The Trombonist - Spring 2014

spring 2014 £5.00

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trombonist

GLASTONBURY TWEED SENSATIONS The secret to The Old Dirty Brasstards’ success

Huge savings with the brand new BTS member benefits and discounts Behind the scenes touring with Robbie Williams and Olly Murs The Royal British Legion Youth Band push the boundaries Audition and trial advice from Donal Bannister

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aS shh mu te!

Welcome to the brand new BTS magazine

Design: Sian Nowley sian@hmca.co.uk The Trombonist is published quarterly

Contributors in this issue:

We’ll aim to stay as up-to-date as we can with your quarterly magazine, but also don’t forget to follow the BTS on Twitter @ britishtrombone and Like the BTS on Facebook for the latest news and dates for your diary all year round.

Regulars 6

Presidents Column

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members benefits

The best deals exclusively for our members

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A run down on the biggest events coming up in the next few months.

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news

From birthdays to Blue Peter badges, find out everything you need to know.

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hot off the press The biggest stories

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Jazz by jeremy

Jeremy’s take on Rhythm in Jazz

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Donal Bannister Paul Burton Matt Gee Pat Jackman Mike Kearsey Alison Keep Ross Learmonth Matt Lewis Simon Minshall Jeremy Price Jane Salmon Colin Sheen Mark Templeton Jiggs Whigham

Please note that all magazine advertising is now via our publisher, HMCA services. To enquire, or to place an advert please email advertising@britishtrombonesociety.org With best wishes, Carol & Simon drop us a line: editor@britishtrombonesociety.org

Johnpaul Wyndham

spotlights

Christian Jones shares his thoughts for this issue.

event reviews & previews

Sub-Editor: Peter Chester Publishing and Distribution: HMCA

Advertising: Andy Thomas advertising@britishtrombonesociety.org

The two of us are extremely pleased to have a fabulous new team to work with and we really hope you’ll enjoy the huge variety of articles, interviews, news and reviews that we’ve got for you so far.

contents

Editors: Carol Jarvis & Simon Minshall editor@britishtrombonesociety.org

Reviews Editor: Ross Learmonth reviews@britishtrombonesociety.org

The BTS committee have been extremely busy teaming up with a new publishing company, new designer, and after also revamping our editorial team, we think we’ve come up trumps!

spring 2014 the trombonist

The Trombonist Magazine

G&T

Matthew Gee and Mark Templeton share with us their selection of orchestral highlights for the trombone this spring.

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Dirty old brasstards Matt Lewis interviews the tweed-clad ensemble.

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skills focus: interpreting melodies

Jiggs Whigham imparts advice.

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rising stars

Djomi Tsate shines in year 6.

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whats on

Diary of the places to be in the next 3 months!

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Donal Bannister shares his tips for auditions

Gigs & CDs get the write-up!

that little bit extra

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BTS on the web

Getting the hand of the internet!

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60 second interview with Colin Sheen

On tour with Mike Kearsey and Paul Burton

fast talk

page 20

robbie and olly

page 24

reviews

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page 27

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going full circle

Pat Jackman chats with Sue Addison.

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The Royal British Legion Youth Band Brentwood

Profile on the acclaimed youth band.

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spring 2014 the trombonist

president’s column Welcome to your new-look magazine! I am delighted to welcome to the BTS, the design and publishing team from HMCA services.

Having spent months searching for a worthy successor to the British Bandsman, the Committee and I are hugely impressed with HMCA and the time they have taken to understand our needs as a society.

As President, an issue constantly in my mind is ensuring our funds go as far as possible.

While I am confident that our new publisher represents good value, I must ask everyone to double-check they are contributing at the correct annual rate. In October 2012 the Committee enacted a modest rise in the subscription level and still, dozens of members face losing out by underpaying. As well as producing this magazine and organising events, we are working hard to broaden the range of benefits available; a glance at page 12 and our website demonstrates the ever increasing value for money of our membership – please help us to spread the word!

Looking forward to our national day in March, we are thrilled to have so many famous names on board, including two who will receive awards from the ITA President, Jiggs Whigham. In a real coup for we Brits, Eric Crees (Principal trombone, ROH) topped the worldwide ballot to win the Neill Humfeld award; this honours Eric’s outstanding record as a teacher, both at the Guildhall School of Music and Drama and further afield. Meanwhile Roger Argente (RPO bass trombone) shares the ITA President’s award with George Roberts for their remarkable contributions to the advancement of the trombone.

Closer to home, I would like to thank everyone ‘behind the scenes’ at the BTS and especially Martha-Ann Brookes for putting together our West Midlands day on 9th February. Thanks also to Richard Debonnaire, who has stepped down having served as our Southern regional rep since 2011. Our new ‘man in the south’ is freelance tenor trombonist Matt Lewis – welcome!

As always, please keep in touch! Our Webmaster, Ed Solomon, does a great job of ensuring our website, Facebook page and Twitter feed are up to date; we are always happy to receive suggestions and accommodate anything trombone-related and newsworthy. Please also consider clicking the link on our homepage to register with easyfundraising.org.uk. It takes literally seconds to set up, after which the BTS receives a donation whenever you shop online – at no extra cost to you!

With best wishes,

British Trombone Society

www.britishtrombonesociety.org Honorary Patron: Gordon Campbell Committee President: Christian Jones president@britishtrombonesociety.org

Vice-President: vacant vicepresident@britishtrombonesociety.org Past-President: Carol Jarvis pastpresident@britishtrombonesociety.org Chair: Matt Gee chair@britishtrombonesociety.org Vice-Chair: Alison Keep alisonkeep@britishtrombonesociety.org Secretary: Geoff Wolmark 01377 202209 1-3 Church Street, Hutton, Driffield, Yorks, YO25 9PR secretary@britishtrombonesociety.org Treasurer: Simon Minshall treasurer@britishtrombonesociety.org Development Officers Stewart Drummond stewartdrummond@ britishtrombonesociety.org Mark Templeton marktempleton@britishtrombonesociety.org

Associate Webmaster: Mike Saville webmaster2@britishtrombonesociety.org Please submit news and events for the website to: Ross Learmonth news@britishtrombonesociety.org Representatives Scotland: Chris Stearn 01360 860220 scotland@britishtrombonesociety.org Wales: Jo Hirst 07729 144690 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 midlands@britishtrombonesociety.org West Midlands: Martha-Ann Brookes 07966 416198 westmidlands@britishtrombonesociety.org Northern Ireland: Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org South: Matt Lewis 07849 774777 south@britishtrombonesociety.org

Wessex: Bruce Harding 01202 880814 wessex@britishtrombonesociety.org

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Oundle BTS Trombone Day.

A couple of dozen trombonists arrived in the Great Hall of Oundle School on 6th October for the ninth Annual Trombone Day. The AGM was held at 12 noon and after lunch the massed blow was directed by BTS President, Christian Jones.

Webmaster: Edward Solomon 07903 152148 webmaster@britishtrombonesociety.org

East Anglia: Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org

president@britishtrombonesociety.org Christian Jones BTS on Facebook @CJones_BTS on Twitter

event reviews & Previews

Staff Membership Manager & Bookkeeper Chris Sowerby 01924 437359 membership@britishtrombonesociety.org 1 Ullswater Road, Dewsbury, WF12 7PH

South West: Tony Evans 01752 263069 southwest@britishtrombonesociety.org

Christian

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Brass Band: Paul Woodward 01924 823840 brassband@britishtrombonesociety.org Jazz: Jeremy Price jazz@britishtrombonesociety.org

Young People: James Howard 07906 392992 youngrep@britishtrombonesociety.org

First up was Oculi Omnium, by Charles Woods before Three Old English Dances, arranged by Alan Fernie, in which Dennis Rollins improvised.

The session ended with Christian playing a solo piece, Dance of the Delicate Sorrow, from Eric Culver’s Suite for Unaccompanied Bass Trombone.

After a break, Dennis coached all in the playing of Old Devil Moon, arranged by Derrick Parker.

As ever, Derrick was present with his Warwick Music stand and a large array of music and CDs for us to peruse.

Thanks go to Christian and Dennis and also to Ben Bouzan, for organising this regular event.

Bourton Bones open for Mnozil Brass.

“Bourton Bones” is a group of Trombonists that get together on a Sunday evening once a month, in the village of Bourton-on-Dunsmore, Warwickshire.

Bass trombonist Richard Buck had this to say: “24 trombone players came to King Henry VIII School, Coventry to be the warm-up act for Mnozil Brass. This time we had to play indoors because of the weather, in contrast to the last time Mnozil Brass came. Being indoors meant we played on the main stage. We thought we might be playing to only a handful of people, but slowly it became a full house!

Thanks to Derrick Parker for conducting and organising.”

National Trombone Day.

30th March 2014 Chethams’ School of Music Long Millgate, Manchester, M3 1SB Tickets: BTS Members: £10 Non-Members: £15 Students: £5 We are well on the way to putting the final polish to our National Trombone Day. There will be something for everyone, from masterclasses, recitals, coaching, demonstrations, workshops, showcases, the final of our inaugural Collegiate Trombone Choir Competition as well as a LIVE Google Hangout with our expert panel. Trade stands for all your trombone needs and a chance to mingle with all standards of players will be on offer. We are also putting on evening entertainment with the internationally acclaimed soloist Jiggs Whigham and all-star trombone group ‘Soul Tubes’ at the famous ‘Band On The Wall Jazz Club’. Tickets for the evening are available from Band On the Wall: bandonthewall.org.

BTS Members: £6 Non-Members: £12 For more information, please see page 26 and also the BTS website, Facebook and Twitter pages. Hope to see as many of you there as possible for what promises to be a great day!

International Trombone Week.

Anyone can take part in International Trombone Week. All you need to do is organise an event during the week of April 6-13 2014. ITW events have been held in more than a dozen countries and have included trombone days, live web streams, premieres, recitals, concerts, lectures, podcasts, a radio show and even a wedding!

The ITW committee have a collection of free downloadable trios, quartets and octets for your special event at www. trombone.net/itw so why not put something together, celebrate our instrument and let the ITW team know about it by emailing itw@trombone.net

Prozone Event 29th June.

Prozone Music Shop will be holding their Brass-Explosion at the Purcell School on the 29th June. These events are always great fun and the shop always provides fantastic guest artists.

Why not take advantage of your BTS member’s discount. The BTS will be present at the event so come and find us and say hello. More details can be found at: www.prozonemusic.com

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news Ian Bousfield Happy Birthday.

The BTS would like to wish Ian Bousfield a very happy 50th birthday. Ian has been at the top of the profession for over one quarter of a century. Past Principal trombone of the Halle Orchestra, the London Symphony Orchestra and the Vienna Philharmonic/Vienna State Opera – the first, and to date, only British member in the orchestra’s history. He has appeared as a soloist pretty much everywhere in the world, and as a clinician, it’s probably easier to mention the conservatories and festivals at which he has not appeared! Happy Birthday Ian!

Anything can happen at the Proms.

by Donal Bannister, Principal Trombone, BBCNOW The BBC National Orchestra of Wales has for years been providing the music for Doctor Who, and to celebrate its 50th Anniversary in 2013 we were part of a spectacular concert at the Proms. I had been asked if I would mind having an extra player in the section just for the main Doctor Who theme to be played at the end of the gig. It turned out to be Barney Harwood from BBC’s Blue Peter programme. His challenge was to learn to play the trombone in 10 weeks, and then play in a concert.

A week later, our General Manager Byron Jenkins embarrassed me in front of the whole orchestra by presenting me with my Blue Peter badge; in 8

recognition of the help I had given Barney. Cheers Barney!

artist in residence.

Trombone legend Christian Lindberg was announced as an Artist in Residence with the Royal Liverpool Philharmonic Orchestra for the 2013/2014 season.

Lindberg is particularly noted for expanding the trombone repertoire, in particular trombone concerti and his performances of contemporary works. In 2006, he estimated that over 25 years there had been 82 compositions written for him. One of these most notable works is Sandström’s Motorbike Concerto, which he gave the world premiere of.

He now combines his position as Chief Conductor of the Arctic Symphony Orchestra with conducting some of the world’s internationally renowned orchestras and working on composition commissions from orchestras, ensembles and instrumentalists from around the world.

During his residency, Lindberg will be involved in multiple concerts, talks, masterclasses and special events. He will also participate in the educational projects with In Harmony, and working with young musicians from the RLPO Youth Orchestra. Lindberg’s residency will run from 10-23 March with performances on Thursday 13 March, Sunday 16 March and Friday 21 March.

He will also appear conducting the Royal Liverpool Philharmonic Youth Orchestra on Sunday 23 March.

Go to www.liverpoolphil.com for more info and to book tickets.

RNCM plans for new Brass centre.

The Royal Northern College of Music have recently announced plans to open a

news brand new centre for brass, offering the highest standards of tuition alongside performance opportunities to students.

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IAN BOUSFIELD SERIES UNLOCKS THE TROMBONE CODE.

International trombone soloist Ian Bousfield is launching an exclusive series of coaching videos in partnership with specialist brass and woodwind publisher - Warwick Music.

Named after the College’s first Head of the School of Wind, Brass and Percussion, the Philip Jones Centre for Brass will be launched in September 2014 directed by the current head of department, Professor John Miller.

Talking about the development, John said “The RNCM has long enjoyed a unique position in the world of brass, and has produced outstanding alumni in all spheres of activity. The Philip Jones Centre for Brass will bring everything and everybody together and fulfil a vision, providing the very best opportunities in performance, study and research”.

The RNCM already offers exceptional opportunities for students to perform in the College’s various orchestras, bands, ensembles and groups alongside the chance to learn from world-class tutors, visiting professors and International Chairs.

RAth trombones work with WNO.

The trombone section of Welsh National Opera have been working with Mick Rath and his team at Rath Trombones.

The team says; “ We have been developing a range of instruments that would suit the diverse repertoire the WNO plays; early and late opera, and symphonic repertoire. Above all, the instruments need to feel enjoyable and satisfying to play, also able to produce a variety of sounds according to the demands of the modern day trombonist.

There will be more to come as we are still at the ‘work in progress’ stage!”

PRESS

OFF THE

Following the successful launch of Ian Bousfield’s range of trombone mouthpieces, the partnership is pleased to announce the launch of a new series of coaching videos: ‘Unlocking the Trombone Code’ which will be available on a new ‘pay per view’ scheme via online video site Vimeo.

congratulations to two of our Brits!

Each year, the International Trombone Association awards certain individuals who have made outstanding and lasting contributions in the world of trombone performance and education.

has recorded with many of the leading studio composers such as Jerry Goldsmith, John Williams, James Horner, Hans Zimmer and many more, working on such films as Gladiator, Harry Potter, The Lord of the Rings and James Bond.

We are delighted to announce that this year, the ITA President’s award has been presented to Roger Argente for his recording work and his services to the trombone community.

Each year the ITA also awards the Neil Humfeld award. This award recognises the trombone teaching of the late Neil Humfeld and honours living teachers who have achieved the highest level of excellence in their work. We are absolutely delighted to announce that this award has been bestowed upon our very own Eric Crees.

Roger was born in Neath, South Wales and started playing the trombone at

This innovative initiative is an example of the partnership’s parallel exertions to make music tuition more widely accessible. These videos are aimed at keen amateurs and students, showcasing specific techniques and tricks of the trade. Ian Bousfield explains: “Music is a craft and I want to share my years of study, research, even headscratching moments; these coaching videos are the perfect way to do that, they form the outlines of how I do what I do as a trombonist.

“We must never forget that our technique is the tool we use to express emotion in music. Approach music from a purely technically point of view and you miss the key elements of music composition.”

The series is available via Vimeo, or through www.ianbousfield.co.uk/video Matt Pope, sales and marketing director of Warwick Music said: “We are privileged to be working with Ian on this, his passion to instil the skills to perform is a credit to those learning to play the trombone.“

British Trombonists Triumph.

The BTS would like to extend our

t he ho t offess pr

the age of 12. He studied at the Royal Northern College of Music under Professors Terry Nagle and Neville Roberts and whilst there was a recipient of the prestigious concerto prize. Upon graduating, Roger joined the Bournemouth Symphony Orchestra in 1986 before moving to the Royal Philharmonic Orchestra where he currently holds the post of Principal Bass Trombone. He has appeared as a guest performer with a wide variety of orchestras and ensembles including the London Symphony Orchestra, the London Philharmonic Orchestra, BBC Symphony Orchestra and Royal Opera House Covent Garden to name a few. As a recording artist, he

Eric Crees was born in London and studied at Wandsworth School. As part of the famous boys’ choir, he worked with many distinguished professional orchestras and conductors. Whilst still at school, Eric was awarded a scholarship at the Guildhall School of Music and Drama and during his studies he spent a lot of time working with the Philip Jones Brass Ensemble. Eric was appointed Section Principal Trombone at the Royal Opera House, Covent Garden in September 2000 after having spent 27 years as Co-principal Trombone at the London Symphony Orchestra. As part of this illustrious orchestral career, Eric has performed on many of the most iconic film soundtracks, including the first four Star Wars films, Superman 1 and 2, Braveheart, Lord of the Rings, Harry Potter 1,2 and 3 and many more.

As well as being one of our leading orchestral trombonists, he has long been an internationally renowned teacher and is Professor of Trombone, B.Mus course tutor, Conductor of Wind Brass and Percussion and arranging and composition teacher at the Guildhall School of Music and Drama where he was made a fellow in 1991 for his services.

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jazz by jeremy

By Jeremy Price

rhythm in jazz

does it swin g?

Eskimos use lots of different words for snow, which is said to indicate how important snow is to their daily lives. Jazz musicians use lots of words for rhythm. Time, feel, groove, beat, pulse, syncopation and of course ‘swing’ to name but a few. In a Big Band rehearsal, a great deal of attention is given to achieving some sort of collective phrasing that all hooks up with the rhythm section. (Hook-up, there’s another word!)

The first objective of any bass and drum partnership is the hook-up, in other words the way that the ride cymbal, hi-hat and snare comping connect with the pizzicato articulation of the bass. In any playing situation for frontline instruments, such as trumpet, trombone or saxophone, it is imperative that we do not disturb this hook-up with poor time-feel. In fact we must contribute to it and not burden the rhythm section with being the metronome for the band. So you have to learn how to swing, and incorporate work on your own time-feel into your practice.

So what is this elusive thing called ‘swing’?

Louis Armstrong said that if you have to ask, you’ll never know. (Or was that Jazz itself?) We all know “It don’t mean a thing unless it ain’t got that swing”, but what is it? Luckily it’s a term that defies a clear verbal definition, confirming that music is a language in its own right. Basie swings. J.J. Johnson swings. Elvin Jones, Tony Williams, Roy Haynes all swing like the clappers. Go and have a listen!

Although I can’t pinpoint exactly what swing is, I can share a few observations and give a couple of practice ideas to try and make this directly relevant to trombone players.

As trombonists, we spend a huge amount of time with studies such as those by Lafosse, Kopprasch, etc. If you are on a big regime of these tomes of wisdom, don’t stop – they are the only way to tame the wild beast that is the slide trombone. But have a mind to what they are trying to achieve for you. Uniformity

of articulation, correct note length and evenness of tone across the range feature large on priorities, as does a seamless legato aimed at creating the illusion that there is no slide. All good stuff and please don’t think I’m advocating not practicing this.

By way of a contrast, listen to the sound of jazz phrasing and the feel of swing. Accents leap out at you in unusual places; articulation is hugely varied even within small phrase structures; variation of tone colour across the range is exaggerated and the slide is used in every way possible to indulge in the idiosyncrasies of the instrument. A personal approach to sound and technique is encouraged and expected in Jazz and an orthodox and pedantic approach is shunned.

So where does this dichotomy leave us? If you improvise or play in a Big Band with exactly the same approach as your studies, it will be far from swinging. If you don’t practice your studies, you’ll have little stamina, no dynamic control, poor breathing, and end up being a one trick pony with no gigs. The answer, of course, is that you have to be good at both. The advice on the studies is deeply embedded in our trombone culture, so I don’t need to say anymore on that.

For Jazz, think of ‘swing feel’ like an accent you want to copy.

If it were an accent, you would listen to the nuance of every vowel sound and consonant. Do the same with music - listen to the melodic shapes, the prosody in the poem, its rhythm, stresses and intonation. Mimic it at first, but then aim to pass yourself off as a native. Listen intently to the time-feel you are generating and ask yourself if it feels good, if it grooves, if it has a good hook-up – does it swing? Vocalise to records and find suitable scat syllables so you get to enjoy all that variety in the phrasing of jazz. Stay loose, hang out, go to a jam session, throw out your ironic Christmas jumper and buy an eccentric hat from Oxfam, if it helps! www.conservatoire.bcu.ac.uk/profiles/jeremy-price 11

spring 2014 the trombonist

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member discounts

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The British Trombone Society has teamed up with lots of companies to bring you even more value for your membership fee.

See your new offers below, including discounts on musical instrument insurance, sheet music, instrument repairs & servicing, financial advice, hearing protection, accessories, professionally made websites, professional photo shoots. Remember, these discounts are exclusive deals for BTS members only, and there are more discounts coming soon too. Enjoy!

PENNInk Productions is an award-winning company specialising in website design and social media. A free initial 1-hour consultation is offered to any BTS member considering a website purchase or social media management package, as well as a 10% discount on services.

Please quote your BTS membership number to qualify.

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£

disc 50 oun t

* A great picture screams success! The BTS has teamed up with image 1st

photography in London to

offer you a generous discount worth £50.

Professional photography and music have always complimented each other and with the right guidance can inspire more people to connect with you. Check out the image 1st team by visiting www.image1st.co.uk.

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For offers marked with * please visit the members-only section of the BTS website to find out how to obtain your discount.

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specialist musical instrument insurer.

With over 50 years experience we have developed our policies to meet the specific requirements of musicians and the music industry. SPECIAL OFFER: We’re offering members of the British Trombone Society 15% discount on new policies. Call us on 0800 980 6139 and state your membership number.

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WARWICK

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Allianz Musical Insurance is the UK’s leading

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* Warwick Music is delighted to offer British Trombone Society members a 10% discount on all Warwick Music publications purchased from Warwick Music.

Warwick Music offers a wide and unique selection of publications, not only leading in music for trombone but also works for brass and wind.

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Michael Rath trombones would like to offer all

*

members of the British Trombone Society a discount of 15% on all trombone repairs and servicing.

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* Prozone: Leading retailer Prozone Music is delighted to offer a 10% BTS discount on online orders and on selected instruments in store. Visit the members only area of the BTS website to obtain your exclusive online discount code and for terms and conditions.

* David Carnac and Co are Independent Mortgage Advisers. We are happy to offer new clients who are BTS members a 15% discount on all client fees.

For more details see www.davidcarnac. co.uk. Contact us on 020 83438629. Your home may be repossessed if you do not keep up repayments on your mortgage. We normally charge a fee for mortgage advice, however, this will be dependent on your circumstances.

Our typical fee is £445.

At Platinum One Designs we offer a professional service with a very personal touch! We have clients all around the world from Los Angeles, Hong Kong, New York & London. We design websites, logos or anything you require; just ask.

As a member you will receive 10% discount off any new design. Just quote your BTS membership number when getting in touch. www.platinumonedesigns.com

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disc0% oun t * Hearing ReSolutions is proud to be associated with the BTS. The message to protect your hearing when exposed to loud noise cannot be over-stressed.

Our ranges of custom made hearing protection products, together with ER and many ITE monitors have great reputations within the music fraternity…we are here to help you! 10% discount on RRP’s for protection products. We can often test hearing and help with hearing aids. Contact: Gerry Marsden Hearing ReSolutions 01204 655530 or hearing@hearing.co.uk

* Morrison Ward Associates are specialist mortgage advisers dealing with all UK lenders. Our role is to advise you on the many exclusive products we can offer and provide a tailor made solution to buying properties. We are particularly experienced in working with musicians. We manage the whole process from start to finish, dealing with the lender, solicitor, surveyor and estate agent in order to coordinate everything on your behalf. We also advise on related insurance products. Contact us on 0208 878 8349

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by Matthew Gee & Mark Templeton

MT

MG

MT: Hooray. Spring is nearly with us.

Banish those winter blues by reaching for a nice, well balanced G&T, served with the usual ingredients and some nuts on the periphery. Matt’s picks first I think.

MG: Thanks Mark. Here are my choices.

CBSO Brahms: Tragic Overture Rimsky-Korsakov: Scheherazade May 1, Symphony Hall, Birmingham, 2.15pm. Expect lovely, delicate, phrasing in the Brahms, an altogether weightier section sound in the Rimsky-Korsakov, and even a moment in the sun for the second trombone. www.cbso.co.uk

extremes of the trombone, from its beautiful section blend in the ‘Hovis chorale’ to its thunderous statement of the theme in the final movement! www.rsno.org.uk Scottish Opera Puccini: Turandot 30 March, Usher Hall, Edinburgh, 4pm A rare inclusion for Scottish Opera, as they perform a one-off concert performance of Puccini’s final opera. It is wonderful music, with plenty to do for the trombones.

Being on stage you’ll finally get to see them sweat! www.scottishopera.org.uk RLPO Christian Lindberg Series. 13, 16 and 21 March, Liverpool Philharmonic Hall.

Christian is now an artist in residence with the RLPO. He conducts, composes and for two concerts will perform as soloist. A quite extraordinary performer, his concerts are not to be missed. www.liverpoolphil.com MT: Thanks Matt. Now for my southern roundup.

Hallé Bizet: L’Arlésienne Suite Respighi: The Fountains of Rome April 29, Assembly Rooms, Derby, 7.30pm L’Arlésienne is often taken for granted, but it is difficult to play at top volume and physically demanding. Keep an eye out to see if it gets carved up between the tenor players. The Respighi is simply awesome! The trombones really bring the excitement to the party. www.halle.co.uk RSNO Dvorák: Symphony No. 9, from the ‘New World’ May 1, Caird Hall, Dundee, 7.30pm. Also performances in Edinburgh and Glasgow. The music from the Hovis advert! You will hear both 14

Philharmonia Strauss: Alpine Symphony & Also Sprach Zarathustra March 20, Royal Festival Hall, London, 7.30pm I know Also Sprach has cropped up before in G&T but I think it’s always worth it. Alpine Symphony isn’t played as much but has some equally expansive moments. Listen out for a bit of offstage action too. www.philharmonia.co.uk LSO Mahler: Symphony No.7 April 27, Barbican Hall, London, 7.30 Great euphonium solos in the first movement and melodies all round in this curious offering from Mahler. The over 35s will recognise the Castrol GTX advert in Night Music. www.lso.co.uk

Bournemouth Symphony Orchestra Brahms: Symphonies 1 & 2 May 7, Lighthouse, Poole, 7.30pm To sit through movements 1,2 & 3 of Brahms’ First Symphony is a joy. The trick is to keep that joy when faced with a conductor inviting you to suck rather than blow the chorale in the final movement. Brahms’ Second has a bit more meat on the bones. www.bsolive.com

That Little Bit Extra

by Donal Bannister

LPO Rimsky-Korsakov: Russian Easter Overture Tchaikovsky: Symphony No.6 April 25, Royal Festival Hall, 7.30pm Another 2nd trombone solo from Rimsky-Korsakov. All the weapons are needed in the Tchaikovsky, as the final movement goes from cataclysmic ff to the most beautiful and tragic chorales in the repertoire. www.lpo.org.uk ENO Ades: Powder Her Face April 2- April 19, 7.30pm/6.30pm Curve ball this one. Not an opera for the musically faint-hearted. As I recall, the trombone part starts on a top G# in ff, flits up to C# then pumps out some pedals. It goes on in that manner for 63 pages. One of the trickiest parts in the repertoire but quite fun too. www.eno.org That’s it until the summer and then we have the Proms to look forward to. We hope you have as much fun hearing some of these works as we have playing them.

Follow Matt at www.matthewgee.info and Mark on Twitter @mbonetempleton

Since joining the BBC National Orchestra of Wales in 2007 all the other low brass positions have been vacant in succession, (2nd trombone twice!). I could take this personally, but all have been for the best of reasons. Second was vacant when I arrived, and after due process we appointed Arlene MacFarlane. The banter in the section immediately took on a certain Scottish grittiness! Bass trombone Rob Goodhew decided that it was time for a career change, and after two years’ study he is now a social worker - a great achievement.

He has been replaced by the heavy artillery of Darren Smith, formerly of the Grenadier Guards. Then, sadly, Nigel Seaman, our tuba player, a great character and a wonderful musician, had to retire on health grounds, after 33 years service. Our new tuba player is Dan Trodden, who even though Welsh through and through, has come to us via an extended tour to Planet Zog! Job done.... or so I thought. Arlene resigned after the birth of her daughter and returned to Scotland to be with her partner Matthew, where she is busy teaching and freelancing.

So off we went with auditions and trials once more. I’m delighted that Phil Goodwin has now accepted the job and will bring a new level-headedness to the section. Phew!

heard some wonderful playing, I’ve on occasion been puzzled by what sometimes seemed to be an odd sense of priorities in the candidates. So, I thought it might be helpful to go through the audition and trial process, setting out some ideas on what an orchestra might be looking for, and how to prepare. My remarks are perhaps mostly applicable to section positions rather than principal.

The Audition

Auditions are horrible. Few of us enjoy being under the close scrutiny of fellow players, and many auditions are sadly destroyed by nerves. Remember that the panel find observing someone fall apart from nerves horrific; it’s excruciating to witness. We want to enjoy your playing and genuinely wish you well, so don’t be nervous and remember that we’ve all been there. If it goes badly, there’s no need to be embarrassed.

After all, nobody got hurt and we sympathize.

‘Chalk it up to experience’

So, in recent years I have listened to hundreds of auditions and dozens of trials. Whilst the process is fascinating, I have never felt comfortable being in a position of judgment over other players.

Only one can have the job, so lots of superb players will be disappointed.

What are we looking for? It has become customary to set a specific solo piece, and a list of orchestral excerpts that everyone should prepare. I have always chosen not to do this. If the solo piece is a candidates’ own choice then it will hopefully be something they like, and will bring out their own personality, (and we don’t have to listen to 75 renditions of the David Concertino, Alleluia!). Remember, when choosing your piece, virtuosity is pointless if it doesn’t display any musical qualities.

Like most, I have strong musical opinions and whilst we’ve

Continues on the following page.

‘auditions are horrible’

15

Photography courtesy of Geraint Tellem

Photography courtesy of Betina Skovbro

G&T

Matthew Gee from the RPO and Mark Templeton from the LPO share with us their selection of orchestral highlights for the trombone this spring.

es talo fr em its p h t

spring 2014 the trombonist

That little bit extra continued...

We then ask for a variety of standard orchestral excerpts. If someone is clearly unfamiliar with Brahms’ Second Symphony for example, then it suggests a lazy attitude or disinterest in the music. If your interest is primarily in the instrument before the music, then you are always going to struggle with the wide variety of styles encountered in modern orchestral life. The instrument is your access to the music, and as such is just a piece of equipment. Arm yourself with as much knowledge as possible.

everything well in advance; no nasty surprises. However, every orchestra and every section is unique, with its own atmosphere and way of working. You have to strike a tricky balance between being yourself, and fitting in. You must observe quickly such things as how much chat or banter there is in rehearsals, or, do they work in concentrated silence? Do they spend breaks together, and do they socialize after work? Hint: don’t buy all the coffees/drinks, but also don’t suffer from ‘my-round-a-phobia’!

‘Only one can have the job, so lots of superb players will be disappointed’

Most important of course is to fit in musically. Some principals issue detailed instructions on how they want the section to play. Others prefer to leave it to a sort of osmosis, only saying something when there is a problem that hasn’t sorted itself out naturally. So you must observe such things as note lengths, articulation, phrasing, volume, sound quality, i.e. all the tiny details that aren’t necessarily written into the music, and blend.

Don’t be afraid to ask questions whilst avoiding the bleeding obvious.

Perhaps more than any of the other wind and brass sections, the low brass work as a team and extended solos are rare even for first trombone. Add in the fact that everything we play is clearly heard, and it becomes obvious that we must play in tune, with rhythmic discipline, and with stylistic unity. If one player plays with great flair, but sloppily, then the section will sound a mess. So, practise with a metronome, and at various tempi. Practise chordal excerpts with others to check intonation, observing how the pitch of a note can vary according to context: e.g. C in an F major chord will not be the same as C in an Ab major chord.

Be prepared to vary the way you play. If the panel asks you to play something a second time in a different way, it isn’t necessarily that the first time was wrong, but they want to know you can be flexible and adaptable.

All of the BBC orchestras play a good lot of new music and sometimes TV soundtracks, so we may also spring some genuine sight reading in the audition. The new music can sometimes be difficult to the point of impossible, so the art of bluff may be necessary. The soundtrack charts are rarely so difficult, but are never available prior to the recording session, so sight reading is very much part of the job. Being able to cope under some pressure is essential.

Having said go for accuracy, you don’t necessarily have to play in a conventional manner. In a true solo such as Tuba Mirum from Mozart’s Requiem, think it out for yourself, and if you have good reason to, play it differently to the norm. I think in our section at the BBCNOW, we have four strong musical personalities, and we benefit from that.

The Trial

At first, your trial will seem an easier prospect than the audition. You’re booked for a week or two and can prepare

16

Advice to young players: Beware the bullying conductor who notices the new face and like an alpha male, decides to assert his (or her!) authority. Don’t be arrogant or confrontational, but be prepared to quietly stand your ground against this sort of idiocy, and the principal player will always back you up. I was very impressed with Arlene on her trial. A conductor attempted to intimidate her into playing the little 2nd trombone solos in the Janacek Sinfonietta in a way that was contrary to the way they are written. She was having none of it, played them as written, and very beautifully.

Please don’t be tempted to indulge in competitive practice or warming up; there is nothing more irritating. It is an achievement to get a trial, we know you are a good player and you don’t need to constantly prove it. The best thing is to simply knuckle down to the job in hand, and be good company with it.

Finally, the process of listening to all these auditions and trials has been genuinely humbling. I am astonished at how many dedicated, hard working, outstanding players there are, and I feel fortunate to be in a job. It’s been great to meet so many good players and to be reassured that the low brass world is still very much one of good humour, good will and mutual support.

Now can Phil, Darren and Dan please stay put until after I retire?!

Hear Donal talk about Mahler’s Symphony No.3 on the BBC: www.bbc.co.uk/programmes/p00b98n5

Tales from “A trombonist The pits at sea” Life as an ocean-going musician aboard The Queenie had its perks and its pitfalls; no rush-hour to contend with, short and regular gigs, and colleagues who were closer than family (and much more amusing!)

dining room. Furtively peering through the windows he was dismayed to see a sizeable queue of Americans waiting for breakfast. Sinking a little, sighing, and leaving his dignity in the wet trail of shame that followed him, he opened the doors.

A few feet in and a hush descended, as all eyes turned to the progression of this bedraggled young man. Eamon held his head high and kept his eyes on the prize, the exit sign, whilst focusing on the next problem: where in the mid-Atlantic could he get some black trousers for the evening show?

A couple of months into the tour, the splendour of the ballroom and the tangle of dancers legs had worn a bit thin for renowned trombonist, Eamon Miss. He descended into ship’s ‘Club de Fromage’, hoping to meet a woman impressed with his foreign accent and northern prowess (he had, after all, once led the UK’s greatest brass band to victory at the Nationals). Giving his dancing the same meticulous, repetitive attention he gave to learning an awkward excerpt, Eamon eventually attracted the attention of a charming Canadian lady, Ms Newfoundland.

Keen to pioneer new territories, it wasn’t long before the bubbles were ordered, and whilst humming ‘Oooh What a Little Moonlight Can Do’ Eamon moved into operation romance.

Whilst exploring the poop deck, they discovered some hot tubs conveniently tucked behind a ‘No Entry’ sign. Not one to miss an opportunity, or to take too much notice of notation, Eamon whipped off his work shirt and black trousers. He casually tossed these over the offending sign, and plunged the depths with his Canadian companion. Eamon was beginning to think he might be breaking new ground in international relations.

Fate, however, thought otherwise. A gust of wind caught the leg of his trousers, twirling them in the early dawn, before unceremoniously hurling them into the sea. Uncontrollable giggles overcame Miss Newfoundland and without a backward glance she exited the hot tub, pulled on her clothes, and disappeared.

Eamon Miss watched the sun come up, sighed, and contemplated his predicament. There was but one choice, the walk of shame. Hoping most punters would be asleep, it was after all their holiday, he gingerly levered himself from the tub.

Glancing down he was dismayed to find his once white boxer shorts were now see-through. Horrified, but believing his nautical escapades could get no worse, he put on his game-face and attempted to strategically position the surviving clothing – his shoes – over his pecker.

There was one way to his cabin, and that was through the

This column is penned by Dr. A. G-Sharp, and provides real life adaptations of tall tales and humorous perspectives on the musical profession, it is in no way intended as considered career advice.

If you would like to contribute a real-life tale of triumph, turbulence, naughtiness, or woe please email contributions to editor@britishtrobonesociety.org, include an outlines of events (<500words). Embellishments will occur. Anonymity is guaranteed.

Chris: Ha, we put it back in fashion!

Dickie: We wanted to get away from your typical concert dress and go with something eye catching and fashionable at the same time.

Chris: It’s also quite typically British, which we thought

OLD DIRTY BRASSTARDS With the brass band scene booming, I took some time to catch up with the chaps from the Old Dirty Brasstards. Having had a very successful first year in the business I was extremely excited to find out what they have been up to and what their plans are for the future. Chris Smith and Dickie Turner met me to give me an insight to life in the most popular new band in town.

Hi guys, thanks for taking the time to have a chat with me for the BTS. Whose idea was the ‘Brasstards’ and how did it all start?

Chris: I was at Glastonbury in 2010 and saw a New Orleans’ style band doing a really energetic set and I thought it would be a great idea to try something similar with all the chaps I am friends with.

Dickie: Chris approached me with the idea. Two year’s

worth of pub banter and I thought, a little less conversation a little more action, so I got started on the arranging.

Chris: Yeah, if it wasn’t for Dickie being so proactive we wouldn’t have got it off the ground. We decided it would be best to have at least eight arrangements before we had the first rehearsal.

So the idea was in place, how did you choose the band members?

Dickie: It was simple really, I just chose from our mates

and considered who would be good for the different roles that would be needed in the group.

18

Chris: We came up with a small phrase to use about the recruitment policy, but it’s a bit too rude to mention in this fine upstanding publication.

audiences, varying from the festival crowds to busy bars, music venues, and even your sleepy (not for long) Sunday pub crowd. The response from all of them has been great, people dancing and singing along.

would distance us from some of the American groups like Hypnotic Brass who have quite a Hip-hop kind of look to their image.

Chris:: Yes, for example, the gig we did down in Forest Hill in The Hob Pub and the crowds at Camden’s venue, Koko have both been amazing. People really just let themselves go.

So when it comes to the gigs, what music do you play and who does all the arrangements?

You’ve had a busy summer at festivals, where have you been and how was it?

Chris: Good catchy pop arrangements. We wanted the

by Matt Lewis

Dickie: We’ve been lucky to play to a lot of different

audience to identify immediately with the music we play, just so they have a great time singing or dancing along.

Dickie: We both do some arranging and are very lucky to

have talented arrangers dotted around the group. Dan West, Seb Philpott, Cai Isfryn, Dickie Evans and Dave Hopkin all just came forward with lots of great tunes for us to play, without us asking (thanks lads!).

You must be loving the way this kind of brass band scene is on the up. What is it that stands ‘Brassstards’ out from the crowd?

Chris: Brass music does seem to be quite ‘in vogue’ at

the moment. All the groups out there have their own angle, whether that is a take on the New Orleans’ style line-up, using saxophones and marching percussion, or more like our set-up, which is rooted in a more symphonic brass ensemble template, just without the french horns. We also use small bore trombones to give us a pop horn section sound, which is also useful to balance up with the trumpets.

Dickie: We have been described as a brass jukebox, churning out pop classics. Other groups have their own angle on what kind of material they do, for example, Badass Brass are very jazz-orientated in what they do, and may I say they do it extremely well!

I’ve been to a couple of your gigs and I must say you have the ability to get any crowd dancing. For the readers, who makes up your audiences? Do you think they are responsive?

Chris: We are incredibly happy to say that our first-ever festival appearance was at Glastonbury. It was a brilliant weekend, hard work but very much worth it. From there we went on to perform at other festivals - Latitude, Secret Garden Party and Bestival - where we got to meet lots of other great bands and performers. Meeting Bill Bailey at Latitude was a particular highlight for me, especially when he said that he had really enjoyed seeing us perform the previous night!

It’s been an unbelievably exciting year, what’s next for the band?

Dickie: Hopefully our second year will see us collaborating with other artists, mainly vocalists. We’ve had interest from performers who are already established and we are also in the process of setting up a meeting with a small record label, which is nice.

Chris: The first year has definitely flown by, and we have gone above and beyond our expectations. There are already some exciting things in the pipeline and I would love to take the Band out on a small tour, and maybe see about spreading the tweed love further a field into other countries. It’s been great so far, here’s to 2014 being even better. It’s been great to chat with you Matt, keep it Dirty BTS! Thanks for giving up your time guys. I look forward to coming to hear the Band again. I for one love your gigs and urge everyone to check you out. All the best for the future!

Hear the guys and watch their videos here: www.olddirtybrasstards.co.uk

Who’s in the trombone section?

Chris: Myself, Dickie, Dan West and Rob Collinson on bass trombone. And then we have had Barney Philpott, Billy Yates, Eoghan Kelly, Iain Maxwell, Simon Minshall and Ross Brenan who all come in to dep regularly. We are all freelancing in London at the moment, with some of the lads currently or having been on trial with orchestras around the country.

Did you all study together?

Dickie: Chris and I met at the Royal Academy of Music,

where I also met other members of the group like David Geoghegan, Dan West, and Rob Collinson. Others we met working together came from the Royal College, Guildhall, Trinity and even the Royal Northern.

From your photos we see your uniform-the tweed... Could you possibly have foreseen it coming back into fashion?

19

LS SKIL S FOCU

spring 2014 the trombonist

Interpreting BTS on the web! melodies

BY Jiggs Whigham

In art and music, no real recipes truly exist, therefore only suggestions may be considered.

The first suggestion (and this comes the closest to a recipe - perhaps even dogma!) comes from the great Duke Ellington.

Duke said that the most important task for a musician is to LISTEN! Pablo Picasso suggested that “the good borrow - the great steal”. These thoughts make a great deal of sense to me.

Being a ‘self taught’ trombonist (aren’t we all, somehow?!), I learned by attempting to copy the greats. The list below is rather long but here are a few of my personal mentors: Tommy Dorsey, Jack Teagarden, Lawrence Brown, Urbie Green, Dick Nash, Buddy Morrow, Murray McEachern, Al Grey, Don Lusher, Ben Webster, Lester Young, Stan Getz, Bobby Hackett, Harry James, Billy Butterfield, Enrico Caruso, Frank Sinatra, Ella Fitzgerald, Tony Bennett, and Bill Evans. Please note that the trombonists mentioned are not only great players but all are great interpreters of melody…and each in their own very personal manner! Please also note that each individual mentioned ‘sings’ - regardless of the instrument or style, and produces a wonderful SOUND!!! Oh, by the way - all these artists BREATH freely and efficiently!!

I find these days many of these attributes and priorities sadly lacking in the approach of some players. Technique, facility, and hipness seem to be the flavour of the month. Mind you, all of those are certainly important and valuable, but SOUND and STYLE must not be overlooked!

20

‘Listen & Copy’ ‘The good borrow – the great steal!’

So, here are a few tips:

1) Listen and copy…and I mean REALLY listen and REALLY copy! Focus on one of your favourites and observe the artist’s musical personalities (for example, what kind of vibrato...slide or jaw… fast or slow?) - the approach to tonguing, phrasing, personal style, nuance, and so on. Attempt to comprehend and digest the artist’s playing and singing over and over and over and over and (well, you must get it by now!) This process is extremely important and WILL TAKE TIME AND EFFORT! But this effort will pay off.

2) As each artist has a unique style focus on only one at a time! Really try to get all the ‘juice’ out of each artist.

3) Internalize, reproduce, and be patient.

Insistent dedication and investment is well worth the energy and time invested.

4) Remember the basics! Good time and pulse, good intonation, breath support, relaxed slide technique, and so on.

5) Although your efforts may appear to be hard and perhaps even tedious work, be in the moment and ENJOY THE RIDE! 6) Multitasking has advantages. While practicing and comprehending these concepts, attempt to interject your own personality into your own playing.

I’m convinced that with some perseverance, you’ll observe that your playing will develop beautifully!

With thanks and warm regards, Jiggs Catch Jiggs at the National Trombone Day on 30th March. See page 33 for more information,

The British Trombone Society is forever expanding and now there are even more ways to keep up-to-date with the latest trombone news.

Highlights from the @ britishtrombone Twitte r feed of over 800 followers:

RBL Brentwo

od Band (@brentwood_ba nd) A trombonist from the RBL Youth Band Bren twood #MusicForAll @trombonewee k @britishtrombone @ YamahaWinds @ IMMSUK pic.twitter.c om/ltieugslaQ

News, dates for your diary and general updates will be streamed, not only from our top class website, but from the BTS Facebook and Twitter pages, so why not follow and like the pages to make sure you don’t miss out on what’s going on.

On the Facebook page you can post your own trombone news, participate in discussions, meet other trombonists and comment on the latest items. All BTS days and dates will be communicated through these pages so you will never miss out on news about your local event.

You can also subscribe to the BTS YouTube Channel, which is just up and running, and which will feature some treats coming soon, including the first ever LIVE BTS broadcast on 30th March (see the BTS Facebook and Twitter for more info).

How to join in:

On the web:

www.britishtrombonesociety.org

On Facebook:

www.facebook.com/britishtrombonesociety

On Twitter:

www.twitter.com/britishtrombone

On YouTube:

www.youtube.com/BritishTrombone

Jane Olivia Salmo n (@

janesalmon) @britishtrombone hello . please could you RT our Trombone Quartet event? 31st Jan uary, 1pm @RegentHall SA - thank you! www.facebook.com/ev ents/13777546357973 65

Guildhall Scho

ol (@guildhallschool) Congratulations to tromb one professor Peter Ga ne for his ‘outstanding contributio n’ award from @britis htrombone! bit. ly/17hipta YCAT (@YCATrust) @britishtrombone Than

k you for spreading the

Warmahorn (@Warm ahorn)

word!

@britishtrombone guess what’s inside the parce l?? What a surprise pic.twitter.com/bkygzw Sls5

John

Barber (@Johntrom75) Great performance by @RNCMvoice trombon es for the recording tonight for @ britishtrombone sounde d fantastic - so impressed!!

RBL Brentw

ood Band (@brentwood_ band) Great to see one of our trombone players being used for fanfares in the nativity ! @britishtrombone @ StJBillericay pic. twitter.com/5MzW0QuO rS

Simon

Anker (@sjanker) “@britishtrombone: Th e Trombone meets the Bumblebee!

Thanks @stevehaynest bn for the link: youtu.be /kGgUK2ssqA” brilliant!!

Ba

d Ass Brass (@BadAssB rassUK) @britishtrombone How about a RT for our upco ming tour? We are going all over the UK with our brand new Li ve Album. pic. twitter.com/6V4Mmm twyR

Nick Jones (@nickjone stbn)

After a hiatus of aroun d twelve years I’ve fin ally got round to re-joining the @britishtr ombone society. No tal king mouthpieces please…

21

g risin s star

Rising stars: Djomi Tsate Djomi is ten years old and is in year 6 at school. She lives in North London and has two musical older brothers (one of whom also plays the trombone and studies at the Purcell School).

She is an incredibly lively and bubbly character with the sort of enthusiasm for life it would be nice to be able to bottle! She has already done her grade 4 well over a year ago, but isn’t doing any more for the moment as she is getting stuck into Lafosse Volume 1. It’s never too early after all! She is also a keen pianist and is about to take her grade 3.

How old were you when you started playing the trombone, and why did you choose it?

I was seven years old, and the reason seems so silly I don’t want to say it! My brother was playing it and I just liked watching the slide move!

Who do you study with?

I started with Mr. Eaglestone and then Mr. Carruthers, and now I learn with Amos Miller at the Royal College of Music Junior Department.

What music do you like to play and to listen to?

My favourite music to play is FUN music, like the Back to the Future theme or the tune from Wallace and Gromit. I like to listen to the music from West Side Story.

What instrument do you play?

That’s a silly question!!

Oops, sorry, I meant what make?!

A Jupiter, with a valve.

Any ideas what you’d like to do when you’re a grown-up? Do you have any other hobbies?

Probably a musician or teacher but I’m not sure yet… I have a lot of hobbies; I do ballet, cubs, go swimming and play football!

23

spring 2014 the trombonist

Robbie & Olly As a musician all you can ask for is to keep busy and be surrounded by amazing people and musicians. Last summer we both got to do just that, playing trombone for Robbie Williams and Olly Murs on the Take The Crown European Stadium Tour The tour took us to some of the best cities in Europe, playing in some amazing venues and included four nights at Wembley Stadium.

What are your backgrounds?

Mike: It was after seeing the incredible George Chisholm

playing on a TV show as a kid that I was first inspired to play the trombone. Unfortunately at the time I was too small to hold the instrument so my then brass teacher gave me a euphonium to begin on and I had been playing that for a few years before I got my first trombone. I went on to play trombone and euphonium in equal measure in youth bands and wind orchestras and was lucky enough to spend several years at the junior department of Guildhall School of Music & Drama. From there I continued my studies at City University who had at the time a great arrangement whereby you had your instrumental lessons at the GSMD. After performing solely in wind or brass bands and orchestras, I fell into the commercial side of playing by accident. In my first year at City University I got a call from a friend to dep at a function with the Deptford Dance Orchestra, a very ‘alternative’ big band which used to rehearse every Saturday afternoon in an old docks building in Deptford. I became a regular member and the band somehow morphed over time into Jools Holland’s Big Band. Around the same time I also began playing with the Steve Martland Band.

Steve was a huge inspiration to many, myself included, and his music really pushed the boundaries both musically and technically. It was a privilege to perform with his band for many years and to count him as a friend and his untimely passing earlier this year was a great loss.

24

By Mike KearsEy & Paul Burton

Paul: I first picked up the trombone when I was 8, studying the classical grades. There was a great Music Support Service in Hull (where I grew up) so there was lots of different things to get involved with. Once it came to deciding on going to University I was persuaded by careers advisors that music wasn’t a ‘proper’ job so I (foolishly) started a Maths degree in Nottingham. That didn’t last very long when I realized you had to be incredibly clever just to understand the timetable! I eventually went on to study Music at LIPA in Liverpool and met some great friends and colleges who I still work with now.

The Trumpet and Sax player in the section were in the same class as me and we started working together a lot as a result.

Our route into the ‘Pop’ world came through the classic case of being in the right place at the right time.

What was it like touring together?

Mike: We were delighted when we heard that Olly Murs

was also going to be touring with a horn section and the six of us all got along from the first day. As brass (& wind!) players, and especially as two three-piece ‘pop’ sections, we had a lot of common ground and all had the same love of both playing and also making the most of the touring experience. There was a lot of down time on the tour as we generally had two or three days off between gigs so the six of us would often arrange to meet up on days off and had some memorable times not only in bars & clubs but kayaking in Copenhagen and high-diving in Zurich! We managed on several occasions to see the first few numbers of Olly’s set before our pre-gig prep started and the Hot City boys looked and sounded fantastic every time. I’m pleased that we’ve all kept in regular touch since the tour ended and have managed a few nights out together back in London.

Paul: It’s quite rare to have two horn sections on tour

together and it was great to share the whole experience with the Atlantic Horn guys. Neither of us had met before this tour but we soon realized we shared the same love of enjoying ourselves, enjoying a drink (or two) and making the most of the whole experience. And that set the tone for the whole tour.

kayaking in Copenhagen and high-diving in Zurich! was in favour of getting us involved in as much of the set as possible and gave us freedom to suggest lines and ideas for the songs and as a result we were onstage for almost the entire two-hour set. In addition the way the stage was laid out meant that we were mostly positioned front stage right. Whereas on other tours and gigs we had often been given a few directions regarding movement onstage we now had “horn section choreography” scheduled into the production rehearsal period.

Luckily for us the producers had put plenty of time aside for rehearsals (and the choreographers were exceptionally patient!) so that by the time of the first show we were all confident in what we had to do and where we needed to be positioned for each number. It was a great experience to be so involved and to feel like such an integral part of the show. During rehearsals all 11 backing musicians bonded as a band and by the time we began the tour each gig felt like a party onstage.

Paul: With Olly being the support act, I had a slightly

easier job, doing a 40 minute set. However, like Mike, we’ve been given a bit of creativity to bring horn lines and suggestions to the table the whole time we’ve been with Olly, which helps add to the enjoyment. On this tour the set included an Earth Wind and Fire medley which certainly kept us on our toes. We then got a chance to regularly watch parts or all of the Robbie show which was great. Robbie and the whole band were on fire every night.

What was it like being involved with such a big tour?

Mike: As performers our jobs were quite straightforward

and not really too different from the norm. We had to be in the right place at the right time and do what was asked of us

to the best of our abilities. The initial moment when you walk onstage in front of such a large audience is thrilling and humbling in equal measure but I find that once the music begins you filter out everything but your fellow performers onstage.

On this tour we were all using in-ear monitoring and I think that one of the effects of this can be to isolate the musicians from any external distractions. The in-ear monitors are not an ideal solution for blowers in large part due to the “occlusion” effect of hearing your sound through your bones but for me the advantages of having continuity of sound from one venue to the next and also the ability to control the overall levels makes it the best solution for monitoring. With regard to the size of the tour at any one performance there were about 2000 people working for the show once you included staff at the venues. The touring party was the size of a small town with over 60 trucks needed to move the stage and assorted equipment. The reason we had so much downtime between gigs was that although there were two steel structures on which the set was built, which leapfrogged from gig to gig, the set itself took 24 hours to take down, a day to transport, and another day to put up again. The logistics involved in the tour were mindblowing and I’m in awe of the work the crew did to make it all happen so seamlessly at every performance.

Paul: For me it was great seeing how far Olly has come in

such a short time. Having toured with him for the last couple of years it was great to see him standing in front of such big crowds and getting them warmed up for the main act. The whole atmosphere on the tour was so positive and exciting and getting to be a part of that and perform in amazing venues, eating amazing food and seeing some of the best parts of the world was such a privilege.

e of ‘The touring party was the siz

a small town…’

Tell us a bit about the show and your role in it?

Mike: As a horn section we’re used to being very much in

the background onstage and often having quite a few songs off during a set. From the outset Robbie’s MD, Paul Beard, 25

Going Full Circle Pat Jackman (Bass Trombone, Royal Opera House of Covent Garden) chats with Sue Addison. Pat and Sue have worked together for the last 15 years in the Orchestra of the Age of Enlightenment and the Gabrielli Consort.

Pat: At what age did you take up the trombone and why?

Sue: I was almost fifteen when I started to play the

trombone. It wasn’t the instrument of my choice, but the only one left in the school instrument cupboard!

There was little opportunity to play with other players at my school, as the orchestra consisted of one trumpet (Geoffrey Harness), myself, a couple of recorders and a piano. After only a few weeks of playing, I was invited to the East Lindsey Brass Band sitting alongside Jack (the Postman and soprano cornet player) and Brookie (the Coalman and double BB player). What a shock that first rehearsal was, as the notes flew past so quickly that I personally didn’t get beyond the first two bars, during which the band had completed the first sixteen!

This type of experience was, and still is, invaluable to a young and inexperienced brass player. It gave me the opportunity to play with more experienced players and it most certainly helped to improve my reading skills and ‘chop’ strength.

We, like many other bands, toured the contest circuit around Britain and even Holland. I was truly hooked.

Pat: Did you go onto study at a music college?

Sue: I furthered my studies at the Royal College of Music,

learning with the late Arthur Wilson for three years and a postgraduate year with John Iveson. I was there during the late seventies and at the time, performance practice was directed towards the training of the orchestral musician.

I will always remember the Orchestral Excerpt classes with both Arthur Wilson and Gerry McElhone.

One class involved the theme from The Ride of the Valkyries.

To quote Gerry, “It is like dragging the Queen Mary down a canal full of Mars Bars” - apparently we were a tad behind the beat!

It was half way through my course that I was released from

my duties as an inadequate piano player and took up the Alto Trombone - one very relieved piano tutor! Both Peter Bassano and Arthur Wilson taught this instrument and I absolutely adored it… finally an instrument that I could reach all seven positions easily!

Very few players played it and in fact I was only one of two students. The other was Leon Taylor who was appointed principal trombone of the London Coliseum shortly after leaving the RCM. It was Peter Bassano who suggested I took up the sackbut and explore more comprehensively the music of the Baroque and Classical Periods. So, onto the world of the ‘Hey Nonny’!

I was very fortunate to find myself sitting alongside Peter Bassano, David Purser and Stephen Saunders as part of a Monteverdi Project directed by Sir John Elliot Gardiner. This will always remain the most amazing musical experience of my entire career. It was also during this time that the London Classical players were formed under the directorship of Sir Roger Norrington, in which I was also invited to play.

Meanwhile I continued to pursue my goals, which was to play in a large symphony orchestra, and after eighteen months of freelancing, I joined the CBSO under the new directorship of Sir Simon Rattle.

Pat: Who was the low Brass team at that time?

Sue: Ray Brown was the principal, Brian Altham bass and

Jock Sinclair tuba.

Pat: How long were you in the CBSO? Sue: I stayed there for just over four years and during that

time covered a huge amount of repertoire.

27

spring 2014 the trombonist

Pat: Why did you leave? And where

confirm it sounds great!”. What make was it?

Sue: I left for many reasons but the main one was that I was being offered many opportunities in the everexpanding Early Music movement. I found myself playing along side the perfect team players: Peter Thorley (Tenor) and Stephen Saunders (Bass).

We have since spent over thirty years playing together. We have been fortunate to be part of some groundbreaking projects performed in many of the world’s finest venues.

Sue:

did you go?

Pat: Could you give us an example?

Sue: It was during our time with

the London Classical Players that we premiered a performance of Berlioz’ Symphonie Fantastique on original instruments, under the directorship of Sir Roger Norrington. It was this particular project that really opened my eyes to the potential of the many diverse orchestral colours of the period symphony orchestra.Berlioz is perceived to be one of the masters in orchestration and this piece shows his true genius.

Pat: At one time this sort of perfor-

mance was perceived as Early Music.

What is the earliest repertoire that you have been involved in?

Sue: I find myself performing music

by Monteverdi, Gabrieli, Castello, Marini and Giovanni Gabrieli’s star pupil, Schutz. All these composers wrote for the trombone in a very virtuosic way, equal to the violin, cornett and vocal writing of the 16th and 17th centuries.

There were very few ensembles performing this amazing music, so I decided to put together my own group and formed His Majestys Sackbutts and Cornetts.

Pat: I understand that you have just completed your first solo album, and you used the very trombone that Sir Edward Elgar played. What was it like to play?

Sue: Yes. I have recorded on a CD the very trombone that Sir Edward Elgar played and must say the instrument is absolute rubbish!!

Pat: “Well, Sue - as I sat in the section with you when we performed the Dream of Gerontius in Birmingham Town Hall and you used it then - I can 28

It is a 19th century ‘pea shooter’ Boosey & Co and was completed in 1892, to pitch A452.

write A Theme and Variations on Enigma.

Quote from Memories of a Variation by Mrs. Richard Powell

Pat: What repertoire did you play on

this recording and why?

Sue:

I first looked at Elgar’s chamber music but unfortunately he only wrote a duet for trombone and double bass.

That was a little piece he put together as a wedding present for his close friend Frank Weaver. The only other piece is Nimrod. There is a surviving letter mentioning that his wife and Elgar played it together as a duet. I therefore couldn’t resist recording such a magnificent melody as Elgar himself thought it would work well on the trombone. I don’t think anyone can argue that it is one of the most beautiful tunes ever to be written.

He wrote many other stunning melodies but sadly many of them were for the violin. It is these iconic pieces that I decided to transcribe for trombone and piano. The other repertoire used for this recording is by his contemporaries, for example, Frank Bridge, Vaughan Williams and Ivor Gurney. I have tried to vary the instrumental colours, so I also invited Crispian Steele-Perkins to play the F Trumpet and Echo Cornet.

I also used the talented Frances Kelly on Harp. There is also the opportunity to hear two Boosey trombones played together in a duet version of Fairest Isle

by Roger Quilter in which the multitalented Emily White joined me. Sally Goodworth was my pianist.

Pat: What was Elgar like as a trombone player?

Sue: Sadly there is strong evidence that he never mastered the instrument. He played with the Queen’s Hall Orchestra, the LSO and was in the King’s Band at the Coronation of Edward VII. There is a wonderful account of one occasion that Elgar attempted to play the trombone.

It is a comment by Dorabella (Mrs Richard Powell), who was one of his many close friends that inspired him to

“On one occasion he got up and fetched a trombone that was standing in a corner and began trying to play passages in the score. He didn’t do it very well and often played a note higher or lower than the one he wanted, in fact anywhere but in the middle of the note; and, as he swore every time that happened, I got into such a state of hysterics that I didn’t know what to do. Then he turned on me: “How can you expect me to play this dodgasted thing if you laugh?”

I went out of the room as quickly as I could and sat on the stairs, clinging to the banisters till the pain eased, but it was no good. I couldn’t stop there as he went on making comic noises, so I went downstairs out of earshot for a bit.”

Pat: Do you have any other projects in the pipeline?

Sue: I had planned for this to be part

of a two CD project and I hope to record on the trombone that belonged to Gustav Holst next year. His instrument is also housed at the Royal College. I also continue to play with the Orchestra of the Age of Enlightenment, Academy of Ancient Music, Sixteen Choir and Orchestra and other period bands. I hope to continue to explore the very diverse sound worlds of the past centuries.

Finally, I must say that I never predicted that I would have a career playing the trombone, let alone performing on an instrument of the type and make that was found in that school cupboard all those years ago!

For further information on Elgar’s Trombone visit www.elgarstrombone.com.

Any CD that is purchased via this website – 10 % of the proceeds will be donated to Jessie’s Fund.

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spring 2014 the trombonist

The Royal British Legion Youth Band Brentwood Johnpaul Wyndham

The Royal British Legion Youth Band Brentwood have been making music and giving young people something to do outside of school since October 1990. Following his own positive experience in the 1950’s as a young bugler in the London Sea Cadet Corps, the Essex-based band was founded by Mr. John Wyndham MBE to provide local youth an environment to develop self-discipline in a fun, safe, constructive and musical way.

The Band is quite unique in that although its collective musical ability is proficient enough to find themselves frequently on the same billing as professional and adult counterparts, most new recruits have limited or no musical experience. The ‘grass roots’ open door non-exclusive policy is something the Brentwood group is very proud of – all are welcome and they prove everyone has a valued contribution to make, regardless of musical ability.

Members can join from aged 10 upwards and find themselves immersed in an energized development programme that has an emphasis on ‘fast-track’. The idea is to keep members continuously engaged through a sense of accomplishment whilst carefully pushing boundaries and promoting a sense of value, contribution and credibility. This presents quite a challenge for the Band’s volunteer corps of instructors, which include two professional music tutors who work with the Band pro bono (in fact all Band staff are unpaid volunteers), not to mention that at each Monday and Wednesday rehearsal there are over 80 young musicians in attendance and only 2 hours to get everything done!

In addition to tuition the Band provides an instrument and uniform free of charge. Members pay a £1 per week membership fee (inflation busting since 1990!). The main priority is that 30

they turn up with the right attitude, which is a commitment to try to do their best. For such a large group it is of course not just about the music. Band musicians learn how to get along with a wide variety of people from different backgrounds, as well as learning about compromise, work ethic and team work.

The end result is that members of the Band develop mentally and physically, ready for an annual schedule of demanding concerts and marching performances. The variety of public and private functions at which the Band plays adds to the diverse experience of its members. One month they are marching down Main Street USA in DisneyLand California, the next they are playing on a windswept bandstand at a British seaside resort – “it is all character building”, the Band Director enthusiastically informs the musicians! Through its affiliation with The Royal British Legion (which is not a financial relationship) a core Band priority is to maintain a link across generations with particular recognition of the Armed Services. Band members proudly wear a ‘Polar Bear’ insignia on their shoulders, representing their honorary membership of the 49th West Riding Infantry Division, The Polar Bear Association, bestowed on the Band after twice leading Second World War veterans in Liberation celebrations in Holland.

The Band’s résumé makes for impressive reading.

In 1996, then just six years old, they were the first British band ever to take part in the ‘Tournament of Roses Parade’. An invitation-only event, The Rose Parade is a New Year’s Day six-mile march in Pasadena, California.

‘Since 1990 the Band staff has seen over 600 children come through the door to join…’

Marching in a televised procession, with 1.5 million spectators kerbside, amongst US College bands of which some had over 400 musicians, the Brentwood Band marched tall and proud, playing the entire route with everyone making the 6 mile finish line - great team work. They did it again in 2009, the youngest member on that trip being 11 years old. In 1998 the Band performed at the Royal British Legion Festival of Remembrance at the Royal Albert Hall, and to date they are the only youth band ever to take part in the annual Festival.

pwards’ u 0 1 d e g ‘a ‘I love being in the Band and playing the trombone…’

For the current compliment of youngsters who are making the commitment to become masters of their hobbies, 2013 has been action packed. The band spent 6 days in Zurich Switzerland in July, playing at the Zurich International Police Tattoo, under the direction of Graham Jones MBE. The band performed five Tattoo shows, two concerts and two parades, all within six days. At each show the Band were ambassadors for youth, the country and the genre of music they play. At the same time they had a blast, particularly at the after-show parties!

The youngest Brentwood musician at the Zurich Tattoo was ten year-old Trombonist Johnny Wyndham, he said: “I love being in the Band and playing the trombone, there are six other bones, this year we played Coldplay’s Vida la Viva and we got to come out in front of the Band as a feature!”.

Since 1990 the Band staff has seen over 600 children come through the door to join the Band. Average retention is five years and they’ve seen a young generation develop into adults. In fact there are several children currently in the band whose parents were once members.

The staff have experienced first-hand how the children of today differ from those 23 years ago. They are apprehensive about the future of music education as they observe fewer children receiving instrumental tuition, particularly brass, as part of the mainstream education curriculum.

They recognize the key part they have to play in realizing their objective ‘Music for All’ and know everyone has a collective part to play, be it parents, schools, local authorities, national government, media, charity organizations and society as a whole.

All need to make sure music, particularly playing instruments in a band, is valued and promoted, because it is so much more than just about the music.

You can find out more about the band at brentwoodlegionband.co.uk facebook.com/brentwoodband or on twitter @brentwood_band

reviews LSO Brass Quintet at the Barbican Jane Salmon The Barbican welcomed its Resident Orchestra in the form of a chamber group: an unusually intimate use of the auditorium.

The quintet, who recently returned from a tour of Japan, consists of the London Symphony Orchestra’s principal brass players: Philip Cobb was joined by Niall Keatley on trumpet, Tim Jones on horn, trombonist Dudley Bright and Patrick Harrild on tuba.

The programme opened with two Baroque arrangements: Bach’s Toccata and Fugue in D minor followed by Scarlatti’s keyboard Sonata in E major K380. Accompanied by friendly introductions

by Patrick Harrild, the ensemble successfully created an engaging ambience that was held throughout the evening.

Following this, was an enjoyable interpretation of a common favourite of the quintet repertoire, Ewald’s Quintet No.1 in B-flat minor.

The second half of the recital opened with Jan Koetsier’s Kinderzirkus (Children’s Circus), a set of nine short tableaux each of which were animated by the ensemble’s personality.

This performance was part of the ‘LSO Players: Close Up’ series, and the next piece, Enrique Crespo’s Suite Americana No 1 for Brass Quintet, displayed the exquisite communication between the players, giving an interesting perspective to the qualities of these musicians that make the LSO and this quintet so successful.

The quintet ended their concert with a suite of medleys that celebrates the memorable composer-lyricist duo – Rodgers and Hammerstein, focusing on their most successful productions: The King and I, Oklahoma!, Carousel, South Pacific and The Sound of Music.

The concert concluded with a two-part encore of Leroy Anderson’s Bugler’s Holiday, leaving the audience assured of this quintet’s stunning artistry.

INTRADA BRASS – Identity Crisis Simon Minshall A really eclectic program of choice from the Lancashire-based Brass Ensemble, Intrada Brass, comes together in their recent recording: Identity Crisis. The title of the album reflects the 32

ews revi

choice of music, which ranges from Rimsky-Korsakov to arrangements of traditional melodies. Originally formed in the 1970’s as a brass quartet, this ensemble has grown into a ten-piece with the input of the current members, which includes a mix of established freelancers and active teachers.

There is a hint of northern heritage with works such as Alwyn Green’s North of England Suite. And this contrasts well with the group showing us the lighter side of their playing in the arrangements of ‘It Don’t Mean a Thing’, ‘Swing Low’ and ‘Battle of Jericho’.

t’s wha on

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Ensemble ss a r B a d a The Intr outh Brass Bands of with the Yolton & Wigan Astley, B Peel Hall, Manchester

er anchestW M r e t a e r G & igan a r t s e h c r Jazz O zz Orchestra Youth Jach, Doors 19:00 Tickets £6

:30,

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If you like a bit of spice in your CD collection I would highly recommend this recording, as there will, I am sure, be something for you.

ch Sat 22nd Mar e found: b to bonequartet More info arbicantrom /b m o .c k o o www.faceb

It is hard to emulate the energy from the stage into an album and provide the same adrenaline rush to the listener but Bad Ass Brass manages this and more in this album. “Bad Ass Brass – Live” is a must have in anyone’s music collection!

6-13 April e.net/itw ww.trombon More info: w

march

march

Having gained a reputation for consistently delivering high adrenaline performances on stage, Bad Ass Brass certainly do not fail to deliver a similar rush through their latest album “Bad Ass Brass – Live”. Having performed some incredible gigs throughout 2012, the band planned a series of gigs in the early part of 2013 to be recorded and released in this, their first live album. The band is heavily influenced by the New Orleans Brass Bands but adds its own twist with original material and their own versions of some classic New Orleans tunes. The album delivers an eclectic mix of music, from slow blues such as Mo’ Better Blues to the high energy of the opening track Blueberry Hill. The album also provides a momentary break from instrumental music as the band welcome the extremely talented Beth Rowley for Almost Persuaded.

ional Internatn Week Trombo e

1 Sat 15 March oom, all Concert R H s e’ rg St Geo e page 8 Liverpool se

A trombone feature is brought to us by John Stevens in the well-known arrangement of ‘Londonderry Air’ by John Iveson.

It is clear to hear in this work John’s warm sound sing through the ensemble and it gives a welcome change of pace to the album.

BAD ASS BRASS – LIVE Ross Learmonth

april

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Quartet e n o b m o an Tr The Barbic19:30 St. Marys, Guildford

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16th May 19

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13 Tues 20 May Campden h, Chipping rc u h C ’ es m St. Ja al Music Festiv International

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march

NK NIGHTr JAZZ & FU nal supersta Internatioig am Jiggs Wh h & guests 20:00

Sun 30 March ester Wall, Manch Band on the

18:5 Thur 29 May beth Hall , Queen Eliza Front Room

june

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Follow the BTS on Twitter: @britishtrombone and Like us on Facebook to receive regular dates for your diary Submit your own events on the BTS website www.britishtrombonesociety.org and they will be included on social media, the BTS website and right here in the magazine.

33

60cond se erview

spring 2014 the trombonist

int

fast talk...

What’s your name? Colin Sheen What’s your current job? Principal

trombone English Chamber Orchestra

What model of trombone(s) do you play? Conn 88H & Larry Minick 100H What mouthpiece(s) do you play on?

Wick 5AL & Vincent Bach 11C

How old were you when you started playing? 11 What is the best technical advice you could give a student? Get your breathing right

– it’s the key to everything.

What was the most amazing gig you’ve ever been involved in? Possibly the

concert I just did in Milan, when Sir Colin Davis fell ill, and the ECO did it brilliantly without a conductor!

What was the last record you bought? James Morrison Snappy Too What is the best advice you could give someone who is just starting out freelancing? Go out and play at every oppor-

tunity you get, and be nice to everybody. You never know when they might get you a great gig!

What was your first pro gig and when? 1st trombone at the very last minute in My Fair

Lady in Newcastle 1967.

Where has been your most favourite place to perform? Royal Albert Hall 34

What are you currently working on work-wise/repertoire-wise?

Mozart’s Requiem

What’s your favourite colour? Red What’s your favourite food? Mushrooms Give us an interesting fact that people might not know about you…

I appeared in the Ken Russell film The Devils playing sackbut and wearing a long blonde wig!