The Trombonist - Spring 2016

spring 2016 ÂŁ5.00

the

trombonist

build your own home studio

Become a recording master at home

Want to know more about Holst’s trombone teacher?

The man who influenced the great composer

More gear to cast your eye over!

Instruments, cases and mutes

life in the RAF

Musicians from the Royal Air Force

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A GA RD TRO TENOR MBONE GIG BAG

contents Regulars 6

Presidents Column Liam welcomes you to a new year and asks you for your problems

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News & event Reviews What’s been going on in the world of trombones and events on the horizon.

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G&T G+T are back with more suggestions for your diary

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What’s On Get those diaries out

Resources 10-11

12-13

building a home studio

Fancy having a recording studio at home and don’t know where to start?

Have a read…

29-30

Gear Review

Gear, gear and more gear.

trombone in a cave

Our committee member Dávur tells us about his new CD

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reviews

Two CDs for you to cast your eyes over.

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profiles 18-19

life as an air forces trombonist The guys based at Northolt let us in on life in the RAF

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Rising Star

featuring… Daniel Higham

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jazz by jeremy

The Bass Bone Files

Want to know how to play it?

Jeremy Price explains.

Roger Argente talks to Darren Smith

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features 16

FAST TALk A minute with…

Emily White

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Welcome to the spring ISSUE OF THE BTS magazine

A new calendar year is upon us and there are lots of exciting things coming up. First is the National Trombone Day in Scotland being held at the Royal Conservatoire of Scotland. Turn to page 22 to find out more.

Congratulations to Dan Jenkins and Ross Anderson, who are the winners of the winter magazine crossword competition. We hope you find your Christmas coloured pBones’ useful!

This issue, we have even more to give away…….! Turn to page 15 to find out more.

As you will remember Carol left the magazine team at the end of 2015 and we welcome Ross Learmonth joining Simon as Co-Editor.

Jane Salmon has taken up the position of News & Reviews Coordinator.

All contact details stay the same.

Anything we can do? Want to promote your event? Drop us a line: editor@britishtrombonesociety.org, and don’t forget to Tweet photos of you performing or anything tromboney @britishtrombone Best wishes, Simon & Ross drop us a line: editor@britishtrombonesociety.org

The Trombonist Magazine Editors: Simon Minshall & Ross Learmonth editor@britishtrombonesociety.org Sub-Editor: Peter Chester Publishing and Distribution: HMCA Reviews Editor & Advertising Manager: Jane Salmon advertising@britishtrombonesociety.org Design: Sian Nowley sian@hmca.co.uk The Trombonist is published three times a year

Contributors in this issue: Jeremy Price Jane Salmon Joe Sharples Dávur Juul Magnussen Jonathan Hill Adam Smith Josh Hayward Ross Anderson

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page 18

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spring 2016 the trombonist

president’s column Dear fellow trombonists, As I sit on my presidential throne, here at BTS towers, I consider all that is great about our society. (trombone society).

The diversity of our members and versatility of our sacred slush pump.

We have much to be proud of recently and our congratulations go to the Royal College of Northern Music Trombone Choir directed by Simon Cowen for winning the prestigious ITA Emory Remington Trombone Choir Award.

This is the first time it has been awarded to a British ensemble, a huge accolade indeed.

Congratulations also to all the lucky winners of the regional brass band championships who will meet for the National Finals in Cheltenham in September and th’Albert ‘all in that there London in October. We hope to report from the local hostelries in due course. My hat goes off to Andy Connington for beating me and a small number of other pretenders in securing the 2nd trombone chair at English National Ballet; I hope you enjoy the tutus. Thanks for all the emails you’ve been sending with “helpful” suggestions concerning magazine content and activities for the future. We’ve a number of missions in the pipeline 6

including expanding the website to include downloadable demos and backing tracks and next issue will see us venture into space in search of the long lost Old Notecracker.

Amongst your emails have been requests for advice on all aspects of trombonery.

Here’s one from Len Slowbotham .“Dear President, I have worked out that moving the slide from 7th to 1st position displaces precisely 0.86 litres of air and have often wondered where it goes....” and another from Col.David Worthington Smithe, “Dear President, why 76 trombones in the big parade? I know it’s 19 rows of 4 but surely 80 is more easily divisible and would make for a far superior marching spectacle?”

I’m sure you get the idea!! So, due to popular demand we will be trialing a “President’s Problems” page for all your trombone related concerns. Please email me at president@britishtrombonesociety.org If you’re lucky enough to write the “Star Letter” we might send you something.... or not. So, get writing,emailing, posting to social media and get involved. The BTS is YOUR society and in the famous words of Colonel Sanders, “It’s finger lickin’ good” ….or was it Lord Kitchener ?

Until next time, Liam

British Trombone Society www.britishtrombonesociety.org

The British Trombone Society is a Registered Charity. Reg No. 1158011 Honorary Patron: Gordon Campbell committee/Board of Trustees President: Liam Kirkman president@britishtrombonesociety.org Vice-President: Vacant vicepresident@britishtrombonesociety.org Immediate Past-President: Christian Jones pastpresident@britishtrombonesociety.org Chair: Matt Gee chair@britishtrombonesociety.org Vice Chair: Rosemary Abram rosemaryabram@britishtrombonesociety.org Treasurer: Christian Jones treasurer@britishtrombonesociety.org Secretary: Alison Keep secretary@britishtrombonesociety.org Committee: Dávur Juul Magnussen davurmagnussen@britishtrombonesociety.org Simon Minshall simonminshall@britishtrombonesociety.org Becca Pope beccapope@britishtrombonesociety.org Adrian Taylor adriantaylor@britishtrombonesociety.org Administrator: Chris Sowerby administrator@britishtrombonesociety.org Membership Enquiries: membership@britishtrombonesociety.org Please submit news and events items for the website to: Jane Salmon news@britishtrombonesociety.org Representatives Scotland: Chris Stearn 01360 860220 scotland@britishtrombonesociety.org Wales: Jo Hirst 07729 144690 wales@britishtrombonesociety.org North East: Peter Chester & David Thornber northeast@britishtrombonesociety.org North West: Kerry Baldwin 07920 022395 northwest@britishtrombonesociety.org Midlands: Martha-Ann Brookes 07966 416198 midlands@britishtrombonesociety.org Northern Ireland: Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org South: Matthew Lewis 07849 774777 south@britishtrombonesociety.org South West: Vacant southwest@britishtrombonesociety.org East Anglia: Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org Wessex: Robb Tooley wessex@britishtrombonesociety.org Yorkshire: Jonathan Beatty jbeatty70@icloud.com Brass Band: Ryan Watkins brassband@britishtrombonesociety.org Jazz: Jeremy Price jazz@britishtrombonesociety.org Young People: Vacant youngrep@britishtrombonesociety.org

president@britishtrombonesociety.org

Military Bands: James Howard military@britishtrombonesociety.org

s new

BTS news

We know our greatly missed teacher and friend, Benny (Adrian Morris), would be absolutely over the moon.’

kiss uk tour

Hungarian trombone star and member of the famous Mnozil Brass seven-piece Austrian brass ensemble Zoltan Kiss, will be giving masterclasses, private lessons and a LIVE online discussion, this Spring.

He begins his solo tour at the end of April at the RNCM where he is international visiting trombone professor, and then continues as follows: 2nd May: LIVE online Periscope interview and discussion (6pm).

Keep an eye on BTS Facebook and Twitter for more details.

3rd May: Afternoon masterclass at Royal Academy of Music, London.

4th May: Afternoon masterclass at Trinity Laban Conservatoire of Music, London.

the bts needs you Made up of students from the RCM and coached by the Philharmonia Orchestra’s Principal Trombone, Byron Fulcher, the quartet will compete in the competition’s final, being held this summer at the Julliard School of Music in New York. Robert Moseley said: “We are very excited about playing in the final at Juilliard and hope to do the British Trombone Society proud!”

royal northern college of music win prestigious competition

5th May: Morning masterclass at Birmingham Conservatoire of Music.

6th May: Private Lessons with Zoltan 10am-2pm at Parkers Music Shop, London. Followed by a short concert at 3pm.

To book a lesson with Zoltan Kiss, please contact carol@caroljarvis.com (first come first basis). For more details, please see the BTS Facebook and Twitter pages nearer the time.

Don’t miss this chance to hear Bolero played perfectly, up an octave!

RCM finalists in international competition

The BTS wishes to send its congratulations to the Royal College of Music Trombone Quartet on its winning a place in the finals of the 2016 International Trombone Association Trombone Quartet Competition.

The trombones of the Royal Northern College of Music are elated after winning first prize in the International Trombone Association’s ‘Emory Remington Trombone Choir Competition’.

With Principal Trombone of the Royal Liverpool Philharmonic Orchestra, Simon Cowen at the helm, the group was able to fight off competition from the Julliard School of Music and Boston University.

The first-ever British Trombone Ensemble to win this prestigious award, Bass Trombonist Josh Cirtina had this to say; ‘We are absolutely delighted to have won the competition. It’s been a particularly difficult year for the department, so this achievement really means the world to us.

Here at the BTS we are always working towards making the best society we can.

This year we will publish three magazines, with more content making the magazine even bigger and better! But we can’t do all the work! Get your friends, colleagues and students to join up and get involved.

Your nephew’s birthday? What better than a PBone and a BTS subscription! Visit our website for more details

New partnership allows children to blow their own trumpet

Schoolchildren across the West Midlands will be able to get hands-on experience of playing a brass instrument thanks to a new partnership between the City of Birmingham Symphony Orchestra and Warwick Music Group.

As Platinum sponsors of the CBSO, Coventry-based Warwick Music Group has provided 100 of the world’s best-selling trombones, pBones, and the world’s first all-plastic trumpets, pTrumpets, for use by the CBSO’s Learning & Engagement department.

Both instruments were created by Warwick Music Group and have helped revolutionise the teaching of brass music both in the UK and worldwide.

Performances and brass workshops with the innovative, lightweight and colourful plastic instruments will take place from January 2016 with the CBSO. The project will also showcase specially commissioned digital resources whereby students will be able to ‘meet’ other members of the brass family and explore the history and diverse range of Fanfares.

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event preview

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spring 2016 the trombonist

Royal Conservatoire of Scotland workshops Brass players are being invited to slide into the Royal Conservatoire of Scotland for a packed day of events celebrating the trombone.

The sessions, organised by the British Trombone Society (BTS), are taking place on Sunday, April 17 and will include workshops delivered by leading exponents of the instrument. There will also be performances from Bones Apart and Royal Conservatoire Brass at the event, which gets underway at 10am.

Dávur Juul Magnussen will lead a session on extended techniques and Tony George will offer an insight into early brass instruments.

Those attending will also enjoy input from Simon Johnson and Mark Frost while jazz specialist Chris Greive will offer a special performance of Led Zeppelin.

Entry to the event is free, but registration is required by logging on to the Royal Conservatoire of Scotland website.

More information is available on the BTS Facebook page or by following the organisation on Twitter, and using #scotlandtromboneday. To see the day’s flyer, turn to page 22.

RCS

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Dávur Juul Magnussen

jazz by jeremy

How to play it…

kissing bug

Frank Rosolino, Master of the short solo By Jeremy Price

For me, Frank Rosolino is at his best when delivering one of his amazingly witty short solos in a Big Band or other instrumental ensemble. It’s a real art to do that “stand-up-sitdown” Big Band solo in the middle of someone else’s composition.

It’s a very different experience to doing a jazz gig where you can take as many choruses as you like and play when you are ready. One moment you are playing in the section, with all the ensemble skills and listening that that requires, then the next moment you’re on your feet improvising, usually around backings and within a really specific boxed-in form and at a pre-determined point of the piece.

Big Band soloing is also the most likely chance a beginner soloist gets to try out improvising in earnest, so I thought this would be a nice opener to a new series of transcriptions the BTS Magazine have asked me to start.

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…how Frank uses the fixed space he is given…

Far be it from me to criticize, but when Frank stretches out on a few choruses, I hear a lot of repetition and the energy, although great energy, stays in one zone more or less throughout. Consequently you don’t necessarily get a sense that he is pacing something on a larger form or interacting with the rhythm section on a level that many jazz greats manage to do. His short solos, however, are truly masterful; they are immaculate and

highly memorable. This transcription is from a Bill Holman Big Band record Jazz Orbit and the track is Kissing Bug. Frank’s solo is at 1 minute 44 seconds but you’ll want to hear it in context obviously.

Scan this QR code:

It’s an ideal example of playing the top range…

Rather than a bar by bar account of just describing what you can already see in the notation, I’d like to draw your attention to some wider musical issues.

The interest for me is how Frank uses the fixed space he is given, which is the last 4 bars of the bridge, into the last A section, and then having to deal with a modulation as Bill Holman wants to do his next bit of ensemble writing in the subdominant key of Eb; quite a lot to deal with in such a short space of time. So when Frank stands up, he firstly crafts his own intro over the last four bars of the bridge, which he does brilliantly with three succinct statements that announce his presence.

Interestingly, he takes the energy of the ensemble, then neatly climbs down to low mid range on the trombone so he has somewhere to go for the rest of the solo.

There is a lot of poise here, and he makes us wait for the top of the form by his long Eb in bar 4. These are great tactics; he immediately grabs your attention, and then draws you in

to listen. Now begins a series of rising statements, each one climbing a little higher. Notice he gives us the climactic top F right in the middle of the 8 bar phrase and then elegantly descends, only to finish with a virtuosic flourish of semiquavers and a clear cadence to the new key as his “full stop.”

What a genius bit of melodic invention that is also absolutely integral to the composition.

…climactic top F… This solo is great fun to try and take off, a bit like an impersonator.

Use the notation as a bit of a head start but ultimately play along by ear and find your own ways to copy the articulation, feel and vibe. If you don’t possess a top F, and not many of us have as good a one as Frank, use this solo to try and get there. It’s an ideal example of playing the top range for musical effect rather than because it’s hard and therefore must be clever!

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spring 2016 the trombonist

BUILDING A HOME STUDIO by JANE SALMON

As studio equipment has become increasingly accessible, plenty of musicians are building themselves home studios and creating all kinds of material from their own home. We spoke to trombone players Chris Traves and Robbie Harvey to hear how they use their home studios and what advice they have to offer anyone interested in building one themselves.

Jane: Could you tell me a bit about what you do? What first encouraged you to build a home studio and how did you start out?

Chris: I’ve got a small home studio built on top of my ‘end of terrace’ house. I physically built a third floor that contains a Control Room, Live Room, Vocal/Soloist booth and even a Bathroom/Jacuzzi!

I do a lot of vocal recording and have produced many albums both instrumental and vocal. I do quite a lot of location recording, including venues such as Ronnie Scotts, Cadogan Hall, 606 Club and Boisdale Club. I have also been lucky enough to work on quite a few films and TV shows. I do quite a few sessions at home on the trombone too; clients send tracks over and I add the lower brass (and quite often other instruments…).

I have always been interested in technology - in fact I’m quite a techy nerd! I studied A-level Physics, Computer Studies & Music and, whilst at school, had ambitions to go to University of Surrey, Guildford to study on the now famous Tonmeister course.

Unfortunately I discovered Youth Orchestras and beer and after a particularly successful summer course, returned to school to find my fellow pupils had been offered places at

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university. I had forgotten to fill in my UCCA form. So I ended up at music college, which was a jolly good thing!

So it was many years later - after I was fortunate enough to get a really long run in the West End with ‘Chicago’ that I started to indulge my passion for recording and built my studio.

Robbie: I started to invest in some home recording equipment just over a year ago. I was working away from home for six weeks on a show and decided to buy myself something as evidence that it was all worth it!

Spending time in recording studios had always made me curious and keen to learn more about the technical side of recording. I made an album with my quintet a couple of years ago, which was a turning point for me. It made me realise that having more knowledge and experience of the recording process would give me more influence over the sound I am looking to achieve.

When recording your own projects it is easy to turn up at a studio and just concentrate on playing, assuming that whoever is engineering will make the correct decisions, but the engineer may not have the same ideas as you!

Communication is the key, and having your own studio helps communicate your musical aims in the relevant terms.

There is so much to learn, especially when working in a great studio with a great engineer.

JS: If a home studio on a budget is possible – what are the essentials?

RH: It is possible to get surprisingly good results on a budget and at the same time you can get some terrible results with expensive gear!

CT: A decent laptop or desktop machine will be the first step. I’m not going to bang on about the benefits of Mac or PC - I have both. I still think a decent PC will beat a Mac any day, but you do need a decent PC. A budget model will probably cause problems, I would recommend buying something from a company that specialises in music computers. The benefit of the Mac is that pretty much any model nowadays will suffice.

Next, you will need an Audio Interface - again you can spend as much as you want, but maybe aim for the entry level gear, around £150-£200 with 2 mic channels IN (with phantom power) 2 channels OUT and headphones OUT. It’s a good idea to get one with midi too, it will save on the cost of a separate midi interface - and also save on USB ports.

Many of these interfaces come with bundled DAW (Digital Audio Workstation) software. Once you’re up and running I would invest in the full version - they all do the same thing!

Pro Tools, Cubase, Logic, Sonar & Digital Performer are probably the most popular – the choice is yours.

Many budget microphones are available, most of them excellent. The trombone is a strange beast to record; a mic with too much definition sometimes makes the instrument sound too breathy.

If you’re on a tight budget you could start with an SM57 - great for all brass actually. My absolute favourite for the trombone is the Coles 4038 - instant trombone sound, no EQ necessary! (around £700).

You’ll also need a mic stand, mic lead and headphones - all relatively cheap.

RH: These elements will allow you to start experimenting with recording.

You will find yourself adding to your setup as you progress and new equipment will no doubt identify itself along the way.

I would always try to buy the best you can afford, it is better to buy something that you will get the use out of rather than having to upgrade it shortly afterwards. I go for quality over quantity.

Beware! It is a slippery slope - you may soon find yourself trawling through forums and YouTube videos in the middle of the night looking for answers!

JS: What advice do you have for someone wanting to start recording from home?

CT: Dive in! Start recording, make mistakes and learn. With digital recording, as long as you do not clip the audio, it should record ok.

Do experiment with mic positions, room and acoustics, a recording can be ruined by the sound of the room, try hanging duvets up behind and in front of your playing position. A carpeted room is probably better, curtains are good and don’t forget to turn your phone off.

RH: Always start with the place in the room that sounds best to your ears.

Experiment with moving furniture, opening wardrobes, shutting the curtains etc. to see if you can help rectify any sound reflection problems you may have.

The more you experiment the more you will get to know the sound of the room and be able to identify any issues that may be captured in your recordings. The same goes for equipment. Spend time really getting to know your equipment before you splash out on extra gear.

CH: I find that sound proofing is not too much of an issue for sounds coming in to the room. With a trombone in front of a mic, very little gain is necessary so extraneous sound doesn’t really spill on to the mic. This will be different when recording quieter instruments such as strings and guitars - more isolation may be necessary depending on your location and proximity to the airport.

As for sound leaving the room – well, I’ve got the best understanding neighbours!

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building a home studio continued...

JS: What are your thoughts on home studios vs. renting a professional studio?

RH: There are benefits with both.

A home setup can grow with you and adapt to your needs over time. Investing in studio time in a quality recording studio can be well worth the money.

Recording your own projects can sometimes give you more flexibility and control with less time constraints.

There is no substitute for a wellestablished studio with quality gear and talented and experienced engineers, but obviously this comes at a cost. It is up to you to weigh up the options and decide on what’s best for you and your budget at the time.

CT: Obviously, with the small set up outlined above, you can only record one instrument/track at once. If you wanted to record a larger ‘live’ ensemble, the bigger professional studio might be necessary.

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I offer a location recording service, which I hope is now negating the need for a large pro set up. Read more about this on the website: http://christraves. wix.com/kenilworthstudios JS: How has running a home studio influenced your playing career?

RH: It has made me much more aware musically and sonically of what is going on around me, especially when working in studios. It has made my ears more critical and encouraged me to listen in a much more detailed way.

These days it is vital to become an allround and versatile musician within as many genres as possible. Getting into recording has given me a new path to explore and although I am relatively new to it, I am enjoying the learning process of it all.

CT: I have been lucky since setting up my studio, it has become another job

alongside the playing. After ‘Chicago’ closed, my studio pretty much paid the mortgage.

I love having the varied and talented musicians over to record their individual projects - but I also enjoy sending out tracks for other guys to add their instruments to in their own studios subsequently returning the multi tracks for me to mix.

The business is changing and we all have to move with it.

JS: Thank you Chris and Robbie for your fantastic contributions.

Please head to our website to listen to some of Chris and Robbie’s work.

Another edition, another prize…!

xxx

To be in with a chance of winning a brand new Gard Tenor Trombone Gig Bag, just answer the question below.

What year was the bass trombonist, Raymond Premru born?

A bit of background about Ray Premru: • Amercian Trombonist, Composer and Teacher • Based in London for most of his career • 30 years as Bass Trombone of the Philharmonia Orchestra Send you answers in to editor@britishtrombonesoceity.org Entries close on 1st July. Don’t forget!

Kind thanks to Phil Parker LTD for sponsoring this competition.

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winter 2016 spring 2015 the trombonist

summer jazz by joe sharples

pianist Benny Green (once a member of Art Blakey’s Jazz Messengers), to rehearse and perform music from Blakey’s classic albums Moanin’ and Ugetsu.

Last summer I was very lucky that the opportunity arose for me to attend Centrum’s Jazz Port Townsend 2015.

Half summer course and half festival, Jazz Port Townsend sees musicians from all over the world gathering annually in a scenic coastal town a couple of hours away from Seattle (Washington, USA).

With an all-star faculty headed by bassist John Clayton, students work in small groups twice daily throughout the week, as well as attending workshops and masterclasses, culminating in a weekend of public performances by students and faculty alike. After an informal audition and introduction session on the evening of my arrival, the week kicked off with a flying start when I was placed in a group led by the

The course featured daily masterclasses with the fantastic Jiggs Whigham, which included lessons on technique, equipment, improvisation, repertoire, performance, and much more. If all of this wasn’t enough, there was a choice of at least four workshops daily which students could attend, including workshops entitled ‘Wrapping your ears around a tune’ with pianist Randy Halberstadt, ‘Get the most from your practicing’ with trumpeter Sean Jones, ‘Improvisation with a compositional approach’ with tenor saxophonist Bob Mintzer, and ‘What it takes to be a twenty-first century jazz musician’ with trumpeter Terell Stafford, amongst many others. I feel extremely honoured and lucky to have had the opportunity to work with and learn from such talented students and faculty, to have made friends and contacts from different cultures, and to have seen a very beautiful part of the world.

I’d like to take this opportunity to express my gratitude - to my family and friends and trombone tutor Roger Cutts for their encouragement and support, to my fantastic mentor Jiggs Whigham for his kindness, and to the Royal Northern College of Music (especially Suzy Stonefield), the Rotary Club of Salford with Swinton, and Centrum for their financial support.

Trombone in a Cave

by Dávur Juul Magnussen

It was always a dream of mine, since I played there for the first time at age 14, to record an album in the sea cave. The name Klæmintsgjógv means Clement’s Cave, and it is situated on the cliff-strewn west coast of the island Hestur, among the Faroe Islands. It is a 200 feet tall, 1500 feet deep cathedral of nature.

Water is constantly dripping from the ceiling, the waves provide a temperamental accompaniment, and the odd seal or puffin has been known to join in with performances. The seals listen politely, while the puffins tend to join in.

There are regular performances in the cave during summer, but the year that I and my band of experienced cave musicians were supposed to record, the weather had been unsuitable until the end of July. We were the first party to get in that year. If the wind or current isn’t right, the waves can quickly swamp the whole cave, making it a rather dangerous place to be.

Wave patterns are also quite hard to predict so you have to be aware all the time, and be ready to jump into the boats and leave if conditions look likely to worsen.

At the same time, you have to be patient and give space to the huge echo inside.

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The saying that silence is the most important part of music really has a meaning here, since you have to give space and listen to what the cave throws back at you. Hence the album title Cesurae. Stop and wait. If the waves are quiet, the echo is like a microscope with which you can inspect the smallest detail in a sound, but if the waves are louder, you have a formidable partner for musical jousting.

Cesurae is available on iTunes or from Tutl at www.tutl.com You can also check us out on Youtube: “Seikilos Epitaph Cesurae”

spring 2016 the trombonist

by Jonathan Hill, Josh Hayward and Adam Smith

Life as a Royal Air Force Trombonist Royal Air Force Music Services provide musical support for state and service events and we have always been held in extremely high regard for our professionalism and high musical standards.

We regularly take part in radio and television broadcasts, including the Festival of Remembrance at the Royal Albert Hall on BBC 1 and Friday Night is Music Night with the BBC Concert Orchestra for BBC Radio 2. We have been featured on ITV’s This Morning programme, and have appeared several times on BBC 1’s The One Show and on Sky 1.

We also do studio recordings for record labels such as Decca, Chandos and Naxos, which are regularly played on Classic FM and BBC Radio. One of our many recordings, an album of Nigel Hess works titled New London Pictures for Chandos records, featured as Classic FM’s album of the week.

The Royal Air Force Squadronaires big band album In the Mood -The Glenn Miller Songbook has sold in excess of 100,000 copies and got to number four in the Official UK Pop Chart, outselling the Rolling Stones!

As trombonists, our state ceremonial engagements include changing of the guard at Buckingham Palace, Royal Jubilees, Royal Weddings and Funerals, Remembrance Sunday at the 18

Cenotaph in London and Tattoos across the world. We also had a large involvement at the 2012 London Olympics and also at the first Invictus Games in 2014.

We have a wide variety of ensembles including brass quintets, dectets, symphonic brass, big band, jazz quintets and jazz octets. Now and again we are able to perform trombone quartets in our chamber recital series as well as on concert tours. We are just about to record a symphonic brass CD recording under the direction of Eric Crees, Paul Archibald and Terry Johns, amongst others. In August 2015, the Symphonic Brass was the first military ensemble to perform as part of the Edinburgh Festival Fringe under direction of French horn legend Terry Johns.

Day-to-day life in the band is much like being a freelance musician. Every week is different, with a wide variety of engagements, styles and ensembles. Life in our rehearsal studios is quite relaxed as we prepare for concerts and recordings. In our purpose-built rehearsal studios, our usual set up in the band is three tenors and a bass trombone, depending on the requirements of the music.

On parade, we have a position of responsibility on the front rank. Leading the band into Buckingham Palace whilst changing the guard is an honour and privilege - something we would not experience outside the RAF. Marching and playing can be a steep learning curve at first, but after time it becomes second nature (and we also get the best view!).

There is a great sense of camaraderie within the band and this ever present especially while on tour at home and abroad. Recent tours have included locations such as India, America, Canada, Russia South Africa and Australia. Tours provide an excellent opportunity to perform in unforgettable locations as well as letting off steam with the usual touring antics.

Experiences include visiting the Taj Mahal in India, Red Square in Moscow and needless to say sampling the local brew is always a must wherever we go!

So why join the RAF? The three of us graduated from London Conservatoires and subsequently moved into the freelance music industry, working with ensembles such as the English Chamber Orchestra, Bournemouth Symphony Orchestra and the Royal Philharmonic Orchestra. Whilst we all agree that life as a freelance trombonist is varied and exciting, one of the main reasons we joined the RAF is for the career stability it provides performing musicians.

As well as being a salaried position, the support and welfare provided by the RAF is excellent. Accommodation is heavily subsidised; for single people

it is £60 a month, with family housing costing from £150-300 a month.

This adds considerable value to the salary as living costs are so low.

Upon completion it is back to the trombone and life in the band begins (normally with a welcoming visit to the local curry house…)

Other benefits include a pension, free medical, dental and optical care, as well as a free 24 hour gym. Also included are opportunities for free adventure training and subsidised further education.

Your initial contract will be for 12 years; however, if it is not for you, you can leave any time within the first six months or after three years of service.

The minimum standard for applicants is Grade 8, although 96% of successful applicants are music conservatoire graduates.

Each trombonist is provided with concert and parade instruments as well as mouthpieces. Recently, the tenor trombones were all bought new Conn 88Hs. The current bass trombones play on a range of instruments from Bach, Rath, Edwards and Kanstul. You can, of course, play your own personal instrument on concerts if you wish.

We are also furnished with a full set of mutes each and trombone stands.

For those who are interested, entry into RAF music services begins with an audition, similar to that of an orchestral position. There is also an interview with the Armed Forces Career Office, a fitness test and a medical exam.

Once you have completed a successful audition and interview process you advance to basic training at RAF Halton, which lasts for 10 weeks.

We currently have vacant positions for tenor trombonists. If you are interested in any further information, you can come and visit the band room at RAF Northolt in West London at any time.

You will be able sit in with the band, meet us and have a tour of our bespoke facilities.

Any other questions about salaries or arranging a visit, please contact our Media and Communications Officer, Barry Stringer on 07867 550 287.

Alternatively, contact him via email at: rafmusic.media.pr@gmail.com.

Other links: www.rafmusic.co.uk or visit us on Facebook at “RAF Music” or on Twitter “@RAFMusicHQ”

19

Rising stars: Daniel Higham

g risin s star

Know someone who should be featured in ‘The Trombonist’?

Write in to editor@britishtrombonesociety.org

AN NAME: DANIEL HIGHM AGE: 14 OF MUSIC, WATFORD SCHOOL: PURCELL SCHOOL How old were you when you started playing, and why did you pick the trombone?

I started playing trombone when I was 7 years old. My dad played trombone so we always had a trombone around the house.

Who is your teacher?

At Purcell I am lucky enough to have a few teachers: Ross Anderson, Kit Downes and George Hogg.

What instrument do you play?

I play a custom Rath R10 with a Monette TS6S1 mouthpiece What music do you like to play and listen to?

I play mainly jazz and love improvising, although I still play some classical and orchestral music at school. My listening reflects what I like to play, with my favourite artists being; Mark Nightingale, Freddie Hubbard, Bill Evans, Aaron Parks, Kenny Wheeler, Michael Brecker, Avishai Cohen (the trumpet player!), Chris Potter, Kit Downes, James Madren and Stan Sulzmann.

Would you like a career in music?

Yes, I would love to have a career in music – playing jazz and shows.

What are your other hobbies?

In my free time, when I am not playing trombone, I like to sit and transcribe solos and play computer games.

What is the best thing about playing trombone?

For me, the best thing about playing trombone is meeting people and having something fun and interesting to do.

What bands do you play with at the moment?

I currently play with the National Youth Jazz Orchestra, junior jazz groups at the Royal Academy of Music, and various jazz groups at school.

Daniel Highman

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by Alexander McGrattan

George Case: Trombonist, Antiquarian and Angler

In August 1885 Case was described

by George Bernard Shaw as ‘the wellknown [sic] trombone player’ in a review of the second of two lecturerecitals on the history of the trombone that he presented at the International Inventions Exhibition in London.

The musical examples for the lecture included Beethoven’s Equale for four trombones and Schütz’s Lamentatio Davidis (Fili mi, Absalon), from his Symphoniae sacrae (Venice, 1629) for four trombones, bass voice and organ.

Case, playing alto trombone, was joined

The Musical Times for October 1885 included the advertisement: TO ORGANISTS and CHOIRMASTERS. GEORGE CASE (Alto-Trombone) is prepared to accept ENGAGEMENTS for the Trombone Quartet, which performed on August 5 at the Music Section of Inventions Exhibition, or other parties of Brass Instrumentalists, for the performance of Church Music in Town or Country.

27 Inverness Terrace W. How effective this advertisement was in procuring engagements is not known, since no further trace of the quartet has been found before March 1890 when it performed Beethoven’s Equale and Schütz’s Lamentatio Davidis at a meeting of the Wind Instrument Chamber Music Society at the Royal Academy of Music.

Performances of these works were given at provincial and Gardens

George Edward Case, the son of a stockbroker, was born in London in 1855. He was educated at a prestigious boarding school in Hertfordshire, after which he embarked on a career in the City. In 1875 his father died, leaving an estate valued at £180,000 (worth more than £8 million today). In the 1881 census, George Case, aged 26, was recorded as a ‘Member of the Stock Exchange’, living with his mother and two siblings in the family home in an affluent district of central London.

Precisely when Case abandoned his career in the City to devote his attention to music is not known. Nor are there any details on his musical education and his activities as a trombonist during his early adulthood.

by Charles Geard and ‘Antoine’ [Albert] Matt on tenor, and John Matt on bass trombone. An indication of Case’s standing in the profession at this time is evident from the production that year of a series of ‘Case model’ trombones

by Boosey of London. Thirteen of these instruments were manufactured, their defining characteristic being the positioning of the tuning slide on the bow of the main slide.

Continues on next page.

iman Museum

That Case enjoyed a lifestyle unlike that of other London brass players is clear from the circumstances leading to his death in November 1909 at the age of 54. According to an obituary in the Tamworth Herald, this resulted from a bout of sunstroke that he sustained on a fishing trip to the Orkney Isles, a destination he had visited regularly for twenty-five years. Orkney seems an unlikely holiday destination for a professional brass player from London at this time - and an improbable place to succumb to sunstroke - and sets Case apart from his colleagues, for whom, it seems safe to assume, regular leisure trips to such an exotic location would have been prohibitively expensive. Evidence from 1885 and 1892 confirms Case’s long association with the Northern Isles. In 1885 he was appointed an Honorary Member of The Orkney & Zetland Association, a charitable organisation that funded educational opportunities for young

people from the islands, and in 1892 he sent a reward to the staff at the railway station in Dundee from his hotel in Kirkwall for recovering his luggage.

The obituary also reveals that Case’s abiding passion, besides angling, was researching the history of the trombone, and that he was involved in instrument design.

CREDIT Horn

George Case, professor of trombone at the Royal College of Music, London, from 1896 to 1909, is remembered today primarily as Gustav Holst’s trombone teacher. Case is mentioned in newspapers and the musical press for about fifteen years, from 1885 on, as leader of a trombone quartet that specialised in the early ensemble repertoire. Curiously, however, very little else is known of his activities as a performer. On the face of it, his absence from surviving orchestral rostra is surprising, since orchestral playing constituted the mainstay of the work of his quartet colleagues and fellow brass professors.

ory t s i h cus fo

george casE continued... music festivals during the following few years. Case was not engaged for these events, but his quartet performed the same repertoire at a concert of the Bach Choir at London’s Queen’s Hall in May 1894.

A review of the Bach Choir concert in The Musical Times reveals that the bass trombonist, John Matt, used an instrument with an aluminium slide that had been development by George Case and the acoustician David James Blaikley, Boosey’s factory manager and chief instrument designer. At one-third of the weight of a conventional slide, and not susceptible to the accumulation of verdigris through oxidation, this development reportedly facilitated slide movement. Since aluminium cools more slowly than metals normally used in brass instrument construction, the instrument was also reportedly less prone to fluctuation in pitch when players were required to rest for extended periods. Several ‘Case-model’ trombones from 1885 survive, but there are no known examples of his instruments with an aluminium slide.

In his review of Case’s 1885 lecturerecital, Shaw asserted that Beethoven’s Equalen was composed in 1812 and first performed at the composer’s funeral.

In fact, the work was first performed in Linz Cathedral on All Saints’ Day 1812, and two movements were set to the words of the Miserere for Beethoven’s funeral in 1827. The Miserere, with trombone accompaniment, was performed at provincial music festivals in England during the first half of the nineteenth century. The association with Beethoven’s funeral was routinely noted on these occasions and in relation to the later performances of the Equale in England. It is not surprising therefore that the work found a place in funeral services.

In February and August 1896 a trombone quartet led by George Case performed Beethoven’s Equale at funeral services at St Paul’s Cathedral for two of Britain’s most eminent artists: the painter and sculptor, Frederic, Lord Leighton, and the painter Sir John Millais, Leighton’s successor as President of the Royal Academy. In both services the trombonists were positioned in the western gallery of the Cathedral, 24

from where, shortly before the arrival of the funeral cortège, they sounded the Equale, or, as one account of the funeral of Lord Leighton evocatively reported, ‘gave forth a wailing dirge-like music quite appropriate to the sad occasion’.

Reporting the funeral of Sir John Millais, London Daily News (21 August 1896) noted: ‘To many persons the trombone is an instrument of torture, but they would have viewed it differently had they heard its sweet rendering yesterday of the great composer’s plaintive music, broken by many pauses, as of one bowed down by grief.’

An even more elaborate funeral service was performed in Westminster Abbey for the former Prime Minister William Gladstone on 28 May 1898. On this occasion Case was joined by the trombonists Charles Hadfield, Albert Matt and John Matt, who performed the Equale from the Henry V Chantry, high above the congregation, at the east end of the Abbey. According to report in The Times (20 May 1898): ‘The effect of the pure sounds echoing among the vaulted spaces of the roof was something never to be forgotten’. Similar allusions to the emotive effect of the Equale appeared in the regional press, with one paper reporting that ‘both melody and harmony descend in showers of exquisite delicacy and mourning’ and another likening it to ‘the first wail of grief from mourners when a dear one is taken’.

The state funeral for Queen Victoria on 2 February 1901 was held in St. George’s Chapel, Windsor.

Beethoven’s Equale was not included in this service, but Case’s quartet performed the work at a memorial service in Westminster Abbey the same day. A report that appeared in several regional newspapers noted that the sound of the trombones ‘reverberated through the long and lofty aisles and from the groined roof with sometimes startling, but always fascinating, effect’.

Services were held across Britain that day, and in Manchester Cathedral, the Equale was performed by the trombone players of the Hallé Orchestra.

According to the obituaries in the Tamworth Herald and The Royal

College of Music Magazine, at the time of his death Case was close to completing a history of the trombone, the result of twenty years research in the British Museum and elsewhere.

The RCM Magazine lamented the fact that he did not live to complete the work ‘which was so much a labour of love, and for which he had so patiently prepared’. The only surviving example of his scholarship is a letter to The Musical Times, in which he challenged various assertions made by Canon Francis Galpin in his seminal paper on the history of the trombone to members of The Musical Association in November 1906, at which Case was present.

George Case was recognised during his lifetime as an authority on the history of the trombone. As a performer he was praised by no less a figure than George Bernard Shaw, but he evidently did not strive to advance this aspect of his career. Having the financial security to pursue his personal interests, he chose to indulge his passions for historical research and fishing. Gustav Holst studied with George Case between 1896 and 1898, precisely when Case was leading his trombone quartet in performances of Beethoven’s Equale in high profile funeral services. Holst did not disclose details of his lessons with Case or the impact they had on his development as a composer, but considering Case’s keen interest in the history of the trombone and its repertoire, we can assume that this would have featured in his teaching.

The most discernible influence of George Case on Holst’s orchestral writing is arguably the short funeral march for three trombones in ‘Saturn, the Bringer of Old Age’ from The Planets (1914-16). The trombone’s age-old associations with death and mourning were well known, but it is tempting to suppose that this symbolism would have held particular poignancy for Holst through the influence of his late trombone teacher.

Acknowledgements: The author would like to thank Johanna Byrne, Assistant Librarian, Royal College of Music, and Arnold Myers, Senior Research Fellow, Royal Conservatoire of Scotland, for their assistance in the research for this article.

spring 2016 the trombonist

Darren Smith

by Christian Jones

when the bass I was in the process of leaving the Army al ion fess pro a been you e hav g for me then, How lon trombone position first became vacant, but for ician mus nal essio prof a been I’ve t to the musician? it was too early to apply. I left the army, wen of ol Scho or Juni y Arm the d joine I Goodhew was twenty six years.

Royal Academy, and my predecessor Rob ths mon n fiftee t spen and 1989 I thought that Music in Pirbright in appointed to the BBC later that summer. bone, the later, s studying piano, double bass and bass trom year six e would be the end of it, but som s. I then suddenly I ge. latter with Paul Lawrence and Dave Evan chan Rob decided he wanted a career studying spent another twelve months at Kneller Hall felt very hopeful. ing, I spent with Cliff Jones. On completion of my train e in the Vale r Guards Where do you live? I live in Cowbridg twelve years in The Band of the Grenadie South Wales, the Changing of Glamorgan; a very picturesque part of performing at various ceremonies, such as Cardiff of Parliament close to the seaside and twenty minutes from of the Guard, VE Day, The State Opening fair share of Bay where the Orchestra rehearse. and The Trooping of the Colour. We did our . ?

Do you double on any instruments touring too, to Australia, Europe and the USA had to play have I h whic , rican Other than the tenor trombone My final tour involved fifty-six North Ame trombone re fanfa bass G by bus all occasionally, I also played the cities in two and a half months, travelling that, with age dam e ied to join in the Army. Wow, I could do som the way. I left the Army in 2003 and appl ht boug also I back nts had far but it is great fun once tamed. Years the Metropolitan Police Service. My pare was h whic elf and, an old Alexander contrabass trombone, more faith in my musical abilities than mys a chieftain s orchestra great to learn on, except it was like holding unbeknown to me, sent my CV to London a bullet and on tank on your shoulder, it would easily stop for extra work. I had one reply, from the Lond I have since this audition, most likely could do just as much damage.

Philharmonic Orchestra. In preparation for stic.

Royal acquired a Rath contrabass, which is fanta I went for lessons with Bob Hughes at the supportive Academy of Music. Bob was fantastically post-graduate a g and encouraged me to think about doin sful at the cces diploma the following year. Though unsu vating moti ly LPO audition, I found the experience huge Lindsay and felt inspired. I sat in the section with art sat in Stew e Dav st whil , Shilling and Brian Raby from the Aria s stro’ Sara ed front and listened. We play Fourth s sky’ ikov Tcha Magic Flute and excerpts from iction, conv and ty clari Symphony and I felt a moment of e. gsid alon as these players were so easy to play I wanted The experience solidified in my mind that leaving the to play the bass trombone seriously. Since estra for RAM, I played in The Syd Lawrence Orch two and a for ed Wick , show three years, the West End on film ed work , trials l half years, had a few orchestra er. care ng anci sessions and enjoyed a varied freel ?

How did you come to join the BBCNOW ng havi Having grown up in the countryside and years, I wanted subsequently lived in London for twenty Orchestra to escape the Big Smoke. The BBC National to be in. of Wales was the orchestra I always wanted

26

The Bass Bone Files : TOP SECRET

Bass Bone Files

G bass fanfare I also played the army. Wow, I trombone in the amage with that… could do some d

Trombone heroes ? If it weren’t for my Dad, Paul Smith, I have no doubt that I wouldn’t be a trombonist now. Lessons, lifts to band practice, music , mouthpieces, instruments, the list goes on and on of things I should thank him and my mum for.

I grew up listening to George Roberts, Dimetri Pagalidis, Don Lusher and Raul de Souza playing on the gramophone (I’m not that old!), it was a fantastic way for me to get the ‘sound’ in my head, something that has become invaluable to me now. Jim Watson and Bob Hughes gave me fantastic opportunities at the RAM. Jim gave me motivation, belief, funding and put me in the ‘shop window’ and Bob gave me a conscience , confidence and the skills to start out on a new career.

I firmly believe that without their help and support I would still be waiting for the phone to ring. In terms of solo performance, I really like Stefan Schulz’s playin g.

He takes ‘last trombone’ to a whole new level.

What does the future hold for you?

Long Tones.

The Bass Bone Files : TOP SECRET

and also classical guitar recordings. Then there’s the world of film music. I have been fortunate enough to play on a few Hans Zimmer and Danny Elfman score s, composers I’ve always admired, but ultimately John Williams is still King to me, having grown up watch ing the films he has written the music for. I pinch myself that I get paid to play those tunes, and especially since the bass trombone always has the tune, always...:)))

How do you relax and enjoy life away from music? My family - a massive reason for leaving London was so that my kids could grow up in the countryside and by the sea. A by-product is that they both speak welsh. I also play five-a-side football with guys in the Orchestra and my wife and I enjoy the Glamorgan foodie culture. My only vice is computer gaming, mostly first person shooters. If they had been around when I was a kid I would still be welded to that seat now.

For all those Boneheads that just need to know… For twelve years I played an Edwards with a Stork 1.5S. Since joining the orchestra I’ve been looking for something a little more compact and less ‘dominant’. I’m currently playing on a Kanstul 1662.

The boys seem to like the blend, as do I. Favourite repertoire ? I love playing and listening to Wagner, Richard Strauss, Respighi, Vaughan Williams and Mahler. Away from trombone, I enjoy Chopin Preludes (op28 No15 Db Major is a favourite)

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spring 2016 the trombonist

From Way Back When…

By Denis Wick

A little tale from early days at the Bournemouth Municipal Orchestra.

I slowly became aware of disputations within the orchestra. The funding from the local council was always subject to the democratic process, with a large sector of local politicians regarding the orchestra as a needless drain on the local ratepayers.

Every year there were headlines in the Bournemouth Echo proclaiming the demise of the orchestra. Fortunately, this never happened. There were, however, continuing disputes within the orchestra. My colleague, Tom Hodgkiss, a former Sunderland policeman, as I had soon discovered, had feuds with the 1st trumpet, Walter Tiller and the 1st Horn, who was the orchestra manager, Len Higgs. One of these disputes became a matter of drama in the orchestra and a matter of personal concern to me.

We were due to play a concert which featured the Beethoven little pieces for four trombones alone, the Drei Equale. A local player, Jim Bishop, had been booked to play the 3rd part.

For some reason, Tom was unhappy with the rehearsal schedule, and voiced his complaint to Rudolf Schwarz.

After what seemed t... an interminable wai We were also playing the Schumann 3rd (Rhenish) Symphony in the same concert. I should perhaps explain that this piece has a chorale at the beginning of the 4th movement which is beautifully written for the trombones. The 1st part is for alto trombone; it is high and notoriously difficult. Nobody then had even seen an alto trombone – the part was always played on the standard tenor; difficult but not impossible.

28

The first half of the rehearsal had taken care of movements 1,2 and 3 and we were all waiting for Tom and, of course, Rudolf Schwarz. Suddenly there was a noise from backstage.

The entire orchestra fell silent. We could hear – just - Schwarz - screaming, “get out of zis building.” The screaming ceased.

After what seemed an interminable wait, Jimmy Bishop appeared, made for my seat, said “ ‘ere, get over – I’m not playin’ that part!”

The dapper, fully composed Schwarz returned to the podium, looked at me and said “Mr. Vick, you will play 1st, please” So at, literally, 5 seconds notice, I was catapulted into what is generally regarded as one of the most difficult 1st trombone parts in the entire symphonic repertoire. I coped – just, and the rest of the rehearsal passed without incident.

Tom Hodgkiss had been suspended until further notice and I had become the 1st trombone. I called my wonderful wife, Audrey, and we met at the Winter Gardens. I practised all afternoon and she persuaded me that I could accept this challenge. In the end it all went well.

The next day I had to play 1st again. The programme included Ravel’s Bolero - another trombone Waterloo. Having prepared the solo the day before, I was able to do justice to it.

The following weeks had the 7th Symphony of Sibelius and some Brahms symphonies, all of which I tackled successfully.

A baptism of fire, but I enjoyed it very much. I had achieved my ambition, to be, albeit temporarily, 1st trombone in a symphony orchestra.

After a few weeks, Tom returned, suitably chastened. At the end of the season, Schwarz left us, having been appointed conductor of the City of Birmingham Symphony Orchestra.

Charles Groves became our conductor. He was very different from Rudolf Schwarz, but a fine musician who introduced enough different repertoire to broaden my experience in a useful way.

I had achieved my ambition...

gear reviews Getzen Mike McLean ‘Eterna’ series Bucket Mute Review

By Ross Anderson by Sion Jones Being predominantly a tenor trombonist, I have always had an interest in doubling on bass and so this year I finally decided to invest in a new bass trombone. I went through all the usual testing, playing different instruments, makes and models, before deciding on one which I had never originally considered. The Getzen ‘Eterna’ series offered me exactly what I was looking for.

Coming in two main models, the 1052 and 1062, each model offers a different playing experience. For me, the 1062 had more plus points from the perspective of a tenor player. It is lighter, due to the lightweight slide, the dependent rotor system feels not like you are playing an instrument closer to a large bore tenor than a fully fledged bass. The 1052 on the other hand, feels like a bass trombone. It doesn’t share the light slide and as such is quite a bit heavier though not unmanageable.

The other big difference is that the 1052 uses a fully independent valve system.

This was one of the reasons I went against the 1052. As a tenor trombonist, I have only ever used the second valve in conjunction with the first and never on its own, so didn’t really see the need for it. That being said, both instruments blow beautifully, and feel very well made. You get the option of either a yellow or rose brass bell section, and both come with 3 interchangeable lead pipes, a Getzen 1 1/2G mouthpiece, and a strong, if heavy, solid case. I really think that the Getzen ‘Eterna’ series has a lot to offer, and anyone looking for a bass trombone should really consider it as an option, as I am sure you could find something to suit everyone.

Getzen instruments are available through their UK distributor, Dawkes Music: http://www.dawkes.co.uk/

For me, the bucket mute is usually the one that you don’t want to add into your bag of other mutes while travelling, sometimes to find out you didn’t need it in the first place...

The first thing that I notice is how light and compact the mute is, with no compromise to its strength or sturdiness in comparison to a metal one, which I believe should be and is a big selling point for the this Mike McLean product.

Because it is so light, it’s very comfortable to play the trombone with it in. I have used this mute in a performance, and had no problem playing with it for a (longer than usual) muted section of a chart.

It delivers a good soft tone that feels relaxed across the range from a quiet to a middle dynamic, and at a louder dynamic it still feels comfortable along with a good bite to the sound should one need that. It does feel ever so slightly tight in the higher range, but then again it is a mute.

What I think is excellent about this mute, is the removable foam padding from inside the bucket. It is a great option.

The sound is certainly more open and slightly harsher, but still maintains a good bucket mute sound and one that I think I prefer.

Maybe a sound in the middle of the two (with or without padding) would be the best, but of course that is personal preference. Certainly a mute that I would recommend. http://www.mikemcleanmutes.co.uk/ 29

gear reviews continued...

Rath Alto Trombone

by Duncan Wilson When deciding to spend some of my children’s inheritance on an alto trombone, I found myself picking a precarious path through the minefield of possibilities. Over the past 50 years or so, our taste in large-bore tenors has boiled down to about three or four fairly similar designs.

However, the options available on alto trombones are much greater. Bore sizes range from 0.460” to about 0.510” and bell sizes and materials are similarly diverse. Another choice was ‘to plug or not to plug?’ as many instruments come with either a Bb attachment or a semitone trill valve.

The Rath alto trombone is a relatively new design and the first prototypes became available for testing in 2011. There are two dual-bore options, 0.481”/0.491” and 0.481”/0.500”, a number of bell materials and leadpipes, and a choice of Rotax valves. Everything is built to Mick’s very high standards and he has opted for slide tuning in order to keep a truer bell flare.

My initial misgivings about so many options were put to rest by Mick and his team, guiding me through the whole process and explaining the nature of each option of leadpipe, bell material and so on. Eventually settling on a gold bell and the smaller slide, I would have been happy with every combination I tried, such is the quality of workmanship on offer. Absolutely no quirky notes, everything slots into place.

So, would I recommend the Michael Rath alto trombone? Absolutely yes. Over the past year I have played all the Schumann symphonies, Missa Solemnis, a couple of Mozart Requiems, a couple of Elijahs, plus various random overtures, masses and even contemporary music. This little alto trombone, made with pride and passion in Yorkshire, has been a joy to play.

Wiseman Bass Trombone Case

by Sam Freeman I’d been a big advocate for soft cases for a long time, but after jumping on busy trains and tubes and sustaining a fair amount of damage to my trombones, I thought it was time to get something that offered more protection.

I asked the question over Facebook on what people recommended.

I had been swaying towards the ‘Bags of Spain’ as they are cheap, light and compact, but I’d seen the damage they could do when the slide slips inside and smashes into the bell. I knew the Marcus Bonna cases were protective, but the zips would always go after a while.

After seeing bass trombonist James Buckle’s case I was very impressed.

There are two different options with shells - you can either have a wooden one, or go for the lightweight carbon-fibre. I chose the latter. Despite it’s size, it is very light and offers far more protection than anything else available on the market. There’s also enough space inside for a straight or practice mute, and also a heavy duty trombone stand or music stand, depending on which you prefer. Howard Wiseman, who engineers all of the inserts for the case, was happy to make mine adjustable to fit my two different bass trombones, and also offers free re-engineering should you change instruments. The case holds a life-time guarantee, which just underlines the quality of craftsmanship.

The cost of the case is on the higher side - the wooden case is £760+VAT, with the carbon-fibre at £1200+VAT. This said, in the last 7 years I have owned 4 different cases, all of which have either broken and or caused damage to the instruments.

It doesn’t take a rocket scientist to work out that if you’re spending hundreds of pounds every four or so years, and sustaining £100 of damage as well, then over a short period you’ll be financially out of pocket compared to getting a Wiseman. More to this though, how many of us want to open up a case and find that the instrument is damaged? I’m very fortunate to have two very rare bass trombones and I’d rather know that I’d done everything I can to protect them, rather than finding one of them damaged by a shoddy design.

I’m a strong believer that you tend to get what you pay for and with Wiseman you’re paying for the best. AND if that doesn’t sway you then it’s also worth mentioning that the case acts as an excellent table, at perfect height, for a post-gig orange juice!

www.rathtrombones.com

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31

reviews Jörgen van Rijen/ Wim Van Hasselt – Tintomara Reviewed by Rupert Whitehead

In September 2014, Jörgen van Rijen joined forces with Belgian trumpeter Wim Van Hasselt to record the album Tintomara. The recording features a selection of instrumental combinations, ranging from Martijn Padding’s One Trumpet written for, well, one trumpet, to Eastwind for 10-piece brass ensemble

by Jean-François Michel.

The disc opens with the trombone and trumpet accompanied by Baroque instruments in arrangements of vocal pieces by Henry Purcell. The songs presented are Sound the Trumpet, My dearest, my fairest and Hark, how the songsters of the grove. They are played with great expression and warmth, with the two solo voices blending effortlessly.

The title track of the album, Tintomara

by Folke Rabe, is a duet for trumpet and trombone, originally written for Messrs Lindberg and Hardenberger. The work is supposed to reflect the male and female character of the trumpet and trombone, the paradox being that both instruments possess elements of each sex.

The contrasting sections aim to represent this throughout the piece, with macho fanfare passages giving way to the ‘motherly’ sound of the trombone (the composer’s wording I must add!).

Philharmonic Hall Jean-Michel Damase wrote his Trio for trumpet, trombone and piano in 1983.

ews i v e r

He said of his style that he ‘…upheld the post-tonal line of Debussy and Ravel.’ The influence of the two composers is heard throughout the piece. The first movement is played beautifully, with phrases flowing along and seeming to never end as they are passed back and forth. The second movement is lighter in style, with a scherzo feel. Once again the playing is full of character and keeps you involved for the duration.

My opinion is that if the music is great and treated with respect, it really doesn’t matter who or what it is played by.

For this recording, the arrangements are very skilfully done by Simon Cox and Matthew Knight. They have preserved the original beauty of the music, combining it with the best side of brass playing, so the music really shines with great power as do the lyric qualities from a fine tuned Septura brass ensemble.

An arrangement of the Passacaille from Ravel’s Piano Trio doesn’t disappoint.

The movement works well in this setting, with Van Hasselt switching to flugelhorn, which melds perfectly with the trombone.

The recording takes us on a journey, from the cold, serious, menacing, mechanical and raw Quartet no. 8, Op. 110 by Dmitri Shostakovich, further in to a neoclassic adventure in the Suite (from Ten Pieces for Piano, Op. 12) and March from The Love for Three Oranges by Sergey Prokofiev, then through Alexander Scriabin’s carefully chosen piano Preludes, which show us the wide span of his compositional language. The selection finishes off with beautiful romantic repertoire such as the Vocalise, Op. 34, No. 14 by Sergey Rachmaninov. Well worth a listen.

Possibly the most interesting piece on the disc is Slipstream. Here, Florian Magnus Maier has written for trombone solo and loop station. The ‘loop station’ is a pedal board that allows the performer to record himself as he plays.

He can then replay passages, record new layers or delete material. These loops enable the soloist to play and create his own accompaniment and van Rijen seems in his element in this high energy performance.

This is a high-class album from start to finish featuring some exciting new works. It is well worth a listen.

music for brass septet 3 septura Reviewed by By Audun Breen

As brass players, we are in some instances not as blessed with original compositions written for the instruments and ensembles thereof.

When adapting, transcribing and making arrangements of music not meant for the instruments, you somehow have to justify “stealing” someone else’s literature.

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Photography courtesy of Betina Skovbro

spring 2016 the trombonist

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.

by Matthew Gee & Mark Templeton This year marks the four hundredth anniversary of William Shakespeare’s birth. With us taking somewhat of a background role in these concerts, we have, where possible, focused on British programmes (with the occasional classic thrown in for good measure) because pickings are slim on the ground.

who: City of Birmingham

Symphony Orchestra when: April 29th, 1:10pm where: CBSO Centre, Birmingham what: 10-piece brass and percussion,

including Walton, Britten, Bliss who: Young Liverpool Philharmonic Orchestra when: July 17th, 2:30pm where: Philharmonic Hall, Liverpool what: Britten: The Young Person’s

Guide to the Orchestra; Holst:

St. Paul’s Suite. who: Opera North when: Between April 23rd - July 10th where: Leeds, Nottingham,

Manchester, London and Gateshead what: Wagner: Ring Cycle who: Radio Telefis Éireann Orchestra when: 29th April, 8pm where: National Concert Hall, Dublin what: Mahler: Symphony No. 3 The CBSO start things off with a 10-piece concert, using percussion from the Birmingham Conservatoire. You could then get the 17:50 Ryanair flight from Birmingham to Dublin and make it in time for the RTÉ’s Mahler concert that same evening. Try and catch any of 32

Opera North’s Ring Cycle: you have to embrace this monumental work at least once in your life, why not now?

The Young Liverpool Philharmonic Orchestra will be enjoying centre stage with the above works and also Bernstein’s suite from On the Waterfront.

Over to you Mark…

Thanks Matt. Here are my picks. I’ve found a few gigs of interest.

who: Bournemouth Symphony Orchestra when: April 20th, 7:30pm

April 21st, 7:30pm where: Lighthouse, Poole Great Hall, Exeter what: Wagner: Tannhauser Overture; Walton: Cello Concerto; Sibelius: Symphony no.2. who: Philharmonia Orchestra when: May 7th, 7:30pm where: Royal Festival Hall, London what: Brian Tyler: Stars, Cars and Superheroes who: London Symphony Orchestra when: May 9th, 7:30pm where: Barbican, London what: Mahler Sixth Symphony who: BBC National Orchestra of Wales when: 7th June, 7:30pm where: BBC Hoddinott Hall, Cardiff what: Walton: Johannesburg Festival Overture; Elgar: Cello Concerto; John Pickard: Symphony no.5. who: English National Opera when: June 9th - July 9th 3pm/5pm

where: The Coliseum, London what: Wagner: Tristan and Isolde BSO have a good mix of trombone rep with a bit of Walton thrown in for a dose of Britishness.

I’ve put the Philharmonia’s film concert in because I’ve done some of Brian Tyler’s films and he loves in-your-face trombone writing. Expect fireworks.

LSO Mahler 6 speaks for itself.

There’s a beautiful ‘featurette’ for the , bones near the end. BBC NOW choice might look random but this wholly British programmme includes a new piece by John Pickard, who brass band musicians might know from test pieces.

So I guess he knows how to write for brass. I’ve also picked out some Wagner at ENO. Tristan has some of the most spine-tingling moments in opera and , the bones have a hand in it with some breath-taking chorales.

Here endeth the G&T for another issue.

Enjoy music wherever you find it and feel free to tweet the BTS about any of your concert experiences.

Follow Matt by visiting www.matthewgee.info or on Twitter @Geetrombone Follow Mark on Twitter @mbonetempleton

MT

MG

t’s wha on

what’s on 5pm 15 april 2016 1pm & 3ime recital bones apart: luncht sterclass and afternoon ma Scotland, 100 Renfrew of Royal Conservatoire Street, Glasgow, G2 3DB www.bonesapart.com

23 april 2016 7:30pm Fodens Band Keele University www.fodensband.co.uk

Scotland Trombone Day Royal Conservatoire of Scotland, 100 Renfrew Street, Glasgow, G2 3DB

25 april 2016 Bones Apart: Wor kshops and evening concert Kings Theatre, Station Road, Cheddar, Somerset BS27 3AQ. For more details, please contact Anne Higgs 07879 401879 www.bonesapart.com

20 may 2016 all day Whit Friday March Contests Saddleworth (well worth a visit for all brass lovers!)

17 april 2016 10am onwards

11 june 2016 7.30pm Fodens Band Winchester Cathedral, SO23 9LS www.fodensband.co.uk

27-30 june 2016 dublin brass week www.dublinbrassweek.com

7 july 2016 7:30pm d Christian Lindberg an e ni en Gl Dame Evelyn eltenham Town Hall, Cheltenham Festival, Ch am, GL50 1QA Imperial Square, Cheltenh .com www.cheltenhamfestivals

24-25 July 2016 Septura: How are the Mighty Fall’n & Seven Deadly Sins Lieksa Brass Week 2016, Finland

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.

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spring 2016 the trombonist

fast talk...

60cond se erview int

What’s your name?

Emily White.

What’s your current job?

Freelancer. In terms of ‘seats’ - member of English Cornette and Sackbut Ensemble, Pandora’s Box and Chaconne Brass.

Trombone teacher at Wells Cathedral School and teach sackbut at Guildhall School of Music and Drama and the Royal Welsh College of Music and Drama.

What model of trombone(s) do you play?

Conn 88h. Meinel sackbut, and Egger sackbut .

What mouthpiece(s) do you play on?

Conn 5g mouthpiece, and a combo of Lindberg and Bach 5G rim for contemporary solo music.

How old were you when you started playing?

About 13, I think!

What is the best technical advice you could give a student?

Hear the music you really want to hear in your head, then match the sound you make with that.

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

Well, the one right now feels amazing - playing in remote Finland in a lakeside church full of new paintings by great artists and 400 people taking busses out to the lake to hear us play!

What was the last record you bought?

Martin Hayes Irish fiddle. We went to hear him live - as moving and exciting as a solo Bach Partitas.

What is the best advice you could give someone who is just starting out freelancing?

Don’t think you need to impress your colleagues with your prowess. You need to support them so they feel comfortable, and are able to play well because you are there.

What was your first pro gig and when?

I played at a wedding when I was a teenager. It was where I learned I can’t drink and play...

Where has been your most favourite place to perform?

O quam tu pulchra es by Grandi (played it yesterday- its always the current music that feels the most exciting!).

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

I’m playing I Was Like Wow in a few days, so I am practicing that a lot at the moment.

What’s your favourite colour?

Moss Green What’s your favourite food?

Pak Choi Give us an interesting fact that people might not know about you…

I once got the chance to do out-door flying trapeze for beginners. I was so frightened and tore all my muscles, but the most intense fun.

Thanks for your time!

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