The Trombonist Spring 2008

british trombone society

www.britishtrombonesociety.org

Spring 2008

Trombonists’ Internet broadcast Intrepid Norfolk trombonists produce their own radio programme and attract listeners world-wide Broadcasting from a cow-shed in Norfolk, a group of BTS members produced a three hour Internet radio show with live performances and interviews of a raft of trombone personalities. The show, known as “Global Bones” went out live to listeners on Sunday 9th December and remains free to download.

The broadcast was picked up by listeners, not just in Britain, but all around Europe, a wide variety of states across North America, Japan, Australia and New Zealand.

The show consisted of interviews with Denis Wick, Dennis Rollins, Ian Bousfield, Chris Houlding, Bob Hughes, Andy Berryman, Simon Wills and Sheila Tracy, along with live music from Diss-Located Bones and various recordings.

There was a live discussion

Top: Diss-Located Bones play live on-air to the world Left: Presenter Dave Scragg

on the use of the alto trombone in schools from John Flack of Suffolk Music Service, with Chris Houlding joining in the debate by phone. Ben Bouzan, East Anglian rep for the British Trombone Society, dropped in to talk about the BTS Day at Oundle and various interviews and sound clips of the event were broadcast.

The centrepiece of the programme consisted of a thirty minute segment on Focal Task-Specific Dystonia, a condition believed to have ended the playing careers of some of the finest trombonists.

The organisers are very pleased with the results, and plans are underfoot for the next broadcast. They welcome feedback and suggestions for future subjects to cover.

Website: www.globalbones.net

‘Vienna Trombone Sound’ comes to London

Under-16’s offer and BTS competition

On Sunday 24th February 2008 the BTS, with the support of the Royal Academy of Music, are pleased to present an exciting trombone day featuring trombonists from the Vienna Philharmonic.

The day will kick off at 11am with a trombone choir under the direction of Denis Wick.

At 2pm there will be a class with Gordon Campbell (BBC Big Band), then an interview with Denis Wick hosted by Ian Bousfield, followed by an orchestral performance

The BTS aims to encourage young trombonists by launching a new National Competition and a low membership price for them.

16 year-olds and younger can enter the competition by recording Hellas by Bruce Fraser and sending it in by 30th June 2008. Also, 16’s and under can join the BTS, which includes receiving The Trombonist, for £10 per year, less than half the standard rate! Full details of both at:

workshop with the trombones of the Vienna Philharmonic Orchestra.

At 7.30pm in the Duke’s Hall of the RAM, the Vienna Philharmonic Trombones – Ian Bousfield, Hans Ströcker, Jeremy Wilson and Mark Gaal – will give an hour’s performance of trombone quartet music.

The afternoon workshop is limited to 110 tickets.

To book your place contact the BTS secretary, Geoff Wolmark: secretary@

Ian Bousfield brings his section

britishtrombonesociety.org (01377 202209).

Entry for the day is free to BTS members or £10 for non-members. Coffee and registration is at 10.30am.

www.britishtrombonesociety.org The Trombonist | Spring 2008 |

NEWS Dear Editor, Many thanks for printing the photo selection from Arthur Wilson’s 80th birthday party – it was a wonderful get-together, especially for all us ‘Yesterday’s Men’. Seeing Frank Mathison again put me in mind of our first date together, a three month World Tour with the LSO in 1964.

I could say a lot more about this formative experience, but will refrain for now, and merely mention that in September I retired from the bass/contrabass trombone job at the Royal Opera House, after 17 years in the pit.

Prior to that, I was with the BBC Symphony for twenty years, in that other underground chamber, Studio 1, Maida Vale, this preceded by three years rampaging around the West Country with the Bournemouth Symphony.

Maybe those trombonists who still remember me could be updated in your next issue.

Dick Tyack

BTS days around the country in 2008 Watch out for BTS trombone days in your area! If you require more information, please contact the relevant regional reps – see details on page 13.

Northern Ireland 3rd February 2008, Bann House, Porterdown 10:30-4:00.

Featuring Brett Baker and the Black Dyke trombones plus Bob Hughes.

London 24th February 2008, Vienna Philharmonic Trombones – see p1.

Midlands 4th May 2008, Warwick School. Details TBA. Scotland Chris Stearn organising. Details TBA. South Paul Coker organising.

Details TBA. West Wells Cathedral School.

Details TBA. North 19th July, Bury, Lancs.

BT Band, Bones Apart, Brett Baker.

East 5th October. BTS day and AGM. Ben Bouzan organising.

BTS strengthens in the North The BTS Executive Board welcomes several new faces to the running of the Society.

David Carnac has become Treasurer, as Matt Parry takes on the role of Advertising Manager for the magazine, following five years of sterling service looking after the BTS finances.

Derrick Parker has taken on the position of Membership Manager, following on from

Steve Greenall who is serving as Executive Director for the ITA. This year it’s all change for Regional Representatives in the North and Midlands, since the departure of Chris Houlding for Germany and Simon Hogg. Richard Walker takes over as the West Midlands rep, John Ingman becomes our first North East and Yorkshire rep, and

Gareth Westwood will take on the North West Region.

Richard, John and Gareth will work closely with Andrew Berryman who becomes the North and Midlands Co-ordinator.

Members should not hesitate to get in touch with regional representatives about trombone days and any other events of interest. Contact information is on page 13.

Introducing…

There is already some great work underway in this area and I can’t wait to continue promoting the players of our society in my role.”

& Co. Mortgage, Insurance and Protection Solutions.

However, two years ago he was tempted to retrieve his trombone from the loft and once again enjoys performing in the thriving London amateur music scene, including helping run Trombonanza.

“I feel the society has a unique opportunity to unite everyone who has an interest in the instrument, regardless of the musical genre and professional status and to further improve the already magnificent standard of trombone playing in the UK.”

Gareth Westwood A graduate of the RNCM, Gareth plays with the Fodens Band, conducts bands in the North West and composes for his publisher, Danetre Music. When not playing, conducting or writing, Gareth works as a classroom teacher.

“I really am looking forward to representing the trombonist of the North West.

David Carnac David studied at Guildhall and worked extensively as a freelance trombonist for a couple of years. Then attracted to working in financial services, for the last decade he has been running David Carnac

BTS East Trombone Day – Oundle, Oct 2007 Left: Trombonanza in rehearsal Below left: Massed trombone choir conducted by Bob Hughes Below right: The day’s organiser Ben Bouzan (front) joins in, with Edward Solomon.

The Trombonist | Spring 2008 |

FEATURES The soloist looked puzzled as the brass section collapsed, unable to play. with Geoffrey. Military service called for both of us and Roger entered the Regimental Band of the Coldstream Guards where he quickly became 1st trombone.

After the army came freelancing and completion of a 3rd year at College.

l-r James Blades (perc), Keith Marjoram (bass) and Roger Brenner at rehearsals for The Burning Fiery Furnace, 1966

Roger Andrew Brenner 1936-2007

Tribute to “Crusher”

The lucky break The BBC was at that time deciding to axe an orchestra or two. This meant that vacancies were not being filled and deputies were required. Alternating between the BBC Scottish and the BBC West of England Light Orchestras on a fortnightly basis kept us busy for over two years.

At this time we each got married and were best man at each other’s weddings.

Following this, Roger became the principal trombone with the Scottish National Orchestra staying with the SNO for a little longer than four years and then returning to London. He began to earn himself a good reputation and after taking on a couple of West End shows he began to work for the English Chamber Orchestra and also the Philip Jones Brass Ensemble.

With PJBE he toured abroad as far afield as Japan and the USA and took part in many acclaimed recordings.

Working with the ECO led to collaboration with Benjamin Britten who was then writing The Burning Fiery Furnace. As Britten wrote, Roger played to develop the high alto trombone that Britten needed.

Roger joined Geoffrey Lindon as professor of trombone at Trinity College of Music and remained there for over twenty years.

In his early fifties he joined English National Opera Orchestra as co-princi-

pal to Leon Taylor and retired when he reached 65. For many years he worked with the London Mozart Players, the City of London Sinfonia and the Orchestra of St. Johns. More recently he worked frequently with the Royal Philharmonic Orchestra and finally in a CLS season with Holland Park Opera.

For much of his professional career Roger was known as The Crusher, though his ‘crushing’ tendencies had appeared much earlier. On one occasion, as young students, we had arranged to go out for the day. Knocking on the door of his house, I could hear Roger’s rather large feet thumping down the stairs followed by a houseshaking crash – and then a long silence.

When the door eventually opened Roger was clutching his bleeding head and our day out was spent going to the doctor.

His repertoire of accidents ranged from kicking over mutes and sitting on his trombone, to breaking wine glasses as he dried them, pouring a pint of beer down a woman’s skirt and ‘crushing’ (hence the name) David Purser’s fingers in a door.

With a little more time available recently, Roger was able to indulge in his passion of dinghy sailing – he owned two and sailed from the Medway Yacht Club.

Despite his clumsiness he could be very kind, considerate and unfailingly courteous. He was often funny and always a good companion and a loyal friend.

He will be sorely missed.

John Edney

Despite his clumsiness he could be very kind, considerate and unfailingly courteous.

I

FEATURES

can’t remember the first time I met Roger; he just seems to have always been in my life – a constant factor. He never seemed to change – always optimistic and looking to find the best in any situation. Always looking to find enjoyment and laughter. Always looking to do the best possible job on his trombone.

Never blaming himself or anyone else if things didn’t go as planned.

We worked a lot together in the 70s and 80s. When he went to the English National Opera I saw much less of him, sadly.

We both played for David Munrow and his Early Music Consort in the 70s. This was a group exploring pre-baroque music and Roger performed on a very small-bore alto sackbut. He made a very direct, bright and beautiful sound, as can be heard on the many recordings we made with this group.

His quiet playing was extremely sensitive and lyrical on this instrument and when requested to play loudly he sounded as bright and brilliant as an accomplished trumpeter. I will always have visions of this handsome man holding the small instrument in his big hands and, with eyes narrowed as if looking into a bright sun, with cheeks slightly puffed out, and with a big, drooping moustache almost obscuring the mouthpiece, producing the most beautiful sounds imaginable.

Keeping PJBE spirits high Roger joined the Philip Jones Brass Ensemble in 1968 and we worked in this pioneering group together until 1981. We toured to Japan a number of times, to Australia, USA, Germany, Italy, Switzerland, Finland, India, Singapore, Israel, Thailand etc. etc. Some of these tours were very taxing but Roger could be relied upon to keep playing standards and morale high. I have many memories of Roger on tour and some of the most

During a distinguished career as a trombonist, Roger Brenner was a popular figure in Britain’s orchestral life. Life-long friend John Edney and close PJBE colleague Michael Laird show their appreciation.

I

t was 1943 when I first met Roger, on a bomb-site close to Peckham Rye. South London had been heavily bombed and us kids played soldiers amongst the debris; hardly an auspicious first meeting you would think but it led to an enduring friendship. He was seven and I was eight.

Later we were both at the same secondary school, Alleyns in Dulwich, Roger arriving a year after me, and we met up through our interest in music. For our interest in brass instruments, and eventually the trombone, we have owed a lifelong | Spring 2008 | The Trombonist

debt to Alan Cave, a bassoonist, then in the Sadlers Wells Orchestra who taught both woodwind and brass.

Soon we were playing in small chamber groups and then the school orchestra, our enthusiasm fired by Alan.

Both of us joined the London Schools Symphony Orchestra which played in the Royal Festival Hall as it opened and undertook memorable trips abroad to Denmark and Holland. The orchestra’s performance of a piano concerto was made all the more outstanding when Roger, playing an old

style ‘G’ bass trombone, moved quickly to a long position and hit a trumpet player in the back of his head. The soloist, Eileen Joyce, looked puzzled as the brass section collapsed, unable to play.

About this time Alan Cave introduced us to Geoffrey Lindon, 2nd trombone in the LSO. We became pupils of Geoff, travelling often on a Sunday all the way to Kenton for lessons. He was one of two professors of trombone at Trinity College of Music at that time and we were eventually to win scholarships to that college, and studied

Recording with PJBE. l-r Philip Jones, Ray Brown, Roger Brenner, Ray Premru The Trombonist | Spring 2008 |

FEATURES memorable come from Japan. We had a day off in Fukuoka and decided that we deserved to relax and enjoy ourselves that evening. Five of us found a friendly little bar in a side street and were sitting enjoying a Kirin beer, when we noticed a group of four well-dressed Japanese businessmen at the next table looking at us, pointing and laughing. After a few moments we realised that on the wall just above our heads was a huge poster of the Philip Jones Ensemble featuring our photographs, and the Japanese gentlemen had recognised us.

We got talking to them and a friendship quickly developed over some more beers.

The businessmen were obviously determined to have a great evening and wanted to challenge us to a drinking competition.

I suppose this is the moment when things began to go wrong. Being polite Brits we agreed and I am happy to report that within quite a short time we had triumphed.

The rest is a bit of a blur, but I do remember a few details. Roger somehow ended up in a fountain, which disturbed him greatly because it was filled with very slimy green water and he was wearing a new pair of jeans and matching jacket. David Purser, a fellow trombonist, got the blame for this misfortune and on returning to our hotel later that evening recriminations were aired.

In order to give Roger time to cool down we decided to temporarily confine him to the bathroom in his hotel room. This was very unwise. He decided to exit the bathroom at high speed. He did and went head-first into the wall immediately opposite the bathroom door.

Hospitalisations He collapsed in a heap on the floor and I thought he was seriously hurt. I raced to the hotel lobby to call for help. An ambulance arrived at the same moment that the lift doors opened and, to my great surprise, Roger emerged supporting David who was holding the fingers of his left hand in a position that signified that he was in a lot of pain. They both left in the ambulance

I will always have visions of this handsome man holding the small instrument in his big hands and, with eyes narrowed as if looking into a bright sun, with cheeks slightly puffed out, and with big, drooping moustache almost obscuring the mouth-piece, producing the most beautiful sounds imaginable. | Spring 2008 | The Trombonist

FEATURES

Roger Brenner in PJBE publicity photos

and I then discovered what had happened.

Roger had dramatically recovered from the bedroom floor, had tried to throw everyone out of his room and David, being last in line, got his fingers crushed in the door as he left. Next morning we had an early start. We met Philip Jones in the lobby and I had to explain that we were only 8 instead of 10 as Roger and David were in hospital!

Fortunately they both caught up with us at the next venue, David with his fingers in huge white bandages and Roger with some ointment to rub into his head which the Japanese doctor had described to him as “nourishment for brain”. No lasting damaged done, but Roger did become known as Crusher from then on.

An appropriate name One became aware that Crusher was in fact quite an accurate nickname as a lot of things did get ‘crushed’ when Roger was around.

These events were not necessarily his fault but he seemed to be a catalyst for accidents.

Maybe a tray of drinks getting dropped in a bar, a pile of plates going over in a restaurant and the cry would go up “CRUSHER”, to which Roger would invariably reply, “Nothing to do with me, mate!”

There was another wonderful moment when we were doing a live TV concert for children in Japan. The first piece only involved 5 players, so after it the other 5 of us (including Roger and me) would quietly slip onto the stage while Philip Jones was being interviewed on camera. The Japanese producer had decided to use 6-foot high polystyrene letters spelling PHILIP JONES BRASS ENSEMBLE as a backdrop to our performance. I was first on stage at the appointed moment and had just sat down when Roger came on, didn’t see the giant letters suspended from the ceiling by nylon threads, and walked straight into the bottom of the letter P of PHILIP. This startled Roger and set the whole construction swinging and oscillating wildly. Poor Philip, whose back was turned, was trying to give an interview to a background of loud sniggering and cries of “Crusher” from his group and the hysterical screaming

from 2000 Japanese school children who thought it was hilarious. Roger’s response?

“Bloody stupid place to hang things”!

However he wasn’t a clumsy man. It was just that things happened when he was around. He was, in fact, clever with his strong hands and could work very delicately with them.

There was another wonderful moment that I shall never forget on a tour to Japan.

We had been on the road for two weeks and were feeling tired, depressed and a little homesick. We were sitting on a platform waiting for a train in a small town called Mito. (I remember the name because Roger immediately named it “meato and two veggo”!)

I spotted Roger at the far end of the platform with a large plastic carrier bag and in deep conversation with someone behind the counter of a small kiosk on the station.

I pointed this out to my colleagues and we thought no more about it. When our train arrived we settled into a compartment.

After a few minutes the door slid open and Roger entered and announced, “Come to my office, it’s time we cheered ourselves up”. We all trooped to the next-door compartment where Roger had set up glasses, lemons, Schweppes tonics, ice and a large bottle of Gordon’s Gin. That’s what he had been negotiating for at the kiosk on the platform of the station in the middle of Japan!

It did cheer us up and is to me typical of the irrepressible Roger. Someone determined to make the most of every single moment. A great character. A wonderful player. Very generous. When you saw his name on the list of players for an engagement you knew it was going to be a happy day. He was a good listener, a great friend to us all and VERY much loved.

Michael Laird Is there time for one final anecdote? When Roger and Alison Martin (harpist) were going out together the following discussion is alleged to have taken place: AM Roger, now that I am spending more time at your place do you think I could leave one of my harps in one of your bedrooms?

RB No you bloody well can’t.

AM Oh, go on, Roger. You’ve got 4 bedrooms.

RB I’ve got 4 bedrooms and I need 4 bedrooms.

AM Why do you need 4 bedrooms?

RB I’ve got my bedroom, I’ve got a bedroom where I keep my trombones and my music, I’ve got a bedroom that is my office and the 4th bedroom is for the lads that have jumped ship and need somewhere to kip down for the night.

Isn’t that beautiful? Just sums Roger up!

As part of her Masters at the Royal College of Music, Sarah Burnett has been working with the Music Education Research Team to establish patterns in careers of the college’s alumni. Sarah discusses whether graduate trombonists are able to make successful careers as performers these days or whether they have taken different routes to achieve financial stability.

A career as a trombonist?

Y

outh Music tell us that take-up of the trombone at school is so low that we are an “endangered species”.

But in promoting the trombone to the next generation what realistic expectations should we give for a career in music?

Through the RCM’s Working in Music Project we have looked at the career paths of 23 trombonists (22 male and one female) who graduated between 1961 and 2000, to see what happens during this journey.

How much work is needed to become successful and what measures have been taken, or overcome, to achieve this?

The Working in Music project (WIM) was set up in 2001 at the RCM to study the career paths of its alumni. It is difficult to collect this data in a conventional way, as musicians rarely have one employer and the regular salary, pay rises and pension scheme that accompany a permanent position – musicians are most likely to have a portfolio career (Mallon, 1998; Youth Music, 2002). For this reason WIM takes a more personal approach to collecting data. Students from the RCM, employed to work as part of the research team, have conducted telephone interviews with over 1300 alumni. The interviews are kept fairly flexible so that the musicians can tell their individual stories, but at the same time the interviewer follows a semi-structured guideline of questions. This enables the WIM team to understand musicians’ careers by considering them in terms of objective career: l the proportion of time spent in different activities l the income derived from them As well as in terms of subjective career: l identity – in terms of profession i.e. what are you? l professional vision for the future The interviews focus on two periods in their careers – the first five years after graduating and the most recent five years. Confidentiality is always at the forefront of the interview, whilst the efficient and friendly

nature of the interviewer frequently results in an enjoyable interview experience for all concerned.

Barriers to getting work A WIM paper reported that “trombonist alumni presently do less work in performance than their peers, despite the opposite being true for the first five years after their graduation; recent graduate trombonists appear to be finding it more difficult to get performance work than their predecessors” (Burt etc. 2006).

What seems to be the reason for this?

Out of the 23 trombonists that we interviewed, 10 said that they experienced some form of barrier in pursuit of their careers.

These alumni were post 1991 graduates.

In their first five years after leaving the conservatoire they were earning 60% of their income from performing and this has now decreased to 30% resulting in them having to find a majority of their income else where, mainly from teaching. The graph shows that further into their careers, there is a shift away from the trombonists seeing themselves as musicians in favour of being teachers.

Two of the alumni said that there was just a lack of work out there for them. Another alumnus mentions ‘orchestral politics’ and another felt that he was at a disadvantage as, in relation to his peers, he did not socialise or drink as much. However as trombonists we should not be deterred, as both alumni have successful careers in the trombone-playing world; barriers do not necessarily prevent the development of a successful career.

Although the interviews didn’t suggest direct discrimination against female trombonist, during one interview, a female said she “feels that women may have to prove themselves more than men, and may take longer to be accepted by their colleagues”.

In my survey of 10 leading British orchestras I counted only two women trombonists amongst 29 members, although I

Sarah Burnett completed an MMus in Music Performance at the Royal College of Music in 2007 and previously BMus (Hons) at the Royal Northern College of Music.

would like to think the amount is on the increase and know of several more professional female freelance trombonists.

Let’s not forget that 13 trombonists – half of the sample – did not face any barriers.

We should be encouraged by this, and the fact that the barriers mentioned above were all overcome.

Of course, being a trombonist is not an average 9 ’til 5 job. The table below shows you just some of the variety of styles that are played in by trombonists who graduated from the RCM. It appears that most trombonists start out on a freelancing career whilst trying to find a salaried position as a performer.

Inevitably over the long term, if a salaried position is not found, the freelancing might not be sustainable and therefore the trend is a definite move from performing to teaching. It is the more established musicians that have the flexibility of selecting the type of work they do, which could result in less performance at certain points in their careers.

Drifting away from performing We have seen through WIM, “a drift away from performance work for trombonist alumni”, predominately towards teaching. This emphasises “the importance of preparing for a portfolio career”. Students at conservatoires, although taught to specialise in performance, must keep their Styles played by trombonists Trombonists Style

Number

%

Orchestral (professional)

15

65

Opera orchestra

5

22

Big band / jazz

4

17

Shows (professional)

5

21

Early music

4

17

Amateur ensembles (orchestral shows)

2

9

Chamber music

5

22

Solo

2

9

The Trombonist | Spring 2008 |

FEATURES

FEATURES

Trombonist’s island discs When Bob Hughes asked me to select six of my favourite pieces on CD I didn’t realise it would be so problematic – it’s the ones you have to leave out that are so difficult. I’ve picked tracks, although I’d really like to take the albums/CDs in their entirety. I’ve tried to pick players, writers and music whose work I find inspiring and uplifting.

Mark Nightingale

1 ‘Here’s That Rainy Day’ from Bobby Knight’s Great American Trombone Company – Cream Of The Crop

An easy choice, this track comes from the album that was definitely the most influential in my development as an improviser. My Dad bought it for me in 1979 simply because it had trombones on it, little realising what a gem it was. The whole album has a joie de vivre about it that is infectious, and it was my first encounter with two trombonists that have remained favourites ever since – Frank Rosolino and Carl Fontana (both of whom are heard on top form).

I used to play along with this record every day until I learnt all the solos and could play them in unison. I guess I was lucky nobody told me it was difficult or I might have not bothered! I always found this particular track, featuring Frank Rosolino, very moving. It is played straight from the heart with amazing dexterity and musicality.

2 ‘I Fall In Love Too Easily’ from The Persuasive Trombone of Urbie Green Volume 2 options open in order to achieve a successful career.

What can conservatories do therefore, to prepare their students to enable them to “be able to work in different musical activities, but also to be flexible within these activities” when they graduate? Sustained effort is now being made at the RCM to enable students to be more flexible, as well as making them more aware of the proportion of realistic performance opportunities when they graduate. Earlier

alumni that were interviewed commented that “the conservatoire’s outlook was unrealistic in terms of proportion of time they were expecting to spend performing after graduation”. Today there are facilities in place to find information on issues such as self-employment, business and marketing skills so that if an individual chooses to move to a career such as teaching, this can be an informed option.

Anybody with commitment and determination can strive to be a successful trom-

Alumni identity 50 1st five years

45

Recent five years

40 35 30

Percent

25 20 15 10 5

| Spring 2008 | The Trombonist

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bonist, but this can take time. One must always remember that all the skills learnt along this journey “can also be applied outside of music, and potential employers should also be encouraged to recognise that a music college degree covers more than just performance” if they chose to take an alternative path to achieve their success. For those of us out there hoping to be a professional trombonist, we can be encouraged by the range of music making that RCM alumni engage in.

Acknowledgements I would like to acknowledge Rosie Burt, Research Officer at the RCM for her input on this article.

Also to Louise Oakes and Dr Janet Mills for their authorship roles on the journal paper on which this article is based.

References l RCM Music Education www.musiceducation.rcm. ac.uk/WIM.htm l Burt, R., Oakes, L., Mills, J., (2006), Working in music: the trombonist, Research Perspectives in Music Education, 10:1 l Mallon, M. (1998). The portfolio career: pushed or pulled to it? Personnel Review, 27(6), 361-377.

Youth Music (2002). Creating a land with music: the work, education and training of professional musicians in the 21st Century. London: Youth Music. l Youth Music (2004). Retrieved October 10, 2005, from: www.youthmusic.org.uk/Endangered_ Species/about.html

This album was another of my Dad’s acquisitions and was my introduction to Urbie Green, in my opinion the greatest all-round trombonist ever. I remember being amazed by his beautiful sound all over the instrument, his naturally alluring vibrato and the consummate ease with which he played. To listen to him just makes you smile inside. This particular track includes a couple of phrases where Urbie moves around effortlessly in the high register, which inspired me to start working on my own high chops.

3 ‘She’s Funny That Way’ from ‘Out Of This World’ – Bob Brookmeyer with the Metropole Orchestra

I have always admired Bob Brookmeyer as a true improviser and a musician who has constantly developed and grown as the years have gone by. I particularly like to hear him play on a standard because if I know the chord sequence I can appreciate all the more how he is turning it on its head! The whole CD is full of wonderful improvising and great arrangements of standards by some of Europe’s finest writers, but this track is my favourite.

6 ‘Cherokee’ Nigel Hitchcock – The Snake Ranch Sessions

I have known Nigel since we were both in our early teens and he has always been an inspiration. Wonderful harmony, time, ideas and energy are just the start of it. He is the sort of player that is so dazzling you just have to smile, and this version of Cherokee is a perfect example of that. The rest of the band and the CD is terrific too, and listening to it is a joyful experience that reminds me to keep practising because there’s a long way to go!

 

4 ‘Summit Blues’ from Terry Gibbs Dream Band Vol 4

When it comes to swinging big bands it doesn’t get much better than this! The whole series of CDs are tremendous, but I have a soft spot for this one as it was the first of them I heard. The live recording captures the spirit and excitement of a bunch of great musicians obviously having a ball, and swinging like the clappers. This track is a lesson in time, ensemble playing and enjoying music!

5 ‘Emily’ from ‘The Third Stone’ – Jiggs Whigham with Bill Holman, Mel Lewis and the WDR Orchestra

This is another album that exudes quality and was a big influence on me. I have always been a huge fan of Bill Holman’s writing and of Mel Lewis’ drumming, and put together with Jiggs and the WDR orchestra, it could only be a winning combination. Johnny Mandel’s exquisite tune Emily is a favourite of mine, and Jiggs demonstrates that Urbie-like quality of making it all sound so effortless as well as being so thoughtful in his improvisation.

  

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FEATURES

FEATURES

Spotlight series

Interviews by Carol Jarvis

Carol Jarvis interviews Paul Milner

the RPO, BBC Symphony, BBC Scottish, RSNO, Bournemouth, Opera North and BBC Philharmonic. Thus Paul left college and did about two years’ worth of trials, “which gave me a fantastic amount of experience straight away,” and that’s when Paul got the Opera North job.

Paul’s always been a great person to talk to about the playing profession, but not surprisingly for such a talented and enthusiastic communicator, he’s also done lots of teaching in his time.

“Breathing seems to be the main thing I talk about. It seems to be the root of most problems. If you make your lips do all the work you’ll get tired more quickly.” He goes on to mention that whenever he gets a problem, “either a sore back or left shoulder problems,” then he’s found it’s been due to not drinking enough water too!

When I was asked to do a series of interviews with professional trombonists for the BTS, I decided a perfect place to start would be Paul Milner. Having just left the Orchestra of Opera North to take up the bass trombone position at the London Symphony Orchestra, it was a good excuse to be able to ask him some things that I’ve always wanted to know, but never got round to asking.

W

e met just before one of Paul’s last Opera North performances in Nottingham and firstly I wanted to congratulate Paul on his new achievement of being offered the bass trombone job in the LSO. “You must be over the moon?” I guessed.

“I’m absolutely delighted, it’s a dream come true. I’ve always dreamt of playing with the LSO let alone getting the job and that being my main job!” he replied.

Paul’s job at Opera North started 14 years ago and he has always been in demand with several other orchestras during this time.

He admitted over the past seven or eight years that one of his last ambitions on the bass trombone was to play with the LSO though.

When he was notified that he would have to audition for the LSO, Paul remembers worrying, but admits it made him do some practice! He decided to do a mock audition the week before for two of his colleagues (Rob Burtenshaw, 2nd tbn Opera North and Brian Kingsley, tuba Opera North).

“This was harder, in a way, because it meant standing up in front of two friends that I’ve sat next to for years,” Paul mentioned, “but good for me as I knew they would just say what they wanted to say.”

Paul’s always had an active musical life, right from an early age.

He was born in Edinburgh, lived there for 4 years, then moved to Fife and started tenor trombone when he was 7 years old.

“My brother played trumpet and I used to sit in the audience opposite a great euphonium player in my brother’s school brass band and that was when I got the ‘that’s what I want to do’ bug!”

But when it was time for Paul to learn he was steered away from the euphonium and given a trombone, “probably because there 10 | Spring 2008 | The Trombonist

“I love it all; I love playing everywhere and love playing everything that’s put in front of me! It’s music, it’s my hobby and I’m very lucky to be paid to carry out my hobby.”

are more opportunities on the trombone,” he guessed.

Paul recalls his local music service as being “brilliant.” He used to get a trombone lesson, piano lesson and singing lesson every week. Paul began on tenor trombone and his teacher back then was James Miller (bass trombonist), who taught Paul until he was 15, when he switched to bass trombone. It was at that point that James Miller then decided to send Paul to the Royal Scottish Academy of Music and Drama’s Junior School, which he attended for a couple of years and studied with the late Ian Murray.

Getting the basics right “I think it’s a good thing to start on tenor when you begin learning the trombone – it’s important to get a good technique before you swap to bass trombone, otherwise there are lots of areas of bass trombone playing that you never end up managing to achieve. The tenor trombone is a good bit of groundwork to have under your belt.” Paul practises this when he teaches too.

Youth orchestras in Fife kept Paul busy when he was young, but he remembers that he never made it into the National Youth Orchestra of Scotland! When he came to the end of school, he did auditions for most of the music conservatoires and decided on the Royal Northern College of Music in Manchester. Paul spent four years at the RNCM. “I was a naughty boy to begin with!” he admits, “but then everyone has to let their hair down at some point!” There was a shortage of bass trombones there at the time and Paul was asked to stay on to do a postgraduate course.

“I found this to be a great safety net, as it kept me blowing a lot before I’d managed to get enough freelance work.”

Several jobs then came up within the space of about two years:

Working as a section I was keen to find out who Paul’s influences have been and he said he’s never really had any; “I always wanted to be my own player and if people like it they like it, if they don’t, they don’t!” – A very confident outlook, which I respect a lot. “However, I’ve always asked the rest of the brass section if there’s anything that I can improve on, or anything that they do like, or don’t like and they’ve always been very honest with me. As far as I’m concerned sectional playing is simply about keeping everyone around you happy.”

Paul asked Dudley Bright (principal trombone) and Patrick Harrild (on tuba) exactly the same things whilst on trial at the LSO. They told him things like, “play that bit louder, that bit longer,” etc.

“Dudley as a first trombonist is just really amazing and such a nice bloke as well,” added Paul. “Jim Maynard on second is fantastic, and of course, Patrick on tuba. I already feel at home in the section. It’s so good to be in a section where you can say what you want (within reason!). It’s never meant horribly, but always in a constructive way”.

Often people I interview have favourite places they’ve performed, or pieces they love, and when asking Paul, he has a refreshing reply: “I love it all; I love playing everywhere and love playing everything that’s put in front of me! It’s music, it’s my hobby and I’m very lucky to be paid to carry out my hobby.” He continues, “Even when I’ve been doing an opera hundreds of times that the trombones don’t play much in, it’s still lovely to sit there and listen to the music.”

Recently with the LSO, Paul has done Romeo and Juliet and Mahler 5 – with Katy Jones (née Pryce) playing principal trombone; “she’s a stunning player,” says Paul. He’s also done a few LSO

Brass concerts – Paul loves chamber music; “It was a treat to be doing that kind of thing in the section, especially before Maurice Murphy retired – that was just fantastic!”

Paul and I used to sit next to each other in a section for quite a few years. I remembered finding out that he had two ambitions: one, to record a film soundtrack and two, to play with the LSO – both of which he has now completed. So, just before we both had to zoom off to tune up, I wanted to know what his next ambitions were in life now. “I want to have my family moved, my wife Zoë to be happy with a new job, and for us all to be happy with wherever we end up living and have a nice life,” he said. “Musically, I just want to keep my playing going well and keep everyone happy.”

Moving the family South Paul and his wife Zoë, and children Adam and Emily are going to move out towards Chelmsford, because his wife Zoë’s family are out that way. “Hopefully some teaching there or in London will come my way too, but the schedule is quite busy in the LSO. Emily and Zoë want to live in a pink cottage so I’ve got my work cut out trying to find one!!”

Bob Hughes, who has obviously now taken on the role of BTS President, will be sadly missed in the LSO, but it’s really good to know that the person taking over from him is an equally lovely person.

I hope Paul is now settling in well into his new job and on behalf of the BTS I would like to wish Paul all the best of luck. I’m sure we’ll be hearing many incredible stories, recordings and performances from him in the future.

The only last thing I forgot to ask Paul was “how on earth can he play with his tongue sticking out?!”

My next interview will be with session trombonist, composer and arranger Pete Beachill.

The Trombonist | Spring 2008 | 11

REVIEWS

REVIEWS

You, Me, and a Trumpet Denis Wick Publishing You, Me, and a Trumpet is a new and startlingly original addition to the busy world of music tutoring aids by London session musician Paul Mayes. Unusually, it is aimed at people who do not have access to a teacher, rather than as a complementary tool to assist the traditional learning process.

The CD-Rom format is obviously ideal with this goal in mind, as the sheer quantity of information that it contains way exceeds a manageable book. Herein lies Paul Mayes’s great triumph with this project: he has managed to marshal a vast quantity of practical, theoretical and musical insights in a brilliantly clear and logical way. Furthermore, he has achieved this with some exceptionally fresh and innovative ways of explaining the fundamentals of brass playing: the way in which he takes the student through embouchure formation in lesson 1, for example, is a masterpiece in uncluttered and logical thinking. Any scepticism one might possibly have about the concept of a teacherless tutor being attainable is immediately banished here: he covers the principles so thoroughly and from so many angles that I could feel my own chops improving as I read it!

12 | Spring 2008 | The Trombonist

every time you return to the main menu page the backing music starts again, even if you’ve turned it off previously, and whilst it’s obviously of high quality, it can start to grate.

I hope that this finds the market it deserves, and frankly at less than twenty quid it is a complete bargain when you consider the sheer quantity of work and thought that has gone into its production; it is an item of real class.

Amos Miller New Trombone Collective Etcetera KTC 1353

The basic ten lessons are augmented by plenty of enlightening extras, including video and audio footage of some virtuoso trumpet playing from Paul himself, as well as the tool enabling the printing of all the music contained in the lessons.

The navigation page is very clear, although my only tiny niggle being that

This is the third album of original trombone music from the enterprising young Dutch ensemble of 10 trombonists called New Trombone Collective. Since they were formed in 2001 they have been commissioning and attracting compositions, whilst promoting their own festivals and CDs to deliver performances. We hear the best of their most recent new pieces on “New”, and the standard of performance is just a good as the first CD, for which Dudley Bright praised fine playing and committed performance.

Bourgeois’ Osteoblast is perhaps the sequel to the classic Scherzo Funebre, only this time he makes particularly indulgent

use of the contrabass trombone and even more surreal diversions into jazzy styles from the funereal core.

A refreshing sound world is created in Martijn Padding’s And trees would sing, with cup-muted held notes, and word-like interjections: as if the trombones are able to converse.

Then begins an atonal Nyman-esque aria, sung by a tenor, in the style of an 1980’s New Romantic, which strays into trombone -like vowel sounds. It’s a really ingenious and most engaging 7 minutes.

A simple chorale and variations for organ by Jan Sweelinck becomes a most satisfying trombone quartet in an arrangement by Dutch bass trombonist Steven Verhelst. It is beautifully performed too and is a stark reminder of how ‘at home’ the trombone was in church music.

Ruud van Eeten’s Panorama for six trombones and organ is along similar lines to his popular Inner Space – Trance of Thought with interesting gestures and textures.

This time, though, he distributes the trombones into three choirs, and works the material antiphonally. The composer aims to “fill a church with beautiful sounds” and it must be tremendous to hear live.

The blockbuster finale is written by eminent jazz trombonist Mark Nightingale and he also features as soloist with the ensemble. It is 12-minutes of very stylish writing and playing as we have come to expect from Nightingale. It’s really hot stuff!

The breadth and quality of the music across the three CDs from the NTC is simply outstanding. Now that most of their titles have been published by Warwick Music, surely the all-too-familiar trombone choir concert padded with flimsy arrangements is now obsolete?

David Read BrassWork Book series www.brassworks-music.com Roger Harvey, currently co-Principal trombone of the BBC Symphony Orchestra and formerly of the Hallé Orchestra, Philip Jones Brass Ensemble and London Brass, has also been a teacher at Conservatoire level for many years. His BrassWorks series, consisting of a variety of study books as well as an array of witty and lively arrangements for ensembles of all sizes, is a valuable resource for all brass musicians, professional, student and amateur alike. It is therefore with a sense of keen anticipation that one approaches the latest addition to his BrassWorkBook series, which is a full-blown

British Trombone Society

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

Staff

trombone tutor.

Roger’s colleagues know him as a thoughtful, serious and thorough musician – though he has many more colourful attributes as well – and these important qualities are admirably displayed in his three-volume tutor book. The first volume, Techniques and Exercises, deals with the basics of playing; the second, Practise Routines, puts volume one into technical perspective, while the third, Studies, gives a musical context. It is aimed at the advanced (and advancing) trombone player and the exercises, embedded in a clear and helpful text, are the direct result of Roger’s own experience, first as a performer and then as a teacher.

Whilst some of the material is unsurprisingly similar to what may be found in other tutor books, much of it is strikingly original. I certainly don’t know any comparable work that demonstrates so much joinedup thinking, from first principles through to musical exercises.

The written explanations are throughout sensible, and the music that accompanies the text always relevant and often challenging. Particularly enjoyable is the conclusion to Practise Routines, where a selection of forty or so familiar melodies, ranging from Bach to the theme from The Good, the Bad and the Ugly, are pressed into service for their technical characteristics, whilst also being extremely good fun to play. The sub-text here, as in other passages in this impressive tutor, is that all the technique in the world is to no avail unless it is put at the service of music-making.

The books are not beyond criticism – for example, they are not particularly pretty to look at – but they provide an invaluable resource for the serious player. I find myself constantly dipping into them, and recommend other trombonists to do likewise.

David Purser

Membership Manager Derrick Parker 020 8144 6575 membership@britishtrombonesociety.org Webmaster Edward Solomon webmaster@britishtrombonesociety.org Web Associate Mike Saville webmaster2@britishtrombonesociety.org Advertising Matt Parry 07779 016164 advertising@britishtrombonesociety.org

The Trombonist Editor David Read 07812 080933, 40 Nutbrook St, London, SE15 4LE Acting Magazine Designer J Caro Reviews: Please send all material for review to the editor

Regional Representatives Scotland Chris Stearn 01360 860220, scotland@britishtrombonesociety.org Wales Mark Eager 01446 775126, wales@britishtrombonesociety.org North & Midlands Co-ordinator Andrew Berryman northmidlands@britishtrombonesociety.org North East & Yorkshire John Ingman 07947 134777, northeast@britishtrombonesociety.org North West Gareth Westwood 07756 105524, northwest@britishtrombonesociety.org East Midlands Peter Lacey 01543 414605, eastmidlands@britishtrombonesociety.org West Midlands Richard Walker 07787 112198, westmidlands@britishtrombonesociety.org Northern Ireland Stephen Cairns 02892 602646, northernireland@britishtrombonesociety.org Central South Phil Tarrant 01491 832109, centralsouth@britishtrombonesociety.org South Paul Coker 01428 609741, south@britishtrombonesociety.org South West Tony Evans 01752 263069, southwest@britishtrombonesociety.org East Anglia Ben Bouzan 07970 502509, eastanglia@britishtrombonesociety.org Brass Band Nick Hudson 01643 709250, brassband@britishtrombonesociety.org Young People Tony Boardman youngrep@britishtrombonesociety.org The Trombonist | Spring 2008 | 13

Editorial As has been mentioned in a letter to BTS members 17th December, as a result of views expressed at the recent AGM, the BTS Executive are working to make The Trombonist more substantial and I wanted to say a little more about this.

The first objective is to increase the length, which has related costs in design work and printing. I’m pleased to say that Matt Parry is working hard with finding advertisers, to provide funds for this and we have already started by increasing by four sides this issue.

Interestingly, there was also plenty of support for using the magazine for more substantial articles, and less for news and other things that go out of date quickly.

With only 3 or 4 issues in a year, we can’t be particularly up to date anyway, and for a large proportion of our members the news has already been read on the BTS website weeks before the magazine lands on the doormat!

So, as we get more space, I hope to provide more articles of depth and interest, more interviews and profiles (such as we

see from Carol Jarvis and Mark Nightingale) and we’re working towards peer-reviewed academic articles. We want The Trombonist to be more valuable when you pick it up in years to come, rather than a newspaper that quickly becomes out of date.

Please do get in touch with ideas for articles. Plus there must be plenty of members with interesting or knowledgable pieces which relate to trombones which you can share in the Trombonist. Please do drop me a line.

David Read

Diary Dates Fri 1 Feb Sun 3 Feb Thu 7 Feb Thu 7 Feb Sun 24 Feb Mon 25 Feb Tue 26 Feb Thu 28 Feb Thu 28 Feb Thu 28 Feb Mon 3 Mar Tue 4 Mar Thu 6 Mar Thu 13 Mar Wed 19 Mar Fri 4 Apr Thu 10 Apr Fri 11 Apr Sun 27 Apr Sun 4 May

London Northern Ireland Birmingham London London London London Harrogate Cardiff London London London London Manchester Cardiff Worcestershire London Kent Shropshire Warwick

RAM Trombone Choir Northern Ireland BTS Day Birmingham Conservatoire Chorus & Brass Ensemble RCM Brass Ensemble BTS/RAM Vienna Philharmonic Trombones day Ian Bousfield and Hans Ströcker masterclass Lucerne Chamber Brass Fine Arts Brass Lucerne Chamber Brass TCM Symphonic Brass, Rex Richardson, Oren Marshall Christian Jones masterclass Guildhall Brass Band RAM Symphonic Brass RNCM Brass Ensemble RWCMD & CCVG Brass Fine Arts Brass & Chase Brass Band BBC Singers and Onyx Brass BBC Singers and Onyx Brass Fine Arts Brass BTS Day, Warwick School

BTS People Carol Jarvis Originally from Newport Pagnell, Carol graduated from the RNCM in 2001 and went on to win the prestigious Royal Over-Seas League Competition with trombone quartet Bones Apart, which she ran and led for nine years.

Carol now leads a busy life freelancing in the UK in a particularly wide variety of styles. From trials with many of the country’s leading orchestras, Carol has also worked with artists such as Michael Bolton, Victoria Beckham, Atomic Kitten, Jamiroquai and Badly Drawn Boy, and can often be heard in the West End depping on many of the shows.

She complements her playing with teaching at Trinity College of Music, giving clinics worldwide and music journalism.

1pm Regent Hall, Oxford St 10.30am-4pm, Bann House, Portadown (see p3) 1pm, Adrian Boult Hall 7.30pm Royal College of Music Concert Hall All day, Royal Academy of Music (see p1) 2pm, Duke’s Hall, RAM 1.05pm, Old Royal Naval College Chapel, SE10 2pm workshop, 7.30pm concert, Ashville College 1pm, Weston Gallery, Royal Welsh College of Music & Drama 7.30pm, Blackheath Halls, SE3 2pm Durrington Room, Royal College of Music 1pm, Music Hall, Guildhall of Music & Drama 7.30pm, Duke’s Hall, Royal Academy of Music 1.15pm, Haden Freeman Concert Hall, Royal Northern College of Music 7.30pm, St Andrew’s and St Teilo’s 7.30pm, Malvern Forum Theatre 7.30pm, St. Bride’s Church, Fleet Street 7.30pm, Canterbury Cathedral 7.30pm, Shrewsbury Music Hall Check BTS website

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£11.99 David Read Since completing his MMus at the Guildhall School of Music & Drama, David has been busy freelancing as a trombonist in London, working with orchestras such as the Royal Philharmonic Orchestra and Southbank Sinfonia. As a soloist he performed the both the Buxton Orr and Nino Rota trombone concertos during 2007.

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Aside from performing, David teaches brass in a London school and is a freelance music journalist, writing for Classical Music, Music Teacher, Brass Band World, Brass Herald and, of course, The Trombonist.

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