The Trombonist - Autumn 2013

Autumn 2013 ÂŁ4.00

Superbrass

Walking on water

G & Ts Autumn Tipple James Buckle and Tom Dunnett RNCM Jazz Day Neville Roberts Top tips from Kevin Price and Christian Jones Chris Houlding’s Desert Island Discs Latest CD, instrument and accessory reviews

The Classic has long been a favourite of trombone players and is seen in orchestras all over the world.

It is responsive and gives excellent flexibility combined with a rich tone.

The Heritage design combines thin walls with a heavy cup, creating a unique mouthpiece which is highly responsive in quiet playing yet powerful when played in fortissimo passages.

The HeavyTop, now available in either gold or silver plate, is designed for symphony players looking for a powerful sound which will project through loud orchestral textures. The huge mass of this mouthpiece gives it enormous carrying power.

Heritage 5AL mouthpiece:

“This combination of traditional and futuristic design promotes a wealth of overtones to produce a unique, beautiful, ringing tone and vivid articulation.”

Chris Houlding, Professor at the Folkwang Hochschule, Essen, Senior Tutor in Brass at the RNCM, Ex-Principal Trombone, Opera North.

The best-selling Ultra range for euphonium now includes the new X series developed with Steven Mead. It has all the tone and projection of the regular Ultra mouthpieces but with a slightly shallower cup for an improved high register.

Steven says “I’ve been playing on the new Ultra X (I play the number 3), and can honestly say I have never felt more comfortable with my performance!”

Here are some comments from players; • “I've never had a mouthpiece that performs across the entire range and beyond as this one does!”

• “I expected it to be good, but I did not expect that there could be so much difference and so much improvement!”

• “My top register has improved in clarity, and the overall tone quality, slotting and precision is even better than the original Ultra!”

The new Denis Wick fibre mute for trombone is now available at the sensational price of only £20.39 (inc. VAT). It has the excellent intonation and great sound that are the hallmarks of all Denis Wick mutes and is easily the best performing mute at this price. It has a sturdy construction with a seamless cone and wooden base.

The response is easy all over the range.

Try it for yourself!

Contacts British Trombone Society www.britishtrombonesociety.org Honorary Patron: Gordon Campbell Executive Board President Christian Jones president@britishtrombonesociety.org Vice-President Vacant vicepresident@britishtrombonesociety.org Past-President Carol Jarvis pastpresident@britishtrombonesociety.org Chair Ben Bouzan eastanglia@britishtrombonesociety.org Secretary Geoff Wolmark 01377 202209 1-3 Church Street, Hutton, Driffield, Yorks, YO25 9PR secretary@britishtrombonesociety.org Treasurer vacant treasurer@britishtrombonesociety.org Development Officer Stewart Drummond education@britishtrombonesociety.org Staff Membership Manager and Bookkeeper Chris Sowerby 01924 437359 membership@britishtrombonesociety.org 1 Ullswater Road, Dewsbury WF12 7PH, Webmaster Edward Solomon 07903 152148 webmaster@britishtrombonesociety.org Associate Webmaster Mike Saville webmaster2@britishtrombonesociety.org Please submit news items for the website to Geoff Wolmark: news@britishtrombonesociety.org The Trombonist Magazine Editor Dr. Joanna Cambray-Young 07901 733719 editor@britishtrombonesociety.org Magazine Director Brett Baker 01606 783869 pastpresident@britishtrombonesociety.org Publishing and Distribution British Bandsman Advertising Millie Caffull 01933 445474 adverts@britishbandsman.com Design and DTP GK Graphic Design The Trombonist is published quarterly.

Reviews Editor Becky Rumens Syratt 07789 842062 buzzbee46@googlemail.com Representatives Scotland Chris Stearn 01360 860220 scotland@britishtrombonesociety.org Wales Jo Hirst wales@britishtrombonesociety.org North East & Yorkshire Simon Mansfield 01484 602401 northeast@britishtrombonesociety.org North West Kerry Baldwin 07920 022395 northwest@britishtrombonesociety.org East Midlands Paul Emmett 07974 137693 eastmidlands@britishtrombonesociety.org West Midlands: Martha-Ann Brookes 0121 444 5655 mb 07966416198 westmidlands@britishtrombonesociety.org Northern Ireland Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org South Richard Debonnaire 07595 458984 south@britishtrombonesociety.org South West Tony Evans 01752 263069 southwest@britishtrombonesociety.org East Anglia Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org Wessex Bruce Harding 01202 880814 wessex@britishtrombonesociety.org Brass Band Paul Woodward 01924 823840 brassband@britishtrombonesociety.org Jazz Jeremy Price jazz@britishtrombonesociety.org Young People James Howard 07906 392992 youngrep@britishtrombonesociety.org

FROM THE EXECUTIVE

Autumn 2013 The Trombonist

Welcome to another bumper issue of The Trombonist!

There has been a very recent change to the BTS Presidency, so I will hand over to Carol and Christian straight away for an explanation.

I do hope we’ve all been enjoying the beautiful summer weather. it’s been my first summer in the UK for over ten years, so I think I timed it well!

The BTS Executive has been extremely busy in developing many areas of your Society recently. One major area that we are looking into is fundraising, to enable the BTS to put on bigger and better events and to provide more for our members in general. If you feel that your expertise could help with this, then please do get in touch; we’d love to pick your brains.

Also, don’t forget you can advertise your gigs and news items. Just go to the website and submit your news/event. This will then be published on the website and in the magazine. I’ve had some great feedback from people who have been finding this very useful!

Having now been on the Board of the International Trombone Festival for some time, I know the value in seeing how an international version of our society can operate successfully, particularly in respect of their large-scale events. With models such as this, I expect our society to flourish year on year.

In a similarly positive vein, the recent improvements in my health have led to a greater playing workload and after many years on the Executive I feel that now is the time to refocus on my career and support the BTS in a less high-profile role. I am happy to be finishing this address with the news that I’ll be passing-over the reins of presidency to Christian Jones. Christian will undoubtedly be an absolutely wonderful President and a super ambassador for the British Trombone Society. He has been a truly marvellous Vice President, and I will now leave you in his extremely capable hands!

Carol Jarvis

Dear Members,

Although I joined the Executive only last year, I have witnessed the BTS evolve and flourish since becoming a member in 1996. In an age of social barriers, we bridge the perceived gaps of age, culture, religion, ethnicity and gender because we all happen to make music with a trombone. This is thanks to our founder, Peter Gane, and I am delighted that he is to be recognised this year with the BTS Annual Award for outstanding contribution to the trombone.

Carol Jarvis and I met at the 2000 International Trombone Festival in Utrecht and she is just as versatile, enthusiastic and driven now, despite spending nine of the intervening years with major health issues. Carol is an inspiration to us all and her receipt of the 2013 ITA President’s Award is richly deserved. It is a genuine honour for me to take over and I would like to thank our executive for their continual support and hard work on our behalf. Please continue to contact both your executive and me personally with any concise comments or suggestions. I am keen to take on board your views while we move forward with as great a consensus as possible.

Christian Jones president@britishtrombonesociety.org Facebook: Christian Jones Bts Twitter: @CJones_BTS The British Trombone Society Annual Awards: Outstanding contribution Peter Gane Player Dennis Rollins Teacher Simon Hogg Student Alexander Kelly Presentation of Awards will take place at the AGM on Sunday 6 October at Oundle School.

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Autumn 2013 The Trombonist

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NEWS

Spring 2013 The Trombonist

RECENT ORCHESTRAL APPOINTMENTS Becky Smith has been appointed as 2nd trombone of the BBC Scottish Symphony Orchestra.

Becky grew up in Cambridge, learning the euphonium and trombone at the junior department of the Guildhall School of Music and Drama, during which time she held the principal euphonium seat of the National Youth Brass Band of Great Britain. Becky went on to study the trombone at the Royal Northern College of Music in Manchester, where she won the Royal Overseas League Brass Prize, the Leggett Award, the Terence Nagle Award and the Harry Mortimer prize.

In 1999 Becky, along with three other trombone players formed Bones Apart trombone quartet. Still going strong, the all-female group is a highly acclaimed chamber ensemble that has toured extensively performing its unique and diverse repertoire to audiences worldwide.

Becky has been freelancing since graduating from the RNCM, regularly performing with orchestras including the LSO, Philharmonia, LPO and RPO, as well as trialling for jobs across the UK. In May this year, Becky accepted the sub-principal trombone job with BBC Scottish Symphony Orchestra, starting in September. She commented: “I am really looking forward to starting the job with the BBC SSO up in Glasgow. The orchestra is sounding great and I get to sit next to one of the best principal trombone players around! Our opening concert is Mahler 5 then straight into Mozart Requiem the following week so an exciting start for me.”

Simon Johnson (principal trombone BBCSSO) commented on Becky’s appointment: “I and all of the brass section are over the moon that Becky will be joining us in September. Her huge chamber and orchestral experience will bring a fantastic solidity to the low brass and we are all looking forward to developing a new section dynamic. Fantastic, fun times ahead.”

Simon Powell has been appointed as 2nd trombone of the Royal Liverpool Philharmonic Orchestra.

Simon grew up in Wanstead, north-east London and started playing the trombone aged 11 as part of the Redbridge Music Service. He moved to Manchester in 1998 to read Music at Manchester University. There he studied with Andy Berryman for three years and then continued his postgraduate studies with Andy, Chris Houlding and John Iveson at the Royal Northern College of Music.

Having finished at the RNCM he stayed in the North-West and worked freelance with the regions ensembles including the Hallè Orchestra, BBC Philharmonic Orchestra, Opera North and the Royal Liverpool Philharmonic Orchestra. His freelance work also took him on various UK touring shows and several UK tours with Katherine Jenkins. Having had recent trials with the Ulster Orchestra and the BBC Philharmonic he is delighted to accept the 2nd Trombone position in the RLPO and looks forward to starting his new job in their 2013/2014 season.

He told The Trombonist: “I’m absolutely thrilled to be joining such a terrific section and friendly bunch of people. Looking at the forthcoming season there’s some great 2nd trombone repertoire coming up including Mozart’s Requiem and Strauss’ Ein Heldenlaben, which I’m really looking forward to already.”

Simon Cowen (principal trombone RLPO), commented: “It is a huge privilege to have Simon on board at the Phil. He has been a good friend and colleague for over 15 years, we worked together at YBS under our guide and mentor David King and winning the European in Bergen on Bourgeois’ Concerto Grosso was certainly up there with the most exhilarating musical experiences of my career, and I know Si feels the same! Now we can sit alongside one another in a different setting and I am so excited to start this new journey alongside Si as well as Simon Chappell and Robin Haggart.”

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SLIDES

Autumn 2013 The Trombonist

Sixty trombones at Bristol!

by Robin Benton

Music has been an important part of the life of Bristol Cathedral for hundreds of years, but rarely has this fine building echoed to the sound of 60 massed trombones!

On 2 July, players aged eight to eighty came from far and wide to take part in a lunchtime recital, after reading Brett Baker’s invitation in the BTS magazine earlier this year. After an hour’s rehearsal and a quick lunch, the recital began with four solos

by Brett. We heard Arthur Pryor’s Fantastic Polka, then Kosma’s Autumn Leaves arranged by Bill Geldard. This was followed by William Rimmer’s St. Crispin and Hoagy Carmichael’s Stardust, again arranged by Bill Geldard. These challenging pieces showed Brett’s mastery of his instrument and his versatility in a variety

of musical styles. He was ably supported by Ruth Webb’s piano accompaniment.

Then the massed trombones were assembled to play Liz Lane’s tuneful Canzon A8. This new work was specially written for the occasion and its bold chords resonated well in the large space. This was followed by Bill Reichenbach’s arrangement of Scarborough Fair, a favourite quartet arrangement.

Two more specially composed works followed. Richard Rock‘s impressive Cantus for Trombones featured five groups of players placed around the Cathedral with each group playing a solo section or combining with others. Will Gregory then conducted his expressive new work, which he dedicated to Brett as a birthday present. This featured solos from Brett, along with call and answer sections from two groups of players at opposite ends of the Cathedral. This used, to great effect, the resonance and space of the building, much as Gabrieli had done at St. Mark’s Cathedral in Venice in the late 16th century.

The final item was the colourful Tower Music by the CzechAmerican composer Vaclav Nelhybel and, as the final bold chord echoed round the Cathedral, we felt that we had all taken part in a very special musical event. It was certainly a day to remember.

Many thanks are due to Brett Baker for his enthusiastic organisation of this day and it is to be hoped that there will more opportunities like this in the future.

Latest News

Black Dyke Youth success

Salford Appointment for Brett Baker

After qualifying for the National Festival for Music for Youth in Birmingham, the Black Dyke Youth Trombone Quartet claimed the Musician Union’s Certificate of Achievement for Innovation with an outstanding and accomplished performance.

The University of Salford has announced that Brett Baker has been appointed as a Performance Fellow, and is to take over from Dr. Robert Childs in working with brass and wind bands, student ensembles and student conductors within its Music Directorate.

Dr. Richard Rock told The Trombonist: “Brett is completing his Doctor of Musical Arts study over the next 12 months and has been able to apply his doctoral work with Salford students in a variety of classes over the past year, especially in the performance technique areas, along with University Brass Band concerts.”

Brett joins the University’s team of specialist brass tutors, which includes Mark Wilkinson, Brian Taylor, Sheona White, Billy Millar, Peter Christian, Les Neish and Andrea Price.

A packed audience were wowed and music mentors Alison Walker and Gwyn Parry-Jones expressed their delight at a programme of Penny Lane (Paul McCartney), Gospel Time (Jeffrey Agrell) and Thunderbirds (Barry Gray), their adjudication included the words “stunning”, “beautiful warm rich tones”, “lovely phrasing” and “precise articulation”.

The quartet is next performing in Shropshire, which is part of a BBC development programme on 28th September 2013.

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Autumn 2013 The Trombonist

ON THE HORIZON

G & T’s Aut

by Matthew Gee and Mark Templeton Well, you all know how this works, so we are going to keep it simple! Mark and I have pored over the orchestral schedules, and present to you our must-see concerts from now until Christmas. It contains some of the finest works ever written, especially for us low-brass lovers, so if you are free, get yourself down to a venue near you.

WHERE/WHO

WHAT

TICKETS

Ravel: Shéhérazade, Boléro

www.cbso.co.uk

Brahms: A German Requiem

www.sagegateshead.com

Strauss: Till Eulenspiegel, Don Juan

www.halle.co.uk

Walton: Symphony No. 1

www.bbc.co.uk/orchestras/

DATE, TIME

Birmingham City of Birmingham Symphony Orchestra

16 October, 7.30pm

Gateshead Royal Northern Sinfonia

29 September, 7.30pm

Nottingham Hallé Orchestra

24 October, 7.30pm

Manchester BBC Philharmonic Orchestra

27 November, 7.30pm

philharmonic

Liverpool Mozart: Requiem

www.liverpoolphil.com

Schumann: Symphony No. 3 (Rhenish)

www.sco.org.uk

28/29 November, 7.30pm

Royal Scottish National Orchestra

Wagner: Die Meistersinger (Prelude),

www.rsno.org.uk

13/15 September, 8.00pm

Tannhauser (Overture),

Brahms: Symphony No. 1

Royal Liverpool Philharmonic Orchestra

9 November, 7.30pm

Edinburgh/Glasgow Scottish Chamber Orchestra Inverness/Pitlochry

Glasgow/Edinburgh BBC Scottish Symphony Orchestra

Mozart: Requiem

www.bbc.co.uk/orchestras/ bbcsso

26/29 September, 7.30pm/4.00pm

Dublin RTÉ National Symphony Orchestra

Verdi: Requiem

www.ret.ie/orchestras

27 September, 8.00pm

My own orchestra’s offering comes in the form of a concert entitled Top Brass! Trumpet virtuoso Allen Vizzutti joins members of the RPO brass section for an evening of sensational entertainment. It is on Thursday 17 October, 7.30pm at London’s Cadogan Hall. Tickets are selling fast, so visit www.rpo.co.uk for more details. Over to you Mark…

ON THE HORIZON

Autumn 2013 The Trombonist

tumn Tipple Thanks Matt. Here are my picks for the South of England and Wales. There’s something for everybody I hope.

WHERE/WHO

WHAT

TICKETS

Mahler: Symphony No. 6

www.lso.co.uk

Strauss: Elektra

www.roh.org.uk

Mahler: Symphony No. 7

www.philharmonia.co.uk

DATE, TIME

London London Symphony Orchestra

25 September 7.30pm

London Royal Opera House

23 September - 12 October

London/Birmingham Philharmonia Orchestra

14 November 7.30pm 15 November 7.30pm

Chichester BBC Concert Orchestra

Verdi: Force of Destiny

Sibelius: Symphony No. 5

www.bbc.co.uk/orchestras/

2 October 7.30pm

concertorchestra

London Stravinsky: The Rite of Spring

www.bbc.co.uk/orchestras/

22 September 7.30pm

Bournemouth Symphony Orchestra

Shostakovich: Festive Overture

www.bsolive.com

20 November 7.30pm

Britten: Four Sea Interludes

BBC Symphony Orchestra symphonyorchestra

Poole/Bristol

22 November 7.30pm

Cardiff, Swansea, Oxford, Liverpool, Bristol, Birmingham, Llandudno, Southampton.

Welsh National Opera

Puccini: Tosca

www.wno.org.uk

21 September - 30 November

From the LPO’s diary, I’ve chosen Britten’s War Requiem at 7.30pm on 12 October at the Royal Festival Hall. It is one of Britten’s most powerful works and in his centenary year it will be an experience not to be missed.

Also look out for the film music night at 7.30pm on 29 November at the RFH, featuring Williams, Zimmer, Elfman and crew. I’ve got my bumper booked for this one already, as it is sure to be big blow! For more information, please visit www.lpo.co.uk We hope you find this slimline G&T to your pallet; plenty of flavour without the calories!

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SLIDES

BTS Jazz Day at the RNCM Organised by the BTS President Carol Jarvis, the BTS Jazz day was held at the Royal Northern College of Music (RNCM) in Manchester. A good mix of amateurs, students and professionals attended on the day and there was a lovely friendly atmosphere.

Lee Hallam from Steel City Bones started the day with a chat about big band trombone skills. He took everyone through the different roles for each seat and the expectations of each player. Lee played some examples then provided some music and asked for volunteers to play as a trombone section. The section gradually improved with Lee’s advice on listening and performing skills.

Jeremy Price, Head of Jazz at the Birmingham Conservatoire, also took part in the event. He tackled the long-standing question asked by trombonists of how to improvise. Jeremy explained that you can’t expect to just be good at something without first working at it, much the same as other skills. It must be incorporated into the daily practice routine. Also each key must be tackled separately to be able to negotiate the different key expectations during a solo.

Jiggs Whigham

Jiggs Whigham took to the stand with an important message to everybody about musical involvement, listening and incorporating what you hear into your playing, emphasising the importance of using these skills to find your way within the profession. He also talked about melody and interpretation. Jiggs was very proud to make a special announcement: as President of the International Trombone Association he presented the ‘President’s Award 2013’ to a very deserving Carol Jarvis for her outstanding determination and contribution to the trombone. Carol was clearly surprised by this presentation and graciously accepted. It was a very emotional presentation and there was barely a dry eye in the house! The award read: ‘To Carol Jarvis, a woman who will not accept the meaning of can’t or quit, for her courage, inspiration, and multifaceted contribution to the world of trombones.’

After the presentation, the Carol Jarvis Young Jazz Trombonist Competition also took place at the RNCM. 15 year-old jasper Rose was announced the winner after all four finalists played in the competition. Jasper, who studies at the RNCM Junior Department, is a member of the National Youth jazz Orchestra.

The judges were Carol Jarvis, Jiggs Whigham, Lee Hallam, Jeremy Price and Chris Fower, and the award included an all-expenses trip to Seattle in July to be involved in the jazz week taking place there.

Kerry Baldwin Carol Jarvis receives her award

RNCM Jazz Day - the night!

After an afternoon of comparing mouthpiece shanks, compensating valve sections and bell colours, trombonists of the north-west of England descended upon the small town of Altrincham in Greater Manchester for an evening of jazz music. The venue was the Cinnamon Club, which regularly holds jazz gigs and other community activities, and on this evening at the end of April, a ballroom dancing class was taking place in the main hall! The group, Steel City Bones, made up of current top-ranking freelance trombonists, is based in the north-west but

has made appearances all around the UK. The audience had high expectations; we knew we were in for an evening of great music. The bar was well stocked and the lights were dimmed as the group started off its set with the Bobby Knight classic Rebel Rouser. A strong rhythm section of piano, bass, guitar and drum kit more than managed to keep up with the five trombonists, as improvised solos provided

by Lee Hallam, Matt Ball, Jeremy Price and Brian Archer had us all at the edge of our seats. Jeremy Price set his glass aside and stepped in to cover for both Brian (who

was held up by traffic) and Jiggs Whigham.

Due to Jiggs’ ongoing poor health he could not join Carol Jarvis for their scheduled duet, the Frank Sinatra classic Polka Dots and Moonbeams. Jeremy stepped in to take Jiggs’ place and the two of them played out of their skins. Just to make the evening complete we even got to witness the lesser-spotted improvised bass trombone solo from David Pierce during the last track of the evening. Steel City Bones played two sets in total and both were high-energy, virtuosic and great fun!

Nathan Moore

SLIDES

The Armed Man

Autumn 2013 The Trombonist

Maidstone Wind Symphony Conductor: Jonathan Crowhurst Soloist: Brett Baker Mote Hall, Maidstone Saturday 23 February

A large and expectant audience gathered for this concert by Maidstone Wind Symphony and Maidstone Choral Union, under the direction of Jonathan Crowhurst. The first half included three choral items: Locus Iste (Bruckner), A Hymn to the Virgin (Britten) and Coelos Ascendit Hodie (Stanford).

Maidstone Choral Union immediately captured the attention with a controlled yet sensitive approach to its singing. It was evident that much had been achieved in rehearsal, bringing about a performance that incorporated excellent phrasing, a wide expressive range and attention to musical detail.

The programme notes suggested that the music of Hugo Alfvén was little known beyond the borders of his native Sweden. However, his Fest-Ouverture for Large Military Band is a delight that certainly deserves greater renown. Following an arresting opening flourish from the brass, Maidstone Wind Symphony was quickly into its stride, demonstrating a crisp ensemble that complemented perfectly the style of the music, which was always attractive and easy on the ear.

Guest soloist Brett Baker’s participation in the evening could hardly have been more appropriate, as it was, in effect, the public launch of the CD Slide Projections, featuring Brett with the Maidstone Wind Symphony. One of the CD’s three concertos, Johan de Meij’s T-Bone Concerto was performed. The tongue-in cheek titles of the three movements (Rare, Medium and Well Done) belie a very serious composition that makes great demands both on the soloist and the accompanying band. From the outset, Brett demonstrated his mastery, assuredly coping with the varied technical challenges of the first movement. There was no compromise from Maidstone Wind Symphony in its approach either, meeting all the requirements of the multi-textured accompaniment with the use of bass guitar, harp, four percussionists and keyboard. The second movement allowed the soloist to express his consummate musicality, drawing the audience in with some beautiful, lyrical playing, mirrored by the band’s warm, sympathetic accompaniment. There was no let-up in the last movement, Brett constantly surprising the audience with his virtuosity.

The audience’s rapturous response to the performance of this wonderful showpiece brought the reward of an encore - Shout! by Rob Wiffin. It was as if the shackles had been shrugged off! Brett was a soloist unleashed in a performance that was as dynamic as it was entertaining and thoroughly enjoyable.

The second half was devoted to the Choral Suite from The Armed Man, by Karl Jenkins, once again placing Maidstone Choral Union in the spotlight. The spiky, repeating percussion rhythms supporting the piccolo soloist introduced a first movement that featured fine, committed choral singing, leading to a sharply executed conclusion. The Kyrie was notable for the crystal-clear voice of soprano soloist Samantha Hotston, whilst another highlight was the full, sonorous quality created by the choir in Hymn Before Action. This was Maidstone Choral Society at its best.

Special mention must also be given to Rosey Sutton, cor anglais soloist in the Benedictus.

The depth of sensitivity that she brought to the sustained, flowing melody added something very special to this performance. The movement entitled Better is Peace gave the band an opportunity to play rather more vigorously than their role as ‘accompanist’ allowed elsewhere. The last notes of The Armed Man and of the concert itself were sung by the choir, holding their concentration to the end of the final, whispered chord.

The acclaim from the members of Maidstone Choral Society and Maidstone Wind Symphony to Jonathan Crowhurst was testament to the high regard in which they hold his substantial skills as a musical director. Maidstone Wind Symphony is a wind ensemble of considerable ability that flies the flag for wind band music-making high and proud and must rank as one of the foremost symphonic wind bands in the country. It is to be applauded for everything it does to raise the profile and standard of wind band music-making.

Calum Gray MD, Southampton Concert Wind Band Former MD, The Band of the Light Division

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CONSERVATOIRE FOCUS

James Buckle

James Buckle won the Bob Hughes Bass Trombone competition held at the BTS event at the Royal Academy in October 2012. Peter Chester caught up with him in July 2013.

Peter Chester: How did you get started with the trombone?

James Buckle: I come from a very musical family and had already tried a couple of instruments, but never clicked with them. I think the slide caught my attention.

PC: Who have been your teachers?

JB: I consider myself immensely fortunate to have had really great teachers. The first, Gary Austin, had to put up with me from the age of eight, when I had absolutely no concentration. If he hadn’t stuck with me I’d probably be doing something boring right now. However, my life really changed when I went to Wells Cathedral School, as a specialist musician for seven years, studying with Alan Hutt. Alan is the most amazing teacher, and if it weren’t for him I would never have become any good at all. I loved the School as it allowed me to carry on playing sport and that was very important to me.

I’m now just finishing my second year at the Royal Academy of Music, where I study with Bob Hughes, Keith McNicoll and Pat Jackman. I’m also very fortunate to see Christian Jones and Roger Argente regularly for lessons. I go to Berlin to see Stefan Schulz, which is meant to be once a month, although we can never get free

dates that often! Their knowledge and guidance is incredible and they are all amazing teachers. Every lesson with Bob is exciting and we have a great relationship, which I think is very important with your main teacher. I honestly couldn’t wish to have a better man to take me through the next stage of my development. He pushes me a great deal and is hard on me, yet we laugh, joke and have fun in every lesson.

I learn from lots of different people, and I believe that everyone has something unique to offer. They all pick up on something different and there are things I practise every day that each of them have taught me.

PC: Are there any training orchestras or bands that you played in that helped you to develop as a musician?

JB: At Wells I had the opportunity to play in all the ensembles and orchestras, and for my last three years I was in the National Youth Orchestra. I was lucky at the NYO to work with some of the finest conductors, including Semyon Bychkov, Vasily Petrenko and Vladimir Jurowski. I was also lucky to be able to play great repertoire including Mahler’s 10th Symphony, Shostakovich’s 5th Symphony and Strauss’ Alpine Symphony. It was a great three years and I learned a lot. I’m also a member of the National Youth Jazz Orchestra, which is

fantastic training for both playing and sight-reading. Mark Armstrong directs it and there are some outstanding players.

Although both NYO and NYJO have been exciting and fun, they have also been very important in my formal training. In NYO I learned a lot about concentration and discipline, as well as learning a fair amount of repertoire. In NYJO I have learnt to play jazz and big band music, which hopefully will help open more doors to me.

PC: I know you are just at the beginning of your career, but can you already see where it might be going?

JB: Well, I am at the beginning, but being at the Royal Academy of Music and a member of the Brass Department, under the leadership of Mark David, is providing me with fantastic training for the real world.

It opens doors as well as provides a real home for me while I work on everything to do with my playing. Someday I hope I’ll look back at my Philharmonia audition as a stepping-stone to the start of things.

It is hard to create major opportunities without auditions and I have only had two auditions so far (the other was an audition for the BBC Concert Orchestra’s extras list in July 2012). However, I am lucky with how things are going and hopefully the opportunities will keep on coming.

PC: While we’re on the topic of auditions,

CONSERVATOIRE FOCUS what were your experiences and do you have any advice?

JB: The Philharmonia Audition was in March 2012, while I was in my first year.

I played the Lebedev Concerto - largely because I knew it was something I could play well and could show the qualities that an orchestra would be looking for. As an inexperienced player I knew at this point it would be best to stay in my comfort zone.

I also had to play the Bach Sarabande and some orchestral excerpts. For the BBC, I played Bozza’s New Orleans, but we weren’t given a list of excerpts and instead had lots of sight-reading to do. What I really focused on for them was to stay mentally positive.

Practising for an audition is completely different, but for the audition itself I think that going in absolutely positive and sure of yourself is the best thing.

PC: So, what opportunities are you getting?

What kind of things have you been up to?

JB: Well, I’ve had an amazing year since January 2013. I had my first concerts with the Philharmonia and I was thrilled to be asked to do a couple of RPO dates, which were fantastic and I am very grateful for that experience. I’ve currently just finished a busy summer term, having been to Zurich with the Orchestra of Europe, Iceland with EUYO, Croatia with the Purpur Orchestra (based in Vienna) and a European tour with the Philharmonia Orchestra. I’ve got a week off now to relax and get ready for the EUYO summer tour.

The day after that finishes I start another European tour with the Philharmonia with Esa Pekka Salonen, in September, which I’m really looking forward to. Aside from orchestral playing, I have been to Austria recently to see Stefan and will next see him in August and September in Berlin.

I’ve recently had a duo recital with Mike Buchanan, and have started running!

PC: Have you been conscious of being influenced by any other musicians or players, away from the trombone?

JB: Yes, there have been various influences.

I wouldn’t say anyone specifically, other than I don’t often listen to the trombone. I tend to listen to singers, violinists, pianists, chamber music, operas and symphonic works mainly. When I was at Wells I was very fortunate to share a room with Mike Buchanan, who is an incredible musician as well as trombone player, and we are like brothers. Most of my listening influences are due to him constantly playing great music during prep time! The three musicians he probably listened most to were Julia Fischer (violin), Martha Argerich

(piano) and Maria Callas. I grew to love the way they made music and Mike taught me a lot about them and their styles. I saw Julia Fischer play the Beethoven Violin Concerto in the Festival Hall last spring, even though she had just been travelling all over the place and had a baby to look after, she was incredible.

PC: We have all had ‘memorable moments’ in music, sometimes for the wrong reason.

Have you had any yet?

JB: There have been quite a few funny moments, most involving performances where people dissolve into laughter, but I don’t really have any great stories yet. Two of my fondest memories have been playing Rossini’s The Thieving Magpie overture with the Philharmonia and Shostakovich’s 5th Symphony with the Aldeburgh World Orchestra and Sir Mark Elder in the Concertgebouw in Amsterdam.

PC: Which trombone do you play at the moment?

JB: I play on a Shires bass trombone. I also was very kindly given a Courtois by the BTS for winning the Bass Trombone Competition in October 2012. It is a good instrument, and it is very useful having a second bass trombone. I also have an original George Roberts Olds, single trigger. That’s my favourite trombone, and I will never get rid of it. I play on a 2G Mount Vernon Vincent Bach mouthpiece.

PC: Is there a type of music you enjoy playing more than most?

JB: I like all sorts. Special performances can come from all types of music and that’s what we enjoy the most from playing.

PC: What sort of music do you listen to?

Could you pick a ‘Desert Island Discs’ selection?

JB: For me, different moods call for different music. I listen to popular music, jazz and classical music equally.

As for Desert Island Discs, that’s fairly embarrassing and I it found pretty tough!

I’d much rather take an iPod with tons of music! How about: (1) McFly’s entire works (2) Beethoven string quartets (3) Shostakovich Symphonies - LSO (4) Mahler Symphonies - Berlin Philharmonic (5) Green Day’s American Idiot (6) Sinatra At The Sands (with Count Basie and His Orchestra) (7) Bruckner Symphonies Vienna Philharmonic (8) Madame Butterfly with Maria Callas and Nicolai Gedda (1955 Karajan). No piano music! Oops…

PC: I have heard you are starting a trombone quartet, could you tell me more?

Autumn 2013 The Trombonist

JB: Mike Buchanan, Matthew Lewis, Rory Cartmell and I have started a quartet. I have to admit we have only done a short recording to date, but we are hoping to get going soon! We meet regularly in sections so we already know how each other plays, so it’s great.

PC: So, what does the future hold? What are your ambitions?

JB: My ambition is to play in a top-class orchestra in the UK and continue studying with my main teachers. The British orchestral scene is very special and I think we are so lucky to have such good access to it and to be able to go and watch great orchestras play almost every day. I would also love the opportunity to play with some top European orchestras. Although orchestral sounds and styles have become much more similar, particularly in Europe, I still think there are significant differences and that is something that would be exciting to experience. Ian Bousfield has coached some really good sessions at the RAM on the ‘Germanic’ orchestral sound, in contrast to the ‘British sound’. I think that is very forward thinking of the Academy and it was very interesting for us. Eventually I would also like to be able to play frequently as a soloist, and make acclaimed CDs, as well as being a good teacher myself!

PC: Do you have any relaxation away from music?

JB: Yes, I love to cycle, go on holiday, have a pizza with friends and read espionage books.

PC: You said you wanted to be a teacher can you give us a technical tip?

JB: Take things from everyone and work out what works for you. Everyone is different. And beginners - stick at it! I was rubbish for ages!

PC: You seem to be very happy at the moment?

JB: Yes, there is a lot going on and I’m really enjoying playing. The UK low brass scene is amazing - surely one of the best in the world. You go to any concert and you leave impressed by them. I also think the BTS is great and incredibly important for us. It has helped me in numerous ways and it is something we should all support.

I’m looking forward to doing some more things with them, and thanks very much for giving me the opportunity of this interview.

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Autumn 2013 The Trombonist

“ The playing by both Malloy and pianist Karolina Rojahn is very good. These new works, and this recording, significantly enrich the trombone literature” – American Record Guide For too long the trombone has been ignored as a solo instrument in contemporary music. On PAPER CLIPS, trombonist Andy Malloy proves the instrument’s capabilities of being a driving force and, along with pianist Karolina Rojahn, its collaborative appeal. An unabashed champion for the trombone, Malloy commissioned each work on this album specifically to expand the oft-overlooked instrument’s repertoire. These works by Adrienne Albert, Gernot Wolfgang, John Steinmetz, Steven J. Williams, Stephen Yip, and Nick Lane cast the trombone in a new light, presenting it as a tool fit for expressing emotional, lyrical, and melodic passages.

Malloy’s PAPER CLIPS is a double-disc album featuring seven new works expanding the trombone repertoire. PAPER CLIPS provides exclusive on-disc enhanced content that contains study scores, extended liner notes, and more when inserted in a computer.

AVAILABLE THROUGH iTUNES, AMAZON, AND NAXOS OF AMERICA

www.navonarecords.com/catalog/nv5879 www.andrewmalloy.com NV5879

www.navonarecords.com

Star of the Future

Autumn 2013 The Trombonist

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James Richardson rdson Name: James Richa Age: 18 Hertfordshire Location: Royston, estras Purcell School orch Current positions: trombone at ten , ht phonium at eig Eu g: in ay pl d te Star Ben Bouzan r, Simon Hogg and ille M os be his Am : rs he Teac what turns out to meeting James on be to ge of ed lle ur Co no l ya ho I’m t of the Ro Junior Departmen e th at y, y next da em rth ad bi Ac 18th the Royal secured a place at dy ea alr s ol, ha ho Sc He ll ic.

Mus at the Purce mpleting his time co is w t no en r fo itm t m bu m year, es says this co two years ago. Jam d at th rte at sta as , he e er wh cision for him hool was a big de sc ic ayer. us pl m e ne im bo ll-t m fu tro to a i.e. to be a at I wanted to do”, in wh job ew a t kn “I ge t to en is mom ate ambition im ult his , ys da wa other work; More specifically no y with all kinds of pp ha ry ve be ’d he ises that an orchestra, but o…,” as he recogn work, shows, studi tre ea th genres g, all cin y all lan tu “free to play in vir u have to be able yo rld age,” ck wo pa y’s da ole to in to be the wh owadays you have “N : good es in bl m se him en nd d an will surely sta d-minded attitude oa br is Th . ys sa he to come. stead in the years ourite vary. Two of his fav His musical tastes : es ec Pi to. He er ite nc ur Co vo i Fa d the Tomas e Bozza Ballade an th e ler and ar ah es M ec h, pi lo vic so off Shostako els re d an ic, us m l z side he lists likes big orchestra es. Then on the jaz rit ou fav e iat ed m enjoys.

Tchaikovsky as im as performers he ans and Stan Getz Ev l Bil , vis Da s ile M ghts of en asked of highli usically-minded, wh m ry Ve QEH, e s: th ht at lig ka gh Hi aying Petrush s, James recalls pl th on the Royal m at 12 ts t ne las e Pla th rmance of The rfo pe a to d ar rw ol Symphony and is looking fo th the Purcell Scho wi , re tu fu ar ne e Festival Hall in th Orchestra. and p to Taiwan, Macau ise, he enjoyed a tri l-w ve ble and, Tra m g: se in En ell ind av W Tr National Youth e th th wi ng Ko his County Youth especially Hong y and France with an rm Ge to s ur to when younger, Orchestra. e LSO Academy an audition for th d di ly nt ce re He of Future projects: mbly, when asked lts of that. Very hu at his th s te sta and awaits the resu es merely achievements, Jam year were xt ne M particular playing RA d to go to the an JD M RC to e m at he was proud decisions to co d into revealing th se es pr be n ca he urse in 2008. important. But ture on a music co fea ur ho lfha a al, of his first recit

James!

rse musical tastes, eping with his dive ke In s: er Dudley ay Pl ite Favour usfield, Joe Alessi, e players as Ian Bo rit ou fav his ts lis James d Curtis Fuller. lino, J.J. Johnson an Bright, Frank Roso ol, es biology at scho from music, he lik ay Aw s: ll”. In st ba re ot te fo in t Other ng, “but no exercising and cycli e tim ere ds th en ly, sp nt o and als laugh rece what had made him g kin as of y ils m ta to de se e respon hearsal, th ident in a recent re inc e m so ly us vio was ob explain!

We which he wouldn’t e next four years. yal Academy for th Ro e th to off is es So Jam day! e, and Happy Birth wish him luck ther Jenkins Interview by Dan

Autumn 2013 The Trombonist

THE A R C OM IS IN TER NATIONAL

brass without boundaries

10 – 13 October 2013 Cardiff 10 – 13 Hydref 2013 Caerdydd

Nick Guttridge

Image Credits at: www.brassevent.com/imagecredits

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true festival buzz created by world-class concerts, thrilling ensemble performances, solo recitals, foyer and outdoor events. Accessible and international, this is brass without boundaries: players and listeners exploring exciting new musical territory, instruments stretched to the limits of their capabilities, and children, young musicians and composers of the future rubbing shoulders with the international elite in behind-the-scenes events.

www.brassevent.com

FESTIVAL FEATURE

Autumn 2013 The Trombonist

Brass without boundaries Details have been announced of the Arcomis International Brass Event, which will take place in Cardiff in October this year.

Over one long weekend from 10-13 October 2013, the special music event will offer an unrepeatable opportunity to see and hear some of the best musicians from the world of brass in one place at one time. The venues for the Brass Event - St. David’s Hall, the Royal Welsh College of Music and Drama and Cardiff University School of Music - will play host to celebrated international and UK artists throughout the weekend.

World-class concerts, performances and recitals at the venues will offer audiences the chance to enjoy the very best, whilst foyer and street performances will spill out into Cardiff Centre, creating a festival atmosphere and ‘buzz’. Masterclasses and ‘behind the scenes’ events are also included in the programme, offering a fascinating insight into the elite artists’ world, whilst workshops will enthral and inspire school children, talented young musicians and composers of the future.

With the theme ‘brass without boundaries’, organisers Arcomis, a promoter of new music, have created experiences and performances that are open to everyone and can be enjoyed by music lovers of all ages. The Brass Event is the second International music event produced by Arcomis and follows the successful Arcomis International Flute Event in 2011.

Highlights Announced Include • The Brass Event opens with inspired British brass concertos and an Armenian firecracker, performed by the BBC National Orchestra of Wales and three of Europe’s most celebrated soloists: David Pyatt (horn), Peter Moore (trombone) and Tine Thing Helseth (trumpet).

• An evening with Mnozil Brass, the ‘wild-men’ of the brass world, presenting their Happy Birthday showcase for the first time in Wales.

• Pioneering classical-jazz fusion from world-renowned tuba virtuoso Oren Marshall.

• A performance of intimate chamber music featuring David Pyatt, principal horn of the London Philharmonic Orchestra.

• Award-winning Norwegian trumpeter Tine Thing Helseth in a performance of a selection from her latest CD release.

• A performance by the UK’s finest young jazz musicians - the National Youth Jazz Orchestra.

• A theatrically animated programme of Britain’s contemporary music performed by an ensemble from the London Sinfonietta.

• An evening with the versatile virtuoso, world-renowned performer and composer, Allen Vizzutti.

• A performance by the Welsh player and pioneer for the euphonium, David Childs.

• A showcase of some of the finest brass and percussion players working in London Orchestras today - Superbrass.

• A concert of works featuring BBC National Orchestra of Wales and soloist Håkan Hardenberger (trumpet), whose 30-year career has redefined the instrument for the 21st century.

Director of The Arcomis International Brass Event, Dr. Adrian Hull, commented: “The vision of Arcomis, since its inception in 2007, has been to promote and encourage new music. The Brass Event is therefore designed to ignite the imagination and broaden horizons. The programme has been crafted to be entertaining whilst also pushing into uncharted territory, avoiding artificial barriers between the classical and contemporary. Artists will

Mnozil Brass

stretch the limits of what they and their instruments can do through both familiar and unfamiliar music. A key feature of the event will be the ‘behind-the-scenes’ sessions. Masterclasses, workshops and seminars offer a chance to witness how the very best performers and teachers inspire the next generation of players. Not normally open to the public, these sessions are an opportunity to get uniquely close to the world’s finest brass musicians. We hope that audiences, both young and old, will draw inspiration from these exceptional experiences with some of the world’s leading brass players in Cardiff, in what promises to be an extraordinary weekend.”

The Arcomis International Brass Event is supported by the Welsh Government through the Major Events Unit and the Arts Council of Wales. Minister for the Economy, Edwina Hart, added: “The Welsh Government is supporting Arcomis International Music Events for the next three years as the event provides a unique opportunity to bring together world-class musicians to showcase the best music and highlights Wales as an important destination for excellence in the creative industries. I wish Arcomis well with the preparations for the 2013 Brass event.”

Information about The Brass Event is available at www.brassevent. com .

Individual tickets and full event premium passes, with VIP behindthe-scenes access, are now on sale from St David’s Hall Box Office on +44 (0)2920 878444.

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Superbrass wa Autumn 2013 The Trombonist

COVER STORY

by Simon Minshall

No one should be in any doubt as to the condition of the British chamber music scene if the latest release from Superbrass is anything to go by. Following on from its 2011 debut CD release, Under the Spell of Spain, this is another eclectic mix of music for brass ensemble and percussion, this time simply inspired by water. With a line-up featuring some of the best players from the London orchestral and jazz scene you would expect the finest of playing as a given. What makes this group special is the sheer amount of energy and excitement put into every note. I was lucky enough to be invited to the sessions for the new album Brass Taps, recorded last March at the Henry Wood Hall in London.

The large hall really gave the group the chance to push not only the volume and power it possesses, but to indulge and enjoy the softer passages of music in the warm acoustics of this much sought-after professional recording venue. What a privilege to hear this group live! Driving rhythm, perfect tuning and the tightest of ensemble make this a joy to listen to.

Beginning life in 2005, under the artistic direction of ex-BTS president and RPO bass trombonist Roger Argente, Superbrass

has developed into a household name within the music world. It is consistently pushing the standard of brass and percussion playing to its limits, whilst also educating the younger generation through its outreach projects. In fact, most of the group’s live work consists of outreach projects. I am led to believe that if you come from a music authority, school or music centre that has been fortunate to have worked with Superbrass, then you will most likely have sat alongside some of the most inspiring brass players around. You would also have experienced the tremendous, almost emotional, rush you get as you’re pulled along by the dynamism and energy of their playing and infectious attitude.

I managed to catch up with Roger during the busy recording day and he spoke very clearly and passionately about the need to inspire and enthuse younger generations of brass players, “Although we’ve all got pretty busy ‘day jobs’ playing and teaching in and around London, giving something back is vital to the future of youth music in this country, especially now when a day doesn’t seem to go by when you don’t hear

of more cuts being made to both the arts in general and the arts in education.”

Another thing to mention is the group’s continual commitment to commissioning and arranging new and interesting music.

This new album once again features all original music for the ensemble, with 11 new works and arrangements from composers such as Mark Bassey, Gareth Wood, David Powell, Mark Lockheart and Tom Harrold. The first track recorded was Jim Rattigan’s Firewater. Featuring Andy Wood (trombone) and Chris Parkes (horn), this work is a fantastic addition to the repertoire. Mike Lovatt (trumpet) was, of course, on hand to add the icing to the cake! Anyone witnessing this session would never have said that this level of playing was possible at 10.00am on a cold London morning. That’s what you get when you team up this lot!

Second on the menu, Wade in the Water, a traditional melody arranged by Mark Bassey. Here Roger Argente shows why he is regarded as the best in the business, with tearing pedals and sumptuous melodies underneath the star-studded trombone section of Matt Gee, Andy Wood and Chris Houlding (another former BTS President),

alking on water COVER STORY

Andy featuring this time on euphonium in a way most will have never heard the instrument sound, another voice in the mix, with amazing improvisations. You’ll have to buy it to believe it. The group really found its groove in Bassey’s Enormous Pink Jellyfish, kept in line by Mike Smith on drums. The swing sections have such a great feel and ease to them, Kevin Morgan adding punchy tuba lines for good measure. The individual section playing is made to seem so easy and natural, with good eye contact all around the group.

There is a lot of professionalism to be learnt from this group!

Phil Cobb takes up the lead trumpet chair in Terry John’s Inchcolm, a film-scoreesque piece, with glistening melodies.

Chris Parkes creates such a warm sound in the flowing melodies and shows chops of steel, coming out of the texture only when required. It was fantastic to see a group of friends working so well together, really rattling off each work in the most professional of manners. With a backing of finely balanced trombone accompaniment, Phil Cobb and the trumpet section show off their gorgeous flugel horn sounds in

the opening of Deep River, switching to Bb trumpets when needed. Often people forget that the simple things done well can be the most rewarding, and this is certainly present here. Mark Bassey experiments with harmon mutes, open trumpets and mellow horn, which only work to complement each other, keeping the listener engaged with these interestingly matched sounds. Andy Wood is then featured improvising on bass trombone, adding to an already stimulating sound world.

Kevin Morgan and Roger Argente make a solid low-end team in Flood Warning

by Mark Nightingale. This work is a tutta forza with driving drum kit and tuba lines, in addition to the superb trumpet section playing from Paul Mayes and Niall Keatley. Lovett’s screaming trumpet sound is a listening treat, with finesse and sheer strength. Later in the day we were entertained by a number called Underground Plumbing Blues written by Chicago-based British trombonist Andy Baker. In this down and dirty blues, Andy Wood and Roger swopped lines in a feature for bass trombone and contrabass

Autumn 2013 The Trombonist

trombone that just made you smile.

I must mention the producer Phil Dewhurst (2nd Trombone of the RPO), whose expert ear and attention to detail only enhances the playing, and subsequently the overall sonic quality of the recording.

Also of particular interest to all budding trombonists interested in producing their own recordings, should be the manner and persistence in which Roger embraced all types of social media, not only to successfully part-finance the whole project through ‘Kickstarter’ crowd funding on the internet, but kept us all up to date with regular and often witty audio clips, video clips, photos, design work and general news on the progress of the project from its inception date right through to its release in September.

This album will be a must for any music lovers, not only brass musicians. With our access to Internet media, shops and devices, beginning with ‘i’ or ending with ‘berry’, there is no excuse for not owning this fantastic recording.

[Editor’s note - the CD Brass Taps has now been released, ahead of schedule (I know because my copy just arrived in the post!)].

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Autumn 2013 The Trombonist

COMPOSER’S CORNER

by Simon Wills Two pieces of advice: 1 - Keep it simple. 2 Having kept it simple, see how many notes you can cut out. Most composers write far, far too many; if you aren’t sure whether you need a note or not, you don’t need it.

Oh, I nearly forgot: 3 - Write explicitly for the trombone, which is different from writing stuff that happens to fit onto it. The instrument has characteristics and limitations - use them, don’t ignore them.

That took 76 words (how very apt). Now, I haven’t written much for my own instrument so let me tell you how I go about composing in general. I start by imagining players, a hall, an audience, and start writing when I can, to a limited extent, see and hear the performance; after that I write quickly, with flights of fancy balanced by an old-fashioned and rather ruthless technique: 2B pencils, manuscript paper, no keyboard and generally straight into score. My music is usually tuneful but is highly organised intellectually - and that’s all I’m going to say about that. Modern orthopraxy requires people to compose as though a linguistic or structural template, perhaps even the programme note, were the point of the piece. That’s like caring more about the paper on which a letter is written than what the letter says and is part of the reason why so much new music is unplayable.

COMPOSER’S CORNER

When writing for the stage, I wait until I can imagine the singer. Reality rarely matches the vision but that’s part of the fun. In my last opera, I imagined the villain as a swarthy, obese bully, but the singer we cast was an athlete called Todd. The disparity, far from being a problem, began a process that I always find magical. Todd burrowed into the score (we were in a Swiss opera house, so rehearsal time was almost limitless) asked endless questions and slowly built up a character very different from the one I’d imagined. My villain was an irredeemable swine - Todd’s was vulnerable, even lovable. The other singers did likewise, creating a cast of people rather than roles. They found things that I did not know were there; that’s normal and I learned a long time ago that just because you wrote the piece, it doesn’t mean you know everything about it!

I am never surprised by the sound of my music when it is first played, but a score is like a script or a poem; everyone who reads it will find something different. Musical notation is imprecise; if it were not so, we could not have different interpretations of the same work. What does forte mean?

‘Strong’? hardly a calibration. Andante or Adagio are, up to a point, subjective in meaning and Alban Berg’s beloved Schwungvoll won’t translate exactly at all.

What do those words mean musically?

Louder? Softer? Faster?

It follows that even an Urtext cannot be a set of unequivocal orders, it is an invitation to engage with something alive. Consider the sparse performance directions printed in Beethoven’s 5th, then listen to what a good orchestra adds to it (and it is for the most part the players, not the conductor, making that contribution). And yet away from the orchestral world and in what for want of a better word I might call the trombone ghetto, I often encounter a belief that getting the dots right is the end of the process, not the beginning. A mistake is a thing of dread, provoking a narrow dynamic range, spongy articulation and a plummy sound that is in its way beautiful but severely limited in what it can say. If I write sforzando, or sotto voce, I’ll be ignored and a term like giocoso will not elicit a considered response. It’s not because people can’t - standards of execution are very high - but because they won’t. Of course, some teaching assumes, wrongly, that the physical process is what matters, but at the root of it is a fear of

error that seeks technical certainties. There are none: there isn’t much to say about trombone technique, not really. Blow air down it, don’t be afraid, be physically gentle and fluid - and to hell with what the neighbours think.

Things were not always so; the generation who were at the top when I started out - Arthur Wilson and others - excelled not because they could go louder, faster and higher than everyone else, or because they never cracked any notes but because they engaged with everything they played.

Every note had a sense of its place in the music and the simplest passage became a kaleidoscope. That hasn’t died out but I fear that it may do so within a generation.

Not among jazz musicians or the early music crowd but among the community that tends to see the trombone as an end in itself.

Carefulness has aesthetic consequences that trip up the imaginative process, and make it difficult to write for the medium.

It is often remarked that a composer commissioned to write something for the trombone seldom delivers one of his or her best pieces, and certainly my own trombone music includes the least successful of my works. My trombone concerto is excessively florid: I was too immature all those years ago to know any better. The clumsiness of my adolescent Sonata for Trombones or that awful arrangement of Stars and Stripes Forever (which took me just over an hour to do and sounds like it) are not the work of a man who is engaged with his medium.

Some are more successful: Tingueley’s Fountain, a BTS commission, makes room for beginners and dilettantes and for that matter any drunks and lunatics that may happen to be passing; it works straight away, without needing clinical perfection.

Similarly, The Sore Chops Boogie and A Breach of the Piece are inclusive and for all their faults I am fond of them. Nobody is likely to surpass the Beethoven Equali, but one can aspire to the simplicity of those masterpieces even if their concentration of ideas is likely to prove elusive. And simplicity and accessibility are what we need if trombone playing is to reinvigorate itself and stop fretting.

I would like to see a broadening of what we choose to admire. Lots of musicians can’t get through a recital blemish-free or play a million top Zs a second; many of

Autumn 2013 The Trombonist

them may not even be what convention calls ‘good’ players, but what they do with something simple may make you gasp.

I am not interested in frosty correctness, still less in the gymnastic school of playing, which puts me in mind of Dr. Johnson’s dog walking upon its hinder legs. Bluebells of Scotland isn’t a terribly good piece even of its genre; playing it one click of the metronome faster than the last chap is just sport for the unfit. I am, however, very interested indeed in all those people who join the BTS and love the music with a trombone in their hand, the students who want to put on a show and never mind how many marks they get, the people who turn up and have a go.

This is not an old greybeard wallowing in nostalgia, it is an old greybeard who wants yet another crack at being an enfant terrible. Real music is messy, complex, ambiguous and unruly so get your hands dirty already! Let’s cultivate a virtuosity of nuance, energy and risk; mistakes are cool if they are the result of honest enquiry. Play peashooters with all those rough notes at the bottom, arrange things that you shouldn’t, start a trombone shout band, fall on your backside occasionally, see if you can annoy the people who equate tidy with interesting; it will make you a hero not a clown. If, as a by-product, we get a few perfect performances, well that’s wonderful - as long as they’re interesting too. And I am certain that if a bit more fun breaks out, the repertoire will change for the better.

Simon Wills began his career at the Teatro Massimo in Palermo, Sicily. He then spent several years in the London Symphony Orchestra and was principal trombone of The Chamber Orchestra of Europe. He now freelances all over the world. When not performing he pursues an international career as a composer; in the last couple of years, his tone poem The Island has been premiered by the Tönhalleorchester Zurich, the Munich Philharmonic has toured and recorded his Dante Symphony, Malebolge, and the 2011 St. Magnus Festival in Orkney saw the first performance of his Caliban’s Boogie. In 2012 he had new operas produced in Hamburg, Dusseldorf and Luzern and this year he has completed a violin concerto and a string quartet. He has been Professor of trombone at the Guildhall School of Music and Drama since 1986. simon-wills.co.uk

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BIG BAND FEATURE

Tom Dunnett

Autumn 2013 The Trombonist

Simon Minshall meets Tom Dunnett, a young trombone player bursting onto the current jazz scene who also happens to be current lead trombone with the Syd Lawrence Orchestra.

Simon Minshall: What influenced you into playing the trombone, and also jazz music?

Tom Dunnett: I started learning the trombone whilst at school in Norwich, aged 10 or 11, I struggle to remember! My dad used to play a little but he’s an organist really, although he dabbled on tuba and trombone when he was at school. He’s also a jazz fan so I stole his tapes and CDs, which really started to get me into that genre of music.

SM: At this point, who were your teachers and what ensembles were you involved in?

TD: I learned at school with Jonathan Handley and then Andy Grand; both did huge amounts for me in the early days, and had a great laugh too. There was a school jazz band that I played in, but I also played in the school orchestras and wind bands, as well as the county ones. After a while I started playing more and more in external groups. Playing semi-regularly in the Jonathan Wyatt Big Band, and often with the orchestras and brass bands in and around Norwich, I was enjoying playing in all styles at this point. Although I had pretty much decided I wanted to play the trombone as my profession, I didn’t really know what style or scene to dive into.

SM: What made you decide to go down the jazz route?

TD: It eventually came to university decisions and all of that growing up we have to do. I had decided that music college was the direction for me, and despite my passion for jazz, I deeply debated as to what course to apply for - jazz, or classical? For my first year of sixth form, I had attended the Junior Jazz course at the Royal Academy, which had been a roast to say the least! It was amazing and with lots of hindsight, I wouldn’t have stood a chance getting into a jazz course without the education I got from it. So come my last year of sixth form, I was still undecided as to whether to study jazz or classical music at Music College. I went to have a lesson with Dudley Bright (principal trombone, LSO). It was both hugely beneficial and eye-opening. He simply asked me what I listened to, to which I replied jazz. I was then ‘told off’ for my use of “jazz-like phrasing” in Morceau Symphonique, and ‘wow’, I had decided by the time I made it home to Norwich. A jazz course it had to be!

SM: What you enjoy about Birmingham Conservatoire, the course in particular?

TD: I came to Birmingham Conservatoire nearly four years ago now, and it has been great so far. I feel the course has worked very well for me, with all the lectures focused on harmony, improvising and writing. My one-to-one lessons have been with Ashley Horton, who has been incredible at teaching me how to play the trombone, in regards to technique. With this balance I feel I’ve had the best of both worlds. The course in Birmingham is a bit bigger than the jazz courses of London, and I’ve enjoyed this, as how many other jazz courses are there where a trombonist has two other jazz bone players to hang out and lean off within his year alone?

SM: How did you get into the Midland Youth Jazz Orchestra and then into the Syd Lawrence Orchestra?

TD: When I got word that a friend was leaving MYJO I emailed John Ruddick straight away. MYJO has been great training for reading, stamina and improvising. I must mention that it is because of John Ruddick and MYJO that I am where I am today. John received a phone call asking if he had any trombone players who might be available for playing with the Syd Lawrence Orchestra for a gig in Solihull, and recommended me. Soon after, I had a call for some more dates with the band, and things continued from there, depping for the next year and a half or so. At some point last year, Chris Dean asked whether I’d be interested in joining the band if a place came up. I said “of course” and I joined full-time in September 2012.

SM: What do you enjoy, or not, about your job now?

TD: I’ve always enjoyed playing in big bands, so this was a dream job really. I enjoy the gigs and get on well with the guys in the band and for me, being in a professional band where there is, of course, a certain amount pressure to not get it wrong. The Syd Lawrence Band is also the first band since my county jazz orchestra in which I’ve played lead trombone and this is a challenge, in particular, that I enjoy.

If there were anything negative to say, it would only be that I’d prefer to spend less time in my car…

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Autumn 2013 The Trombonist

Nevill

TRIBUTE

In the words of Tom Cruise at the end of the film, The Last of the Samurai, “Let me tell you how he lived, not how he died!”

Quite an apt film title to describe Nev, for with his passing we lose the last of a very particular breed of musician from an era that I, for one, feel very fortunate to have experienced.

words ‘today’s conductors are a very dismal bunch!’

Everything about Nev was BIG; he liked the big flavours - strong coffee, whisky, brandy, cheese, port, cured ham and, of course, his favourite Villiger cigars. And like many strong flavours, Nev was an acquired taste and I think it would be fair to say that he wasn’t everybody’s cup of tea, but this was fine with Nev. He was who he was and if you didn’t like it, tough! When I was young I always thought that he said it like it was, but as I got older I realised that more often than not he would say it like it wasn’t, either for a bit of fun or to provoke a reaction with further heated discussions that he would stubbornly either win or beat his opponent into submission.

But I, like many others, was fortunate enough to see the other side of Nev’s personality, going for my weekly lesson on a Sunday morning I got to see a softer side to Nev - Nev the family man. I’m sure many will recognise this little tale of their first lesson. As you walked up the drive you could see his thick grey hair in the armchair as he read the Sunday paper; Grace would open the door with her usual cheerful smiling self, and take you into the dining room usually accompanied

by Sandy the dog. Nervously, you would take your instrument out and start to parp something that vaguely resembled the sound of the trombone, at which point Nev would walk in wearing his Hallé sweatshirt, corduroys and polyvelt shoes that resembled enormous pasties, or in the summer would treat you to his shorts and sandals. He would greet you with his usual big smile and a “Hullo Son, how are you?”

Nev was famous for his quick and brutally sharp tongue; he was the master at delivering devastatingly fast put downs, most of these aimed at conductors, all hilariously funny as long as they weren’t levelled at you. His opinion on conductors was beautifully summed up years ago when he wrote an article for the British Trombone Society about the Hallé trombones. In large bold letters standing out in the middle of the page were the

Due to a never-ending stream of students the carpet was threadbare, but before you could play another note you would hear “just a minute son” and he would disappear to retrieve some of his morning paper to put over the worn carpet to protect it from the water. Then you would try to warm up while he watched and listened, and after a short time he would say “put that down son and come and listen to this”. He would lovingly take a record from its sleeve and

very gently put the needle to the vinyl.

The next thing you heard was the opening chord of Urbie Green and his 21 trombones playing Here’s That Rainy Day and at that point he had you; that’s where it all began for all of us. He spoke so passionately and enthusiastically about the trombone it was infectious, but it wasn’t purely trombone based, it was all about the music, the sound, the legato. At the end of the lesson you always knew if he was pleased as he would invite whichever children were in the house to come and listen to what you had been playing. A teaching catch phrase today is ‘vocalisation’, well Nev was doing that 40 years ago. Whilst using my old books to teach from, almost every page has Nev’s writing at the top, ‘play as tho’ singing, cantabile, in a singing style’. He loved the lyrical playing of Urbie Green, Frank Rosolino and Bill Watrous. He taught through love, not fear! He leaves a great legacy of students throughout the music profession and on reading many comments on Facebook the overwhelming feeling is that none of us would be where we are today without Neville Roberts.

We all know how fickle the music profession is and many members of orchestras after 30 years hard labour are very quickly forgotten but not Nev, even now at the Hallé after 12 years, hardly a day goes by without a story or the sound of somebody doing ‘the Nev impersonation’ in the corridor or tea room. Earlier this year, playing Beethoven 9, just before Benny had to play the bass trombone solo both Gareth and Ken turned to the trombones, laughing at what Nev would have said at that particular moment; needless to say it is not repeatable here. He had become so infamous that The ‘Nev impersonation’ has become part of British orchestral culture.

Having said all this, he was well read, eloquent and cultured and in the hierarchy of the Hallé’s most famous sons, Nev without doubt comes in second to his own beloved Barbirolli. Nev was the biggest personality I have ever known and his passing leaves a very big hole, one that will never be filled.

Phil Goodwin

le Roberts I first met Nev when I was 21 years old, one of a number of tuba players on trial with the Hallé. Ian Bousfield was the 1st trombone at that time and another wellknown player, Phil Harrison, was on 2nd.

On the first day of my trial at the Hallé there was only a few minutes before the start of the rehearsal. Everyone was in place ready to play, except for Nev. He arrived with about 30 seconds to spare then busily occupied himself getting his trombone out of the case (no gig bags back then) and set about putting the instrument together. After two or three minutes, in which he spoke and joked with Phil and Ian, he still had not acknowledged me yet. In truth, Nev always had real disdain for ‘wet-behind-the-ears’ players and I was certainly one of them then, being a 3rd-year Guildhall student.

The rehearsal began and I had a loud, long pedal D to play, which I really wanted to play well - first impressions and all that!

I took a deep breath, played the note and was quite pleased with things. Nev immediately turned to me and talking quietly as if taking me into his confidence said: “Good job there’s no smell with that son!” He spoke just loudly enough for everyone in the immediate vicinity to clearly hear, immediately raising a laugh with this comment. That was my first encounter with Nev. We played together for the next 13 years.

Looking back and thinking about all of the jokes, all of the laughs and all of Nev’s freely given (and sometimes wonderfully contradictory) philosophy on ALL aspects of life, I have to say that these are now very cherished memories.

I was in my early 20s when I first met Nev and he was in his early 40s, and it was a surprise to me to find a middle-aged man so full of mischief, put-downs and one-liners who was so disdainful about conductors. He told me (in very serious tones) that conductors were the enemy, and that I must never forget that!

One thing about Nev was his almost obsessive love of pork, and I always wondered if this was a sort of ‘forbidden

TRIBUTE

Autumn 2013 The Trombonist

fruit’ thing with him, as he was half Jewish.

He would invariably always order a pork dish of some kind when we ate together, and he especially loved those large pork knuckles that they serve in Germany and Austria.

Nev joined the Hallé in the 1960s when there was lots of work and lots of sessions around Manchester - which according to his stories were always paid at the end of the session in cash! The 1960s were times of plenty and were good times for the Hallé, and went hand-in-hand with a strong drinking culture, which was very prevalent in orchestras at the time.

By the time I joined the Hallé in 1984, the drinking culture was starting to disappear, and I well remember the rush at the 11.30 am break in rehearsals when a group of players would habitually run over to Cox’s Bar for a quick ‘first of the day’, and a common derogatory term that Nev and some other older players would use to deride someone was “he’s a non-drinker!”

Nev, it has to be said, really enjoyed his beer. He would wax lyrical about the most ‘wonderful’ pint of Bass in Handley and the most ‘monumental’ pint of Tetley’s in Leeds.

The implication being that with beer this good, it was your duty to drink up as much as you could!

We seemed to be on tour a lot in the 80s and 90s, and some of my fondest memories are of unadulterated hilarity after a concert or at a reception somewhere with one of Nev’s long stories being relayed to the company. At their best, these stories were so side-splittingly funny that it really did hurt. I well remember being doubled over with uncontrollable laughter at one of Nev’s highly exaggerated stories at the British Ambassador’s residence in Rio de Janiero.

Nev was, and still is to my surprise, much impersonated. His unique Salford/Jewish/ Lancashire accent was perfect for the acidic put down, and he revelled in the opportunity to do this at a conductor’s expense, causing a mass outbreak of laughter from the brass section so that the

conductor knew he was being laughed at, but did not know why.

Ian and Phil both moved on from the Hallé after a few years, and I suppose that my abiding memory of my time there is of playing in a section with Nev, Andy Berryman and Stuart Kempster.

As a section we were together for about eight years then Benny (Adrian Morris) replaced Nev on bass trombone and a year later Stuart left and Ros joined on 2nd trombone.

Nev belonged to an era where there was no such thing as ‘sexism’ or ‘political correctness’, where everyone was a character and (according to his many stories and tales) everyone (including some very famous orchestral conductors) was constantly drinking. His stories were very funny, very sentimental at times and he was a good friend. He is sadly missed.

Andy Duncan These tributes were collated by Adrian (Benny) Morris, the current bass trombone of the Hallé Orchestra.

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TIPS FROM THE TOP

Autumn 2013 The Trombonist

First Impressions Audition tips by Kevin Price, Head of Brass and Percussion, RWCMD

Brett Baker has asked me to provide some advice for students about how to audition for music conservatoires. The following advice is based upon personal experiences as a panel member and as a candidate auditioning for a place at music college (many years ago).

Travel well: Avoid travelling on the day of the audition: A night in a cheap hotel or B&B is a good investment and easily outweighs the embarrassment and cost of a missed audition due to transport problems. Be careful to pack copies of your music to give to the panel and to read all audition requirements with great care, packing a copy for last-minute reference during your journey. Aim to arrive at least one hour before your allocated time in order to acclimatise and feel relaxed. Avoid excessive caffeine and sugar in the days leading up to the audition and take plenty of long walks or light exercise before the big day. Make sure that you dress in a way that reflects your professionalism and dedication. Wear smart clothes that you have worn before (new clothes or shoes can often feel uncomfortable and make you a little uncertain). Suits and ties for men always look good and long smart casual for ladies works well too.

Low or medium heels for ladies are also recommended, as it is common to see high heels undermine efficient posture and breathing strategies on the day of a

performance or audition.

Perform well: Remember that the panel wants to discover what you know, rather than what you don’t know. They will ask you questions that are always intended to relax you and to discover what you are like as a person and as a musician. Try to be open, to smile and to take time to answer questions thoughtfully. Prepare your own questions too, as the panel want to see your enthusiasm and to gain an understanding of your aims and long-term goals. Audition requirements vary greatly between colleges, with some asking for ‘set works’ and others offering a ‘free choice’ of repertoire. Choose from the set works, selecting pieces that you are comfortable with. It is important to offer two pieces that contrast in style and that are of at least Grade 8 standard. You do not necessarily need to choose pieces that are technically demanding. It is best to select repertoire you can play comfortably and which shows off your musicality. Remember that the 10 to 15 minutes of your audition potentially represents the first stage of your college course, therefore the panel generally views the audition as part of the learning process and as an opportunity to provide you with constructive feedback and advice. We are looking for ‘learning people’ who respond to advice and constructive criticism, as opposed to a perfect performance on the day.

The ‘S’ words: Scales are the alphabet of music. They build brain patterns and physical reflexes that enable us to respond instinctively to the written suggestions of composers. Not all colleges ask for scales in auditions, but a working knowledge of the Grade 8 scale requirements will do you no harm. The confidence that scale preparation gives you will also help to develop a better ability to deal with the other ‘S’ word; sight-reading. When looking at sight-reading, take your time and pay attention to details of tempo (candidates usually play too fast when under pressure) and musical moods. Details of articulation and note-lengths are commonly overlooked, along with dynamics. Try not to focus solely upon the notes, but always aim to convey the emotion and moods of the music. My peripatetic teacher at school always said: “You are allowed to make mistakes, but you are not allowed to be boring!”

Just like your 15 minutes of audition time, my allocated 600 words has quickly been used up. Although brief, I sincerely hope that this advice will help you to feel more relaxed on the big day. Remember - we want you to do well and we are here to help, rather than to judge you. If you are organised and work hard, you can achieve anything.

Good luck!

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Autumn 2013 The Trombonist

TIPS FROM THE TOP

The Bass Trombone

by Christian Jones

the contrabass flourishes in a tessitura that often sounds thinner and more direct on the much smaller bass.

However, those who do not swap around should not feel left out. My personal view is that most of the repertoire we encounter can sound fine on the modern doubletrigger instrument and mouthpiece, provided we have an accurate ‘concept of sound’ in our head for each musical context. Our minds are a powerful tool, and over time we can realise a more light and delicate tone, for example, simply by imagining it and then listening critically promise!

Over five centuries the bass trombone has gone through countless incarnations to arrive at today’s homogeneity. It would be impossible to use every design and pitch of instrument each composer had in mind, so to cover our entire repertoire we must generalise. I would suggest adding the following collection to the modern bass: Sackbut (usually in F); small bore (usually in Bb/F); contrabass (usually in F/D/Bb/Ab).

Performing on a sackbut at college with a flat-rimmed mouthpiece transformed my appreciation of early music. In sacred pieces the ethereal voices and I enjoyed a genuine partnership that would be strained by even the most delicate playing on a modern instrument. For later works such as Schubert symphonies, conductors often request something ‘a bit smaller’ and the lighter, more transparent sound of a single trigger instrument comes into its own. At the other end of the spectrum,

One day in particular at the Philharmonia involved a morning rehearsal of Haydn’s Creation for that evening, with a very brassy film session all afternoon. I used the same trombone (62H) and mouthpiece (2G) all day, but a completely different mental approach. In the Haydn I paid particular attention to the basses and contrabassoon, and used light but distinct articulations, like saying the word ‘toe’ in a whisper. For the film I imagined pacing myself, like a runner, and increased the air support from my abdominal muscles whenever there was a temptation to press on the mouthpiece!

I like to think the flexibility of British brass players is what sets us apart, along with a focused, lyrical tone. Don’t simply take my word for it - we should regularly listen to soloists and ensembles to develop our own concepts of sound. These will be as unique to us as our individual physiology, but enhanced from sharing ideas to communicate with the listener, irrespective of what we’re playing on.

Listening to the following will demonstrate the huge variety of musical contexts the bass trombone operates in: Alban Berg: Violin Concerto (one tenor and one bass in the section; there are open and muted solos throughout).

Leonard Bernstein: Prelude, Fugue and Riffs (two basses in a section of four; the music

alternates between swung and straight styles).

Percy Fletcher: An Epic Symphony (each of the trombones plays a cadential solo, ending with the bass).

Zoltan Kodaly: Hary Janos Suite (the bass part covers a very wide range of pitch and style).

Claudio Monteverdi: Vespers (the trombones frequently double the voices and should be aware of their words).

Carl Neilsen: Flute Concerto (this is very soloistic and there is one (bass) trombone only in the section).

Franz Schubert: Unfinished Symphony (a section of three trombones, but lonely for the bass; light and delicate playing is required).

Dmitri Shostakovich: 5 Entr’actes from the Katerina Ismailova Suite (the Largo is easily one of the most physically demanding pieces in the repertoire).

Igor Stravinsky: Octet (a small chamber group requiring a particularly keen awareness of the other musical lines).

Giuseppe Verdi: Otello (contains lots of unison, but difficult, chromatic runs of notes for dramatic effect, rather than voice doubling).

TROMBONIST’S ISLAND DISCS

Chris Houlding As a boy recently introduced to the trombone, I used to regularly attend Hallé Orchestra concerts in De Montfort Hall, Leicester. Consequently, ‘Barbirolli’s Hallé’ was my first live symphonic sound experience. This in turn prompted me to join our local record library and then save up pocket money to buy my own vinyl copies of my favourite discs, all of which I still possess and play on my vintage C.J. Walker turntable. These naturally form the backbone of my Desert Island Discs, thougAh as with all Desert Islanders I can confirm how incredibly hard it is to arrive at only eight special recordings.

Sibelius: Symphony No. 7 - Hallé Orchestra (Sir John Barbirolli) 1967 EMI For me the symphonies of Jean Sibelius represent the epitome of the symphonic form: From the gloriously Brahms inspired romanticism of the 1st Symphony, the intensely grandiose nationalism of the 2nd, the refined innocence of No. 3 to the stark vapours of depression within the idiomatic 4th. The optimistic and appealingly melodic 5th and curious 6th culminate in the immense one movement essay of the 7th, thrusting forth the very essence of Sibelius’ genius.

Barbirolli’s set of the complete Sibelius symphonies are all individually recommendable for their distinctive orchestral colour but the pacing and architecture of the 7th is incomparable, not least for the amazing sound and projection of the Hallé’s legendary principal trombone of that era, Terry Nagle. Along with a magnificent BBC Radio Mahler 3 recording from a few years earlier, one can only marvel at the breadth of Terry’s orchestral sound that inspired generations of our finest players.

Walton: Symphony No. 1 - London Symphony Orchestra (Andre Previn) 1967 RCA An interesting comparison in style and sound is this classic recording of arguably the greatest 20th century British symphony. The energy and power of the vintage 60s LSO brass section and, in particular, the personal contribution by Denis Wick and John Fletcher (tuba) forms, in my opinion, an ‘orchestral bench mark’.

This must be British music-making at its best!

Strauss: An Alpine Symphony - London Symphony Orchestra (Rafael Frühbeck de Burgos) 1990 Collins Classics Over 20 years later the LSO was still producing stunning playing in this powerful account of Strauss’ descriptive

Autumn 2013 The Trombonist

masterpiece. It contains a fine example of the inimitable leadership of late principal trumpet, Maurice Murphy, ably supported by the rest of his brass colleagues in what can only be described as a recording of monumental proportions.

Wagner: Götterdämmerung - Vienna Philharmonic Orchestra (Georg Solti) 1964 Decca As a great devotee of the unique sound of analogue recording on vinyl, this sonic experience is testimony to what Decca engineers could achieve with minimal microphones thus capturing natural orchestral colour and balance.

The pioneering first recorded Ring Cycle still reigns supreme in the catalogue, Sir Georg Solti, Birgit Nilson and the Vienna Phil creating the chemistry of true passion and intensity especially in the Immolation Scene, the concluding moments of Wagner’s masterpiece.

Herold: Zampa Overture - Fodens Motor Works Band (Fred Mortimer) 1940 BB0562 Although there are other interesting recordings available from the Fred Mortimer era at Fodens, including such classics as the Severn Suite and Downland Suite, this reading of Herold’s classic Zampa Overture exhibits an amazing level of style, musicianship and tonal colour.

Originally issued on an album entitled Man of Brass: The Best of Harry Mortimer (EMI), this performance continues to impress me with its elegance and ensemble discipline, showing what true rapport between band and conductor can achieve.

Superbrass: Under the Spell of Spain 2011 SB Recently released, in 2011, this recording celebrates the very best in taste, versatility and virtuosity from the cream of London brass players. Although essentially fitting the ten-piece brass ensemble mould pioneered by Philip Jones, this new group, promoted by Roger Argente, features a subtle blend of classical and popular styles in Under the Spell of Spain, its debut album. Favourite tracks include Fugatango, with incredible horn playing from Chris Parkes and exquisite improvisations by Andy Wood on trombone, Donde el Mar Saluda al Cielo, featuring more from Andy Wood and a masterclass in lead trumpet playing by Mike Lovatt and the infectious Juanear with more from Mike Lovatt and Andy Wood, this time on jazz baritone.

Awesome!

Hornplayers Fifty-Fifty: Two Bone Big Band Ingo Luis and Ludwig Nuss 2011MONS Following my move to Germany five years ago, I continue to be struck by the depth and range of musical culture in mainland Europe and, in particular, Germany. With over 140 professional ensembles, this country still reins supreme in the global culture stakes with a healthy and ever expanding interest in jazz and world music.

On this disc, the natural empathy between the two featured artists (curiously both born on exactly the same day) produces a demonstration of required listening for any trombonist aspiring to master the fundamentals of jazz, headlining the best in recorded sound, jazz style, articulation, phrasing, timing and ensemble cooperation. Comprising a collection of ballads, swing, Latin and funk and even some intriguing settings of German folk songs, many may already be familiar with the fantastic arranging skills of Ingo Luis but if not try out some of his jazz trombone ensemble charts! My favourite tracks include Young and Foolish featuring an immaculate display of taste and technical harmony by Ludwig Nuss and the prime bass trombone sound of Ingo Luis in Low Motion.

Stardust: Jack Jenny (1937-40) HEP 1995 What is there to say, one of the tracks on this glorious album by 1930s trombone legend, Jack Jenny. From the Tommy Dorsey cast, Jenny speaks and sings through his instrument in a way that frequently transcends the human voice.

For the ultimate natural control, reaching the pinnacle of our art I recommend the delicious sensitivity of I’ve Gone Romantic On You and the creamy smooth phrasing of The Night is Blue. Jenny’s expressive, melodic shaping quite simply hangs in the air and will certainly satiate this old trombonist in every way on his deathbed.

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BOURGEOIS - TROMBONE CONCERTO Available from R.Smith & Company Derek Bourgeois’ Trombone Concerto was commissioned by the British Trombone Society for the International Trombone Workshop at Eton, England, in July 1989. The world premiere was given by Christian Lindberg, who has recorded the concerto with the BBC National Orchestra of Wales (Naxos).

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Telephone: +44 (0)1933 445 440 Fax: +44 (0)1933 445 441 E-mail: orders@rsmith.co.uk

Salute to Sousa Visit www.brettbaker.co.uk to purchase Brett’s latest CD “Salute to Sousa” Featuring outstanding virtuosi trombone solos never recorded before on CD “In its combination of stunning performance and painstaking historical research, Salute to Sousa is undoubtedly Brett Baker’s most significant solo release to date” Chris Thomas BBW “Playing of the highest order and an in depth piece of learned research” Dr. Bob Childs Also available

Brett Baker & Friends All proceeds for this CD go to the “Trombones for Teens” project In association with Michael Rath & John Packer Instruments, beginners receive student trombones

www.brettbaker.co.uk Advert BB 2013.indd 1

22-08-13 15:08

Rath R4F

SLIDE RULE

Autumn 2013 The Trombonist

Tony Howe, 2nd trombone of the CBSO and tutor at Birmingham Conservatoire puts the new Rath R4F through its paces.

I have been trying out the remodelled Rath R4F large-bore tenor trombone in my orchestra (CBSO) for a couple of months. My job is 2nd trombone, but I also had the chance to try it on 1st trombone for three weeks when Ed Jones was off.

For this review I came up with five things I believe British professional orchestral trombonists look for in an instrument. Here are those criteria, along with my impressions of how the R4 matches up to them.

1.

Something that feels really comfortable to play.

No doubt about this. There are a variety of possible configurations of the R4F and the one I settled on felt great. There were no big adjustments to make coming from my standard American trombone. To be fair, when last I tried a new Rath ten years ago it felt very good, but this feels better - it just works. All the notes are responsive with nice big slots to aim at. The whole range of possible articulations works just fine. As with most new instruments it was a bit tight in the high register but this is normal - the metal seems to need time to get used to responding in sympathy with the overtones of the notes. The R4F has already loosened up nicely and become more ‘alive’ and I believe it has more to give in that respect. I remember my American instrument taking years to loosen up completely, and I think the Rath is doing so quicker. The Rotax valve is superb, and the feel and response in the F-valve register are excellent.

Something which makes a rich, warm sound of great quality and 2. projection from ppp through to fff, but that also allows the player some brilliance at louder dynamics when appropriate.

The R4F has all these qualities, and this is where it is most improved over the version I tried ten years ago. The older instrument was slightly lacking in the warm glow and projection we look for in quiet dynamics. Now those qualities are there and it sounds great throughout the dynamic range, with a bit of brilliance at the loud end when required.

3.

Something which fits with the players around me.

No complaints here. The R4F feels great in the section and my colleagues seem perfectly happy with me playing it. It has lots to offer in all the situations I’ve played it in and it hasn’t taken much getting used to.

4.

Something with a proven track record.

Everyone knows that Rath trombones are beautifully made and many players use them outside the orchestral world, so they do have a proven record. There is now a smattering of them in the profession, though we tend to be very conservative and go for what others use. However, on the evidence of the one I’ve tried I see no other reason for the R4F not to become more widespread.

5.

A British trombone made in the UK.

OK, I made this one up - most of us play American instruments - but wouldn’t it be nice if this could be the case? Well, I think the R4F stands a chance of changing the status quo. When I need to find the money to change my trombone it will be at the top of my list of candidates. My experiences of more recent versions of my American trombone (mine is from 1989) have been disappointing, and I’m unlikely to spend far more on a German hand-made instrument when the Rath R4F plays so well and is British-made. For now, Mick and Chris are kindly loaning me the R4F a little while longer and I shall be reluctant to give it back!

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"2)4)3( "!.$3-!. 0!'%

32

SLIDE RULE

Denis Wick Red Trombone Travel Mute Salute to Sousa /2 -/2% ).&/2-!4)/. #/.4!#4 . 0/3)4)/.).' 4(% 6!,6% ",/#+ /. 4(% (/7. &/2 4(% 6%29 &)234 4)-% !4 4(% (2)3 !4%23 /00/3)4% 3)$% /& 4(% "%,, 4/ ! 42!$)4)/.!, 54,).3 ).%7/2+%23 %34)6!, 4(% !9 The Denis Wick practice mute is probably the most successful and other forgotten trombone solos Autumn 2013 The Trombonist

&,5'%, (/2. ! &!#4 -)33%$ ).)4)!,,9 "9 4(% !22 )'.!452% !7 2!33 ,5'%, /2. practice mute in history. Since Denis drilled two holes in his -!*/2)49 /& 0%/0,% 429).' 4(% ).3425-%.4 $2%7 %.4(53)!34)# #2/7$3 4/ 4(% /5.49 straight mute, replaced the 3 corks with a sealing collar and 2%-/6).' !.9 34!93 4/ 4(% "%,, !.$ .3425-%.43 34!.$ !3 7/2$ '/4 !2/5.$ %,)-).!4).' 4(% "%,, 2)- 4(% (/2. (!3 ! !"/54 7(!4 4(% #/-0!.9 #,!)- )3 4(% painted it black, trombone players all over the world have relied $)34).#4 2).' 7(%. 4!00%$ 7)4( ! -%4!, ")''%34 #(!.'% ). &,5'%, (/2. $%3)'. ). on this-/2% 4(!. 9%!23 very quiet mute for unobtrusive/"*%#4 warm ups and stolen (%3% $%3)'. #(!.'%3 #/50,%$ 7)4( (2)3 !4%23 4(% -!. "%().$ 4(% &,5'%, moments of practice when quiet is needed.

4(% ).3425-%.4 "%).' -!.5&!#452%$ (/2. 3 5.)15% $%3)'. 3!)$ 4(!4 %6%. (% 7!3 !-!:%$ !4 3/-% /& 4(% #/--%.43 This latest offering from Denis Wick is a). 2!7 "2!33 /& 2!.$/- -!33 travel version of the black #/.3425#4)/. #2%!4% 4(% &,5'%, 3 ",/7).' &2/- 0,!9%23 /& !,, #!0!"),)49 ; / (!6% classic,0%/0,% 4%,, 9/5 )4 3 4(% "%34 &,5'%, 4(%9 6% the big difference being that it’s#(!2!#4%2)34)#3 designed to fit inside the bell, and so inside the instrument in the case - a very useful ; ,!9%23 9/5.' !.$ /,$ 7%2% 4%,,).' -% %6%2 0,!9%$ 0!24)#5,!2,9 7(%. 9/5 +./7 (/7 -5#( %!3)%2 4(% ).3425-%.4 )3 4/ 0,!9 &2/- ,)34%.).' 4/ 4(%- 0,!9 4(%9 2% development. %842%-%,9 #/-0%4%.4 )3 4%34!-%.4 4/ 4(% 0!24)#5,!2,9 ). ()'(%2 2%')34%23 = #,!)-%$ (2)3 0(),/3/0(9 "%().$ -9 $%3)'. = (% 3!)$ Volume: The mute is not the quietest practice mute I’ve ever used, (% !9 !22 )'.!452% ,5'%, /2.

3 ! &/2-%2 3%.)/2 !#/534)# !.$ $%3)'. but is quiet enough to allow hotel room practice or a quiet toot in )3 -!.5&!#452%$ ). /'./2 %')3 !.$ %.').%%2 7)4( //$-!. 3 /5$30%!+%23 #522%.4,9 )3 35"*%#4 4/ ! &)6% 7%%+ ,%!$ ! -53)#)!. /& -/2% 4(!. 9%!23 a bandroom corner.

4)-% /5.49 .3425-%.4 3 /&&%23 4(2%% %80%2)%.#% !.$ ,!33)# 3 53)# 7%%+3 !002/6!, 4/ %.!",% 0/4%.4)!, %!#(%2 /& 4(% 9%!2 ). (2)3 3!93 Tuning: In my experience the first thing to suffer when using a #534/-%23 4(% /00/245.)49 4/ 429 4(% (% .%6%2 3%4 /54 4/ $%6%,/0 9%4 !./4(%2 smaller34!.$!2$ $%3)'. &,5'%, (/2. 7()#( 4(% mute is the tuning. Somehow the smaller space we are ).3425-%.4 !4 (/-% ). "!.$ 02!#4)3%3 !.$ 7/2,$ #%24!).,9 $)$. 4 .%%$ (% 7!.4%$ 4/ blowing in to makes things sharp. With#/.#%243 !3 %6%29/.% !#+./7,%$'%3 ; 4 3 this mute I am happy with 4(% /.,9 7!9 4/ 429 !. ).3425-%.4 = $%3)'. 4(% "%34

the intonation throughout the register. Intonation has obviously page 2 british bandsman been high on the agenda, but be aware that loud blowing will go sharp more easily than a larger mute.

Feel: Once into the trigger register things get a little stuffy and pedal notes are more difficult to produce. Everything in the normal / high register and at dynamics up to a comfortable forte is absolutely fine.

Sound: The sound enhancing property of the mute is still there and loud playing will give that instant boost to the fullness of tone.

The sharpness returns when practising this way, but as long as you are aware it should have no lasting effect on pitching.

Build Quality: My only real gripe is that there is an insert in the top of the mute, no doubt to enhance tuning, and it came loose while testing it. I managed to fix it, but it is possible that this could be an issue for some users.

Conclusion: Like cars we all have different tastes. If you like Land Rovers then a VW Golf will never be for you. This mute is quiet enough, it is in tune and it’s so compact it will fit into any trombone case. It is the Golf, it does what it’s supposed to, it is from a trusted tested manufacturer and it is easy to park! If you want to get a Great Dane in the boot‌ back to the gas-guzzler!

/5.49 .3425-%.43

%, Brett Baker (trombone) -!), ).&/ 2!7"2!33 #/ 5+

777 2!7"2!33<5'%, #/ 5+ John Wilson (piano)

(White River Evocations â&#x20AC;&#x201C; WR13-07) Available from www. brettbaker.co.uk Brett Baker continues his foray into new and lesser-known trombone repertoire with this fascinating look at the Baroque, Romantic and United States post-Civil War repertoire of trombone solos, with accomplished piano accompaniment by John Wilson, who has accompanied Brett on several of his CDs. The term â&#x20AC;&#x2DC;salon musicâ&#x20AC;&#x2122; immediately came to mind when listening to this CD. Salon music was a popular music genre in Europe during the 19th century. It was usually written for solo piano in the Romantic style and often performed by the composer at events known as salons. Salon compositions are usually fairly short and often focus on virtuoso pianistic (or violinistic, but in this case trombonistic) display, or emotional expression of a sentimental character. Common sub-genres of salon music are the operatic paraphrase or fantasia, in which multiple themes from a popular opera are the basis of the composition, and the musical characterpiece, which portrays in music a particular situation or narrative.

All of this sums up what this CD is all about. Brett has boldly gone where few trombone recording artists have gone before (if any) and uncovered and dusted off solos not heard probably in salon or concert hall for many decades. All the more reason for Brett to record them for posterity, to have a photo taken with John Philip Sousa, and to provide us with a unique study of popular solos from three golden periods of trombone repertoire.

Particular mention should be made of John Wilsonâ&#x20AC;&#x2122;s contribution to this CD, as in most salon music the accompanist is the unsung hero. His work throughout is of the highest order, providing an effective foil to Brettâ&#x20AC;&#x2122;s full sound.

The CD artwork, notes and box is worth the purchase price alone, giving the reader very readable historical notes on the background to the choice of repertoire, each piece in detail, and photos of John Philip Sousa, all in a presentation package that will surely stand out on any CD shelf.

Jon Pippen

Andrew Justice

RRP: ÂŁ56

For further information on this or any other product in the Denis Wick line go to www.deniswick.co.uk

BB 24-25.indd 25

A new lightweight, compact mute with an excellent, even response in all registers.

Beautifully in-tune and extremely quiet.

THE IDEAL WARM-UP MUTE! % # $ & $ ! " $ ! '

PERFORMANCE BY DESIGN

19-02-2013 16:57:07

SLIDE RULE

Autumn 2013 The Trombonist

Freeh Spirit

Stratos embouchure trainer

Brett Baker (trombone)

The ‘Stratos’ attaches to the mouthpiece or lead pipe of your instrument and you periodically adjust the pressure on the chin rest to persuade your embouchure away from the mouthpiece.

It is successful in encouraging a more forward jaw position and releasing pressure on the lips, though as everyone is different the results are varied. The process feels strange but does help to increase blood flow to the lips, similar to ‘flapping’ them when tired. The result when the device is taken away is to feel like playing is really easy and in most cases people over pitch, hence its usefulness in achieving a higher range, but problems pitching can be off-putting. High notes do feel lower and are achieved quicker than with tone practice alone, with less lip strain. There are exciting prospects for those who have embouchure issues and it has already proven results for those with braces, misalignments and people who have suffered injuries. However, after the first and very immediate results, it requires more work to achieve the same level of improvement.

John Wilson and Ruth Webb (piano) Black Dyke Trombone Quartets, White River Brass, Black Dyke Soloists, Salford Brass Quintet and other friends.

Available from www.brettbaker.co.uk

In line with many other brass musicians, I have always been an admirer of the arrangements of Mark Freeh and when asked to review this CD, which is devoted solely to Mark’s arrangements, I eagerly awaited its arrival.

From the very first track, All The Things You Are, an arrangement of the 1939 Jerome Kern hit, what is immediately obvious is the high quality solo playing, setting the standard for the rest of the CD, which features mainly big band music. The mood is well captured in the relaxed slower numbers of Moonlight in Vermont and Dreamsville in an easy relaxed style reminiscent of Don Lusher.

These are contrasted with the up-tempo number The Green Bee and the classic solos of Arthur Pryor’s Air Varie and Frederick Innes’ Phenomenal Polka, clearly demonstrating the soloist’s exceptional skill and dexterity. The well-known Stardust and Someone to Watch Over Me are given slightly different treatments but are equally as enjoyable. The final track Danza Allegre reminds the listener of Brett’s outstanding ability and his contribution to the world of solo trombone playing.

It is simple to put together and attach to your instrument, and the materials and design are very impressive. You get a feel of quality, though at £150 it is a bit expensive for your average student or young professional. However, what you are really buying into is an extension of Marcus Reynold’s teaching mantras and what he likes to call the ‘stratos family’. You can tell this is a labour of love for Marcus and he is very keen to help everyone get the most out of the device. This is particularly useful when using it as a teaching aid.

Reg Vardy Band, conducted by Ray Farr, should be congratulated in doing a superb accompanying job, just being in focus with the soloist at all times.

All in all, this is an excellently engineered product with instant short-term results and the potential to help in the longer term, but perhaps not necessarily helpful to everyone. Watch this space!

For style, technique and range, this disc will demonstrate what can be achieved by any aspiring trombonist. With excellent programme notes, I recommend this CD as an enjoyable addition to your collection by one of the brass movement’s greatest ambassadors.

You can purchase a Stratos and find out more about the device at http://brasslessons4u.com

Dave Lea

Becky Rumens-Syratt

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Order at www.worldofbrass.com

Recorded live at Symphony Hall Birmingham, featuring

Black Dyke Band

and the incomparable, irresistible

James Morrison!

DIARY

Autumn 2013 The Trombonist

Diary of Events Items in black are organised by the BTS. Please send in details of upcoming trombone concerts or workshops and we will add them to the Diary (in red).

Sunday 8 September: 5.30pm-7.30pm Prime Brass in Concert Ely Cathedral Contact: Email: info@primebrass.co.uk www.primebrass.co.uk Tel: 01954 201389

Saturday 12 October 6.30pm Prime Brass in Concert Kings College Chapel Cambridge Contact: Email: info@primebrass.co.uk www.primebrass.co.uk Tel: 01954 201389

Sunday 22 September: Wessex BTS Day Registration 9.30am, concert 4.00pm Featuring Brett Baker (past BTS President), Steve Hayes (Jazz specialist and tutor at Bournemouth and Southampton universities) and Kevin Morgan (principal trombone of the Bournemouth Symphony Orchestra) Pimperne Village Hall Blanford Forum Dorset, DT11 8UZ Contact: Bruce Harding on 01202 880814 wessex@britishtrombonesociety.org or bruceandinge@btinternet.com For the last couple of years we have held our Regional day in the Pimperne Village Hall, which has proved very popular. It is set in quiet rolling countryside with plenty of parking. Why change a good thing, so we’re there again this year!

Tea, coffee and soft drinks will be available for a small charge, but we suggest you bring a packed lunch - and a music stand.

So join us for a relaxing day doing what we all do best - trombone playing.

The programme (subject to variations on the day) will be as follows: 09:30am Registration 09:45-10:45am Massed blow (Kevin Morgan) 10:45-11:00am Coffee break 11:00-12:00pm More blowing (Kevin Morgan) 12:00-1.00pm Solo playing techniques (Brett Baker) 1.00-2.00pm Lunch break 2.00-2:30pm More techniques from Brett Baker 2:30-3:30pm Jazz and improvisation techniques

(Steve Hayes) 3:30-3:45pm Tea break and big band set up 4:00-5:00pm Moonlight Swing Band concert BTS members free, non-BTS adults: £5, non-BTS juniors up to 18 years: £3, non-BTS audience (non playing): £2. Please register with Bruce Harding 01202 880814 or bruceandinge@btinternet.com before 15 September.

Wednesday 16 October: Callum Au Big Band The Two Moors Festival, Exmoor

Sunday 6 October: East Anglia BTS Day and Annual General Meeting Registration 11.30am Featuring Dennis Rollins (tbc) Oundle School, Oundle, Peterborough, PE8 4GH Contact Ben Bouzan: eastanglia@britishtrombonesociety.org

Thursday 23 January 2014 7.30pm LSO Brass Ensemble Barbican Hall Contact: Barbican Box Office: 0207 638 8891 Sunday 9 February 2014: BTS West Midlands Event Registration at 10.30am for 11.00am start through to evening concert at 5.00pm Kindly hosted by Solihull School* Warwick Road Solihull West Midlands B91 3DJ *Solihull School is 25 minutes drive from the centre of Birmingham; close to M42 J5 or a five-minute taxi ride from Solihull Train Station (from Euston and Marylebone).

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