1989.

In 1991, with the amalgamation of Glacier and Vandervell, a work move to Ayr introduced the family to our trombone friends north of the border. He joined the Ayrshire Symphony Orchestra on bass trombone (and occasionally conductor minus the lederhosen!), and in Glasgow he met up with BTS regulars Dave Hankin, Adrian Drover and Marion and Derek Brackpool, (Dr) John Gourlay and Dave Welsh amongst others. A monthly trombone get-together made the long winters pass even quicker as did working on numerous arrangements of trombone quartets and octets. His commitment to the BTS did not dwindle, including a 3am departure from home to drive all the way down to Cardiff to the national festival and then back home again.

Early in his life, Derrick’s grandfather, an SA traditionalist, had literally threatened not to talk to him after learning Derrick had taken part in a school jazz band. Scotland gave him the chance to overcome those early day fears and, with thanks to John Murray, Derrick quickly fell in love with the Big Band. It was a passion that has manifest into him now leading his own band, the Coventry Consortium Big Band.

It was 1997, when I first met Derrick as he moved to the Midlands. Seemingly, as with everywhere else, he just immediately fitted into the local scene without fuss.

Inspired by his time in Scotland, he formed the Bourton Trombone Choir which con-

tinues to meet every month in his local village hall. He also was involved in the organisation of the 1999 BTS National Festival at Birmingham Conservatoire including chauffeuring the notorious American bass trombonist Dave Taylor from Heathrow to Birmingham.

Though now retired, Derrick still retains some interest in engineering of all types and has a particular admiration for the prowess of craftsmen such as Michael Rath who is conserving exceptional artisan engineering skills. So much so that Derrick has several of Michael’s instruments – although unfortunately not a contra!

Besides his current busy schedule with the Consortium and the Warwickshire Symphony, with section colleagues Jon Webber, Julian Smith and Chris Thomas, Derrick continues his commitment to the trombone choir and to the newly formed Junior Bones. After a long involvement with BTS, his tenure as Membership Manager and Book-keeper is coming to an end, hence the impetus for this article. Behind the scenes, he really has been instrumental in keeping the BTS going – not by talking about it, but by getting his hands dirty and actually doing it. Needless to say, his experience will be sorely missed.

As we closed our chat, he wanted to re-iterate how much music had been a significantly important part of his life. He couldn’t imagine how he would have integrated into all the various communities without it. And his ultimate hero: NankyPoo of course – disguised as a second trombone player, Derrick is happy playing anywhere, living by two simple rules: enjoy it and have fun!

REVIEWS ANIMAL BONES MIKE KEMPSTER WARWICK MUSIC £7.95 As a piece for beginner trombone ensemble, Animal Bones ticks all the right boxes.

Mike Kempster has managed to get a broad range of techniques and skills into four very short movements, whilst also writing an effective piece of music that would go down well at any children’s concert.

Flighty Fanfare is a great opening fanfare with clear dynamics and articulation markings. Playing it through with my quartet, Meantime Bones, we particularly liked the chord progression at the end of the movement, which may challenge the ears of a beginner group. This is followed by Sleazy Sloth, a lazy swing with nice use of glissandi and slide vibrato. Then comes Ponderous ‘Potamus Positions in a choral style, which would be perfect for working on legato phrasing and intonation. Slithering Slides is a fun ending with more glissandi and effective dynamic contrast in the coda.

The 1st trombone tends to have the lead all the way through, with the middle parts are accompanying. This could be a good thing if you have a group with varying standards, but otherwise I fear those on parts 2 and 3 may get bored. Of course, a simple solution would be to swap around between movements.

One other slight quibble we had was

that the swung quavers in Sleazy Sloth are written out as dotted rhythms. I strongly feel that from the beginning, students should be reading swung quavers written straight. Swing quavers are an important, yet not difficult concept to understand, and the use of dotted rhythms here could cause confusion.

On the whole we really enjoyed playing through this piece. It will be a highly beneficial piece for any beginner group, as well as being a great addition to a programme.

Hari Eustice

MEIN JUNGES LEBEN HAT EIN END SWEELINCK ARR VERHELST WARWICK MUSIC £7.95 Sweelinck’s six melodic variations here were originally written for organ and this

arrangement stays close to the original – it is clear that Verhelst did not want detract from the music’s true character. Subsequently one of the first things I noticed when I opened the score was the lack of phrase markings, dynamics and articulation. Although this may well have worked as a piece of organ music I realised it would take a lot of intricate work to get this piece to sound good as a trombone quartet. I’m sure a quartet formed of top professional players could make quick work of it, however students and amateurs may struggle to make this sound interesting.

As a group we have a lot of repertoire which doesn’t often get played in a public recital, but such pieces can be used as a great technical exercise. I suspect that this may end up as one of those.

We have recently done a lot of painstaking work on Bach’s Toccata and Fugue in D minor arranged by Adrian Taylor. As painful as it was to get this to a performance standard, the work paid off as it works brilliantly in any programme as it is so wellknown and loved.

The original piece by Sweenlinck is not in the same league, so however good the arrangement is or how much effort we put into it, I’m not sure that the end result would be worth while. However, practising this piece would be a beneficial learning experience for any trombone quartet.

Hari Eustice

The Trombonist | Summer 2009 | 25

REVIEWS MR OK - A TRIBUTE TO BOB BROOKMEYER MIKE HEXT MAINSTEM MSTCD 0053 They don’t trip easily off the tongue do they, the names of career valve trombonists? Juan Tizol, Bob Brookmeyer spring easily to mind, but who then? And what about the nature of the instrument itself?

Tizol was embedded in the Duke Ellington Orchestra between the widely differing talents and styles of Tricky Sam Nanton and Lawrence Browne; the only valve man to have had a job for life in a celebrated big band.

Many of us have tinkered with our valved counterpart at some stage, but quickly reverted to the slide because, well, we had to. Which left the instrument as a Cinderella (and I confess I have always found the valved sound more feminine), forced to find her own way to recognition.

Replacing Chet Baker in the Gerry Mulligan Quartet in the ’50s shot Bob Brookmeyer to fame in cool jazz, and he went on to mix it in the classic bebop format of two horns and rhythm section with the likes of Stan Getz, Jimmy Giuffre, Clark Terry and others, establishing himself as leading exponent of the valve trombone and an equal improvising voice.

All of which impressed Mike Hext when as a young man he discovered Brookmeyer recordings. Mike leapt to attention 30 years ago as winner of the first BBC Young Musician of the Year, and he has had a very distinguished career as principal of the LPO and currently with Covent Garden Opera THE MUSICIAN’S WAY GERALD KLICKSTEIN OUP £13.99 This book is a guide to practising and performing whilst staying healthy. Written with the 1st year music college student in mind, the author is a guitarist and prof at the University of North Carolina.

Comprising over 300 pages, he has a lot to say on these important subjects and goes about it in a rigidly methodical manner. Within the first few pages he coins “The Five Practice Zones” which refer to the sorts of music you might practice, such as sight-reading or technical studies. He advises the student to plan practice time for each week by filling in a form (for which he provides a template on his website) to ensure no areas are missed. There’s plenty of talk of it being a “handy efficiency booster” and “art-nourishing” but I was not persuaded of much benefit over a simple ‘practice notebook’ listing the studies and pieces to cover.

He gets into detail about what good 26 | Spring 2009 | The Trombonist

Orchestra. Now he has performed the surprising feat of changing both musical style and instrument, and, as far as I know, is the first British player to produce a solo valve trombone jazz CD. With Nick Rodwell, alto sax, Mike has stuck with the bop quintet line-up, plus special guests Martin Shaw, trumpet, and Jim Rattigan, french horn. Julian Jackson is on bass and Andrew Bain, drums. Of the eleven tracks, six are original Hext compositions. John Lewis, Horace Silver, Brookmeyer, and Carlos Jobim feature among the other composers. The arrangements are by Hext and pianist Malcolm Edmonstone. There are no Parker-inspired furious tempos, but every track is a great tune and a joy to listen to with imaginative voicings, and Mike Hext has crossed over as a thoroughly convincing jazz improviser and balladeer.

Tony Parsons

British Trombone Society www.britishtrombonesociety.org Executive Board President Bob Hughes (ex officio) 01494 433722, president@britishtrombonesociety.org Vice-President and Chair Brett Baker chair@britishtrombonesociety.org Vice-Chair Ben Bouzan eastanglia@britishtrombonesociety.org Secretary Geoff Wolmark 01377 202209, 1-3 Church Street, Hutton, Driffield, Yorks, YO25 9PR secretary@britishtrombonesociety.org Treasurer David Carnac treasurer@britishtrombonesociety.org Education Liaison Stewart Drummond education@britishtrombonesociety.org

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The Trombonist Editor David Read 07812 080933 64A Dunlace Road, London, E5 0NE editor@britishtrombonesociety.org Advertising Chris Gill 07790 260140 advertising@britishtrombonesociety.org Designer David Read

musicianship is, providing musical excerpts for each of his interpretive ideas, and (as you might expect now) joining it into a systematic plan for tackling a new piece. Technical tips, such as practising a small section on its own, or simplified version are presented in somewhat laborious detail.

There are also chapters on taking breaks, memorisation strategies, motivation, professionalism, deportment, igniting synergy in a collaboration and plenty on performance anxiety. These are more or less useful to discuss, but for those that have been to a business training course or read a business book, this had an eerily similar feeling – it promises a great deal, a lot of it feels obvious when you read it and everything is presented in an overly-structured format.

I did find some interesting and useful details and certainly a student aiming for music college or in their first year would learn a lot more. But I would think that most instrumental teachers will cover these topics sufficiently in lessons, and other books such as Howard Snell’s “Practice” provide more concentrated and motivating advice.

David Read

The Trombonist is published in February, May and September.

Editorial and advertising deadlines are 1 Dec, 1 March and 1 July Reviews: Please send all material for review to the editor.

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