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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