The Trombonist - Spring 2017

SPRING 2017 £5.00

THE

TROMBONIST BTS LAUNCH ABRSM RECORDINGS ACROSS THE POND WITH TOBY OFT GEAR, CONCERT AND CD REVIEWS

WIN AN

WIN OKURA UTE EM PRACTIC

THE EXTRAORDINARY JOHN KENNY

Justin Clarke

CONTENTS REGULARS 6

PRESIDENTS COLUMN Message from Liam

7-10

NEWS & EVENT REVIEWS

What’s been going on in the trombone world

RESOURCES 12-14 JAZZ BY JEREMY

Jeremy gives tips on two of Rob Egerton’s transcriptions

29-30 TROMBONE SCALING UP & DOWN

26-27

Boston Symphony Orchestra’s Toby Oft gives us something to think about

Roger Argente speaks to Justin Clarke

33

THE BASS BONE FILES

28

PRESIDENT’S PROBLEMS Your questions answered

GEAR REVIEWS

Gear, gear and more gear.

34

G&T

Matt and Mark’s highlights for the next 3 months

Cover photograph courtesy of - Hugh Beauchamp 4

PROFILES 18-19

ITM LIFETIME ACHIEVEMENT AWARD A look into the life of John Kenny and his recent ITA Award

31

A TRIBUTE...

...to the life of Roger Williams

FEATURES 11

SINGAPORE TROMBONE FESTIVAL

Hannah Stell tells us all

WELCOME TO THE SPRING ISSUE

OF THE BTS MAGAZINE Too late? Perhaps. Oh well! Welcome to 2017’s first edition of ‘The Trombonist’.

First of all, we would like to pass on our congratulations to John Kenny on receiving the ITA Lifetime Achievement Award! If you would like to read more about John, turn to page 18.

We would also like to pass on our congratulations to Ken Wellington, winner of our BTS Christmas Crossword competition. Your prize is en route and will be with you shortly!

Check out this edition’s competition where you could win an Okura practise mute!

Life has been busy at BTS headquarters as we get ready for the second instalments of the Ian Bousfield Tenor Trombone, the BTS Trombone Quartet and the Intercollegiate Trombone Choir competitions. Hopefully you’ll all have got your entries in and we wish you all the best of luck!

We always value your feedback and would like to welcome any suggestions from members on how to improve our magazine.

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 trombone’y @britishtrombone Best wishes, Simon & Ross

PAGE 29

Editors: Ross Learmonth & Simon Minshall editor@britishtrombonesociety.org Sub-Editor: Peter Chester Alison Keep Publishing and Distribution: HMCA Reviews Editor: Jane Salmon news@britishtrombonesociety.org

HAPPY NEW YEAR!

PAGE 8

THE TROMBONIST MAGAZINE

Advertising: Jane Salmon advertising@britishtrombonesociety.org Design: Sian Nowley sian@hmca.co.uk

CONTRIBUTORS IN THIS ISSUE: Roger Argente

Liam Kirkman

Ross Anderson

Peter Chester

Matt Gee

Hannah Stell

Mark Templeton

Jeremy Price

Jane Salmon

Tom Dunnett

Josh Cirtina

Denis Wick

Sam Freeman

Paul Archibald

Sion Jones

Chris Stearn

Toby Oft

PAGE 25

PAGE 31

PAGE 33

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SPRING 2017 THE TROMBONIST

PRESIDENT’S COLUMN Dear Readers, Finally Spring is here and it’s the perfect time for new beginnings. Here at BTS HQ we welcome two new Young Persons Representatives, Hannah Stell and Daniel Higham. Both promising young players who have featured previously in these pages and we look forward to input from them in due course. Matt Lewis has had to step down as London Rep and we thank him for all the good work he has done to date, not least in organising the excellent event at the Royal Academy in 2015. Matt is replaced by not one but four excellent trombonists, Helen Vollam, Becky Smith, Jayne Murrill and Sarah Williams otherwise known as the marvellous Bones Apart quartet. Already plans are shaping up for a London event later in the year so watch this space.

It is with much sadness I can report the passing of a dear friend and colleague, bass trombonist

Roger Williams who after a long illness left us on 19th January. Our thoughts are with his family and you can read a touching tribute from Paul Archibald on page 31.

The more observant of you will have noticed a new section to the website www.britishtrombonesociety.org/resources/ abrsm-syllabus Yes, finally Matt Gee, Dàvur Juul Magnussen, Nick Hudson and myself have recorded all the grade 1-5 pieces, 143 in total! We believe an invaluable resource for students and teachers alike. It’s free to listen for all members, so please spread the word.

All being well, hopefully many of you will have also received this edition of “The Trombonist” in your email inbox as a PDF. Recognising that many of our members prefer a digital copy we’re trialling an electronic version to run alongside this paper version.

Please let us know what you think.

If you’ve not booked your tickets already there’s still time for the upcoming Glasgow Trombone Weekend 22-25 June featuring an incredible line-up.

Check it out on page…

That’s it for now.

Until next time.!

Liam

BTS OFFICERS & STAFF MAGAZINE CONTACT LIST British Trombone Society www.britishtrombonesociety.org

CONTACT LIST President: Liam Kirkman president@britishtrombonesociety.org Vice-President: Dávur Juul Magnussen 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 Darcy Gate, Kelvedon Road, Tolleshunt D’Arcy, Essex, CM9 8EL. Tel: 07976 881893 secretary@britishtrombonesociety.org COMMITTEE: Nick Hudson nickhudson@britishtrombonesociety.org Simon Minshall simonminshall@britishtrombonesociety.org Becca Pope beccapope@britishtrombonesociety.org Adrian Taylor adriantaylor@britishtrombonesociety.org

Administrator: Chris Sowerby 1 Ullswater Road, Dewsbury West Yorkshire, WF12 7PH Tel: +44 (0)1924 437359 administrator@britishtrombonesociety.org MEMBERSHIP ENQUIRIES: membership@britishtrombonesociety.org

Please submit news and events items for the website to: Jane Salmon news@britishtrombonesociety.org Advertising: Jane Salmon advertising@britishtrombonesociety.org

REPRESENTATIVES: Scotland: Simon Johnson 07973 861623 scotland@britishtrombonesociety.org Wales: Jo Hirst 07729 144690 wales@britishtrombonesociety.org

North East: Peter Chester & David Thornber northeast@britishtrombonesociety.org North West: Vacant northwest@britishtrombonesociety.org Midlands: Martha-Ann Brookes 07966 416198 midlands@britishtrombonesociety.org

Northern Ireland: Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org South: Vacant south@britishtrombonesociety.org

South West: Bones Apart southwest@britishtrombonesociety.org

East Anglia: Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org Wessex: Robb Tooley 07713 093193 wessex@britishtrombonesociety.org

Yorkshire: Jonathan Beatty 07966 214362 jbeatty70@icloud.com Brass Band: Ryan Watkins 07801 955297 brassband@britishtrombonesociety.org Jazz: Jeremy Price 07850 685784 jazz@britishtrombonesociety.org

Young People: Hannah Stell & Daniel Higham youngrep@britishtrombonesociety.org

president@britishtrombonesociety.org

Military Bands: James Howard 07906 392992 military@britishtrombonesociety.org

EVENT NEWS

EWS S I V E R VIEW PRE

REVIEWS & PREVIEWS This year’s President’s Awards, chosen by the ITA President Joseph Alessi, go to Professor Dee Stewart of Indiana University and to the pioneering charity, Brass for Africa.

If you want to hear them next Christmas (and have a bit of a singalong), come to Waterloo Station at 5.30pm on Friday 8th December 2017.

RNCM TROMBONES STREAM TO THE WORLD

ITA AWARDS The International Trombone Association Awards committee is pleased to announce the winners of the 2017 ITA Awards. The awards are voted upon by past presidents and the current ITA advisory committee.

The winner of this year’s Neill Humfeld Award was Ben van Dijk from the Netherlands. The Neill Humfeld Award is given for Excellence in Trombone Teaching and, whilst recognizing the contributions to trombone teaching of the late Neill Humfeld, it honours living teachers who have achieved the highest level of excellence in their work.

This year’s ITA Award goes to jazz trombonist Wycliffe Gordon. The ITA Award recognizes the highest level of creative and artistic output in areas such as performance, composition, arranging, teaching, conducting, research and service.

The Lifetime Achievement Award will be presented to John Kenny.

The Lifetime Achievement Award recognizes people who have distinguished themselves by their contributions to the trombone profession over a long career.

15th December 2016 saw the Trombone Department of the Royal Northern College of Music take to the Conservatoire’s concourse for their annual ‘Christmas Carols on the Concourse’, bringing some considerable festive cheer to Manchester. Conducted by the Halle’s Principal Trombone, Katy Jones, and joined by Visiting Professor of Trombone and Mnozil Brass superstar, Zoltan Kiss, the performance was broadcast online and has been seen currently by over 36,000 people.

ZOLTAN MASTERCLASS LPO CHRISTMAS CAROLS On the 1st December 2016, the London Philhamonic Brass section and friends (together with the London Philharmonic Chorus) took over the concourse at Waterloo Station to raise money for Save the Children

December saw Zoltan Kiss give a masterclass to the RNCM Trombone Department. As part of his role as Visiting Professor of Trombone, members from the Trombone Department performed a variety of solo and ensemble works under his watchful eye. Also featured were students from Chetham’s School of Music.

With festive favourites drowning out the station PA system for 2 hours they raised a whopping £3,101.26.

They would like to thank Bell Percussion for their invaluable support; without which, the tuba players would be standing and there would be no jingle bells.

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REVIEW SPRING 2017 THE TROMBONIST

AT SCHOOL WITH MAISIE, OLLIE AND KYLE…

BY PETER CHESTER

BTS events are about many things.

Naturally we think of the music, the playing and the listening, but they are also about people and the pleasure of meeting old friends as well as making new ones, all through our love of the trombone. The people element was perhaps particularly strong in Oundle School in November as those stalwarts who attended found themselves in the presence of one of the most celebrated figures in British trombone world from the last 75 years.

The event was graced by Maisie Ringham Wiggins MBE, a lady still playing in her tenth decade and in Oundle to collect the Sheila Tracy Award, presented in recognition of a significant contribution by a female player to the world of trombone playing.

As the principal trombone of the Hallé Orchestra in 1940s & 50s under Sir John Barbirolli, Maisie was very much a trailblazer in the profession and her long career has been an inspiration to many, both women and men. With typical modesty, Maisie said she was delighted and very humbled by the award, but would only accept it, “on behalf of all female trombonists, everywhere”.

The Oundle event is traditionally an occasion for awards, and four were made in absentia, the recipients being unable to attend. They were to Elliot Mason (Player of the Year), Alan Hutt, (Teacher of the Year), Jonny Hollick 8

(Student of the Year), and finally to Michael Rath for his Outstanding Contribution to the World of the Trombone.

If November 2016 was celebratory moment for one of our most senior players, it will also be one for at least two student players at the start of their careers, Ollie Martin and Kyle MacCorquodale, and it was very gratifying not only to hear them play, but to see them chatting with Maisie during the day, and no doubt learning from her. Every two years the BTS hosts two competitions, the Don Lusher Jazz Trombone Competition and the Bob Hughes Bass Trombone Competition.

Ollie Martin and Kyle MacCorquodale were the respective winners of these competitions on this occasion. It has to be said, however, that no-one present envied the competition judges at all, given the high standard presented by the three competitors for each prize.

For the Don Lusher award, we had Lewis Bettles and Richard Leonard from the RCS in Glasgow, and Ollie Martin from the RAM. Each played a Bill Geldard arrangement of Stardust, and introduced a piece of the own choice.

For Lewis it was Dark Eyes, for Richard an unaccompanied transcription of a Murray McEachern’s Nobody Knows, and for Ollie it was a particularly cool rendition of Carlos Jobim’s Wave. As one of the judges, Jon Stokes, said, “all

played so melodically, in time and in tune, expressing themselves through music”. But there could only be one winner and it turned out to be Ollie, a unanimous decision of the three judges, the other two being Nick Hudson and Cliff Hardie. Ollie’s prize, the Don Lusher Trophy, a new “John Fedchock” XO trombone and Korg performance support, was presented by Don Lusher’s sons, Dave & Phil. The prize was donated by Korg UK, represented on the day by Richard Ashby, who was so impressed with the overall standard that on Korg’s behalf the two other finalists were each given £100 vouchers, so all went away with something.

Bob Hughes was present to see the Bass Trombone Competition held in his name. This time the three finalists, Sam Taber, Kyle MacCorquodale and Adam Crichton, each played Ray Premru’s Prelude & Dance, before introducing their own choice pieces.

The variety offered illustrated just what is available for the bass trombone these days and what is technically possible. From Sam we had lyricism and agility from an Adagio and Allegro

by Robert Schumann; from Adam the sheer wonders of John Kenny’s unaccompanied Sonata for Bass Trombone; from Kyle the exuberance and fun of Derek Bourgois’ Concerto for Bass Trombone. Once again differentiating between such talent

was hard, although the panel of Dave Stewart, Dave Vines and Adrian Taylor were unanimous in their selection of Kyle as the eventual winner. Bob Hughes was very pleased to present him with a silver platter, and a Wiseman custom-built carbon fibre case will soon be on the way to the RCS in Glasgow, where Kyle is a student. The muchappreciated accompanist for the day was Anthony Kerr-Dineen.

The day of course was not all listening to new talent. Jon Stokes led a very enjoyable session on improvisation in which all participants got their chance to shine – simple really - and the Massed Blow sessions, expertly led by Adrian Taylor, were once more as satisfying as these usually are. Tubas and baritones were even allowed to join in. After all, this was Oundle School where Ben Bouzan and his colleagues sustain a flourishing low brass class of trombones and tubas, and the BTS is nothing if not welcoming! We were treated to some short but deceptively tricky pieces, including a round by Mozart, a modal melody by Tallis, and an Icelandic hymn that few dared pronounce – try Heyr, himna smiour by Porkell Sigurbjornsson. The latter was actually exceedingly atmospheric and suited the voices of the trombones perfectly.

And for something completely different we had Pastime with Good Company and an arrangement of Dem Bones by

Adrian Taylor, given its world première performance.

would help our financial position)

The day had started with the Society’s AGM, and it has to be said it had one of the lowest attendances on record. Maybe Storm Angus and the weather could be blamed, and the good news is that it became one of the shortest. Snippets of interest to members will be:

(iv) reducing the magazine to three

annual editions for the present

has produced more cash for use

in events (although we would

like to return to 4 editions per

year soon)

(i)

Geoff Wolmark has been very busy arranging for the BTS Library of ensemble music to be available on-line in the near future.

(ii) Nick Hudson has joined the BTS Committee. (iii) some members still have not

caught up to paying their correct

subscriptions, despite reminders

from Chris Sowerby (this really

(v) The magazine can always do

with articles and ideas (please

don’t hesitate to send them in) It had stopped raining by the end of the day, and those who were at Oundle School went home happy. Thanks to Ben Bouzan for yet again organising a very enjoyable day. As well as playing the trombone, he has a good line in providing sandwiches …

Always useful in a BTS organiser…

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PREVIEW SPRING 2017 THE TROMBONIST

SLIDE IN TO GLASGOW TROMBONE WEEKEND FROM 22 – 25 JUNE -- CHRISTIAN LINDBERG AND MNOZIL BRASS AMONG ARTISTS PERFORMING IN THE CITY -Glasgow is to play host to leading brass virtuosi as international performers, including Christian Lindberg and Mnozil Brass, descend on the city for the Glasgow Trombone Weekend.

Both events are preceded by Pre-Concerts in City Halls’ Recital Rooms, featuring short informal performances by students from the Royal Conservatoire of Scotland.

Swedish trombone soloist Lindberg will team up with the BBC Scottish Symphony Orchestra (BBC SSO) for the prestigious festival, which also features competitions and masterclasses with the British Trombone Society, in the Royal Conservatoire of Scotland.

World-renowned brass septet Mnozil Brass returns to Scotland with its unique brand of virtuosity and humour on Saturday, 24th June. Cirque will showcase the ensemble’s reputation for stunning playing, improvisations and brilliant on-stage choreography in the plush surroundings of City Halls.

The events, which run from 22nd until 25th June 2017, will take place in City Halls and the Royal Conservatoire, with students and staff from the institution amongst those taking part.

Martyn Brabbins will lead the BBC Scottish Symphony Orchestra, Christian Lindberg and BBC SSO principal trombone Simon Johnson in a concert featuring Sandström’s Echoes of Eternity, for two trombones and orchestra, and Beethoven’s Fifth Symphony on Thursday, 22nd June.

The following evening, Brabbins and the BBC SSO return to City Halls with Lindberg and Jörgen van Rijen, principal trombone of the Royal Concertgebouw Orchestra in Amsterdam, where the programme will include Lindberg’s The Waves of Wollongong and the Aho Trombone Concerto.

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Trombone players will have the opportunity to pit their wits against each other during a day of British Trombone Society competitions in the Royal Conservatoire’s Stevenson Hall on Saturday, 24th June. The following day, the institution plays host to the British Trombone Society Trombone Day, with artists including Simon Johnson, Christian Jones and Ian Bousfield and featuring clinics, concerts, workshops and exhibition stands.

Liam Kirkman, President of the British Trombone Society, said: “June is shaping up to be an exciting month, as trombone players from far and wide meet in Glasgow for this Trombone Weekend. With so many terrific concerts, workshops and competitions to enjoy, I would encourage players of all levels of experience and ability to come along and enjoy this fantastic spectacle,

showcasing superstars from the brass and trombone world.”

-

Ian Bousfield comments; “This is not a festival, it’s a feast! Simon Johnson, BTS and the BBC SSO have put on a monstrous programme – unmissable!

As Martyn Brabbins has said: “The trombone is a fine and noble instrument.

It has inspired composers for hundreds of years, integrated magnificently into the symphony orchestra by Schubert in his great C Major Symphony, for example, and Mahler brought things trombone to a culmination in the early 20th century – what trombone player doesn’t want to be part of the brass section of Mahler’s 3rd Symphony?”

“Glasgow has found the inspiration to celebrate the trombone in June 2017.

And what finer musical City could one wish for? There will be recitals, workshops, premières, orchestral concerts, even competitions – something for all music lovers to enjoy, to be inspired by, and to be moved by.”

“I look forward to the musical wizardry, passion, humour and excitement!”

Tickets for the events are on sale now, with attendees at the concerts in City Halls entitled to multi-buy discounts.

More information about events at the Royal Conservatoire is available by logging on to: www.rcs.ac.uk/box-office.

BLACK DYKE JUNIOR & YOUTH TROMBONES IN SINGAPORE BY HANNAH STELL

At the end of 2015, The Black Dyke Junior and Youth Trombone Ensembles were invited to appear as guest artists at the 2016 Singapore Low Brass Festival.

The Festival, which is one of the biggest gatherings for low brass musicians in the region and draws in musicians from all over the world, was held at the Nanyang Academy of Fine Arts from the 16th to the 18th of November and featured many guest artists. The trombone guest artists this year were: • Dr Brett Baker (international soloist and solo trombone at Black Dyke)

• Jörgen Van Rijen (principal trombone of the Royal Concertgebouw) • Matyas Veer (principal bass trombone of the Essener Philharmoniker) • Black Dyke Junior and Youth Trombone Ensembles There were also appearances from other brass artists including Dr. Adam Frey (Euphonium), Øystein Baadsvik (Tuba) and Gary Curtin (Euphonium).

Whilst at the festival the Black Dyke Trombone Ensembles performed two concerts and participated in a number of workshops.

The Junior Ensemble opened the first concert (which took place just over 6 hours after landing in Singapore!) with Jazz Quartet No. 1 by Franner Otter, which was an original piece written for the Black Dyke Trombone Ensemble.

They then played Be Still, a new and refreshing arrangement by Jonny Bates.

The next piece played featured two of the members of the junior ensemble: Joe Heartfield and Adam Warburton, who played a beautiful arrangement of Someone Cares. The Juniors finished their set with two movements from Concert A4.

The Youth Ensemble then took to the stage and began their set with the delightful arrangement of Bohemian Rhapsody by Matt Tooley. Gemma Riley then performed a classy rendition of Autumn Leaves. The Youth Ensemble

To conclude the concert, the two ensembles combined to perform some more trombone octets including Tower Music, which was once featured on a BTS CD, Fantasia on the Dargason and the march On the King’s Highway.

finished their first set with a noble arrangement of Thunderbirds.

Then, the two ensembles combined to perform some octets including the Red Shield, Cool Shades for Eight, featuring Hannah Stell, which was written by Philip Wilby especially for the Black Dyke Trombone Ensembles, and Scarborough Fair. The concert finished with March from Second Suite in F. Following the concert, the ensembles were able to explore Singapore and sample some of the local street food.

The following day the group participated in an excellent warm-up and master class from Jörgen van Rijen.

The masterclass was very engaging and the young players learnt a lot from his advice. The ensembles then performed another concert that afternoon which was accepted very well by the eager audience.

The concert started with the Junior Ensemble performing Mr. Sandman.

They then featured Carl and Ian Ashworth with a lovely version of By the time I get to Phoenix. This concert also featured Lloyd Brown on a new bass trombone arrangement of Swing Low, Sweet Chariot. The Juniors finished their set with Procession to the Nobles.

The Youth Quartet then took to the stage and began their set with Light Walk which featured Josh Barber.

After that, Hannah Stell featured in Atlantic Zephyrs, a piece where the accompanying parts are almost as hard as the solo! The Youth Quartet finished their set with Libertango.

This concluded the concerts in Singapore, and now the group could enjoy some more sightseeing in Singapore starting with a visit to the infamous Raffle’s Long Bar for a Singapore Sling! The group also visited Sentosa Island and had a trip up 57th floors to reach the Marina Sands Hotel Skybar, which overlooked the whole of Singapore.

On the final evening of our stay in Singapore we were fortunate to be joined for dinner by Jörgen and other notable artists from the festival. It was a great evening and the young people were inspired by the artists that they had met.

Overall, the trip to Singapore was an amazing experience and one that will not be forgotten. The trombone ensembles would like to thank Brett Baker for all his hard work and help in preparing and organising the trip, as well as Roger Harvey (Harvey’s Department Store, Halifax), Mick Rath Trombones, Hall-Fast Industrial Supplies and Music Elements Singapore for all their support.

For more pictures and information about the Black Dyke Trombone Ensembles and the trip to Singapore please like us on Facebook at ‘Black Dyke Youth Trombone Quartet’ and look out for our videos on Youtube.

Members of the Ensembles: Youth Quartet:

Josh Barber Lloyd Brown Gemma Riley Hannah Stell

Junior Ensemble: Carl Ashworth

Ian Ashworth

Lloyd Brown

Joe Heartfield

Adam Warburton 11

SPRING 2017 THE TROMBONIST

JAZZ BY JEREMY

JAZZ BY JEREMY

BY JEREMY PRICE

Whatever happened to the instrumental break in pop records? The formula used to be groove, verse, chorus, verse, chorus, instrumental break, verse, chorus. Sadly for the session trombone economy, this seems to have largely vanished.

The instrumental break is quite often improvised, or more accurately, composed and honed on the spot by a good jazz/ session musician in the studio. It’s not unlikely that the pop artist or producer has an input, mainly for the PRS cheque, and the unwritten rule is that the jazz musician gives away pretty much all of the creative credit in the hope of more studio work and a pop tour further down the line.

Jazz musician to producer: “oh yeah that’s a great idea. That will work really well, thanks” referring to the exact same 12

riff he or she has just come up with.

Some times to keep the gig, you have to let the producer feel that your ideas were theirs all along. (Cynic moi?)

This issues’ two choices of transcription are both pop solos, one chosen by our transcription guru Rob Egerton and the other chosen by me. Rob went for the famous “Bones” Malone Peter Gunn, solo and I delved deep into the 80’s for a solo on a Matt Bianco record by our very own Chris Dean of Syd Lawrence fame. I can’t speak for the creative process of these particular solos, but both are corkers; very memorable and great fun to play along to.

First the Peter Gunn solo. Take care searching for this as there are many versions out there. It’s owned by Warner Music Group who don’t like it being on Youtube, but it is on Spotify if you are a subscriber. There are lots of cover versions out there with other rogue trombone solos (including one by myself!) so take a bit of time hunting down the right version. Once you’ve found it, most striking is the laser beam sound and stacks of blues playing.

Note: plenty of play between perfect 5th and flat 5th, B to Bb and the dramatic top E down a tritone to the Bb.

For the novice, you could learn bar 14 as your first blues lick. A bit of decoration around this and moving it around will make you sound proficient for a while!

13

The Chris Dean solo is from It’s Getting Late by Matt Bianco and is easily found with a Youtube search. Don’t hold me responsible if searching for this results in a spontaneous outburst of dancing dads to Matt Bianco’s great back catalogue. This was one of the better bands of the mid eighties, often calling on some fantastic jazz musicians for the instrumental breaks and backing riffs, the trumpet of Guy Barker and the baritone sax of Ronnie Ross included with Chris.

The track is in Gb major and Eb minor.

Unusual pop keys but interestingly a commonly used key for trombone as lots of gliss. slide shifts work really well and you get to exploit all the idiosyncratic trombone phrasing we love so well.

Note the Eb minor Ellington solos such as The Mooche and Ko Ko. The actual instrumental break solo is superbly crafted with all the characteristic question and answer phrases and little thematic links of a great pop solo.

Playing along to those “bow wow” riffs is really addictive, including the E in 5th 14

position, and as for whacking out the top Db gliss. to Cb, well that’s just sheer gratuitous trombone. Have fun. All in all a very stylish solo; suave, urbane and full of panache, very unlike the protagonist in the lyric.

As always, remember that with transcriptions the notation is just a guide.

Play along by ear as much as you can, and glance down at the transcription just to speed up the learning.

Transcriptions by Rob Egerton

Ever since I first got into jazz, I have enjoyed listening to solos and writing down what was played.

About six years ago, I decided to share my growing personal collection of jazz trombone solo transcriptions (almost 100 and counting) on YouTube. They quickly proved popular and, recently, after listening to regular requests from many of my 4,000 subscribers, I made them available to purchase as PDF downloads at my new store: Rob Egerton Jazz Transcription - Digital Goods Store.

You can also find them by clicking on the link in the YouTube info boxes of each clip, or by following my page on Facebook or Twitter.

I wanted to make them as accessible as possible. For this reason the PDFs are available, not only in Bass Clef, but also Bb Treble Clef to cater for all the many jazz-loving brass band musicians.

WINTER 2016 THE TROMBONIST

BIG SHAKE-UP

BY JANE SALMON

The Big Shake-Up exists to try to bring English finesse to the brass traditions of New Orleans and combine that with an exciting big band sound. This blend has already earned the group a reputation as one of the UK’s most innovative and exciting brass ensembles.

brass band tradition, which is military but would never just play something by ear.

I met the ensemble’s founder and trombone player, Jon Stokes. Jon is currently playing in Dreamgirls in London’s Savoy Theatre. Jon grew up in Gloucestershire and started the trombone aged 11. He is a busy freelancer and regularly plays with the John Wilson Orchestra, Syd Lawrence Orchestra and others too.

These are some of the finest London based players, each bringing their own voice to the group. The band is supported by a network of deps who not only keep the band functioning, but add their own contributions too.

On tour with the Heritage Orchestra in 2008, Jon was introduced to a new world of brass playing by the orchestra’s then tuba player Gavin Smart, who handed him recordings of Young Blood Brass Band, New Orleans Night Crawlers and Dirty Dozen Brass Band.

Jon: “Coming up through the grade exams, youth orchestras and the Royal College of Music you don’t quite get introduced to those kinds of things.

As soon as I heard those bands, I was amazed. These musicians learn their instruments by ear, the vibe is infectious but their playing is sometimes unrefined; they all have amazing things to say but lack the skillset to get the finesse across.

This is a big contrast to the English 16

The idea behind our group has always been to combine the two ideas; New Orleans music, brought together with our brass traditions.”

Jon pulled together a group of friends to form the Big Shake-Up (formerly Bad Ass Brass). The line-up has remained almost the same from the start and is now Jean-Paul Gervasoni, Paul Munday & Gavin Broom (trumpets), Jon Stokes (trombone) Sam Bullard and Gemma Moore (saxophones), Mike Poyser (sousaphone) and Jimmy Norden (drums).

Inspiration for the band’s line up came from Peter Long’s 9:20 De-Luxe a group that successfully found the sound of a big band, in a much smaller capacity.

“It was the sound of three trumpets that gave the group the big band sound.

That’s the only thing I changed from the New Orleans set up who might have just two trumpets, two trombones.

I wanted the big, heavy big band sound.

Our group doesn’t have a rhythm section as such, just drums and sousaphone.

Like us, the New Orleans bands don’t have harmony instruments; they are marching and blowing all the time.

Without a harmony instrument, the role of the drums changes to something to fill the gaps that a guitar or keyboard player might. We’ve got Jimmy Nordon who is one of the most expressive,

creative drummers who I have ever met.

For our gig he is unbelievable – he’s constantly evolving – he never just sticks to a groove; he’s picking out what we’re doing but it’s busy when it needs to be.

I think that’s how we have tried to get around the idea of no harmony instrument. It’s taken years of experimenting to figure out how to make that work.”

How does it feel to be constantly blowing?

“I think everyone in the band would say it’s the toughest gig we do – once you’ve done three Big Shake-Up sets in a row at Manchester’s Matt & Phred’s Jazz Club, you are exhausted.

You’re just playing the whole time.

If you’re not playing the tune, you’re playing a solo and if you’re not playing a solo you’re playing the backing line.

We’re always trying to think of ways to give people rests. You get used to knowing where to back off; the New Orleans bands are just loud all the time (as even some bands are in this country) - it’s on your face the whole time.

We wanted to add much more light and shade. That’s why we describe ourselves as a jazz band rather than a party or function band. A lot of our music is slow, dark and quiet.”

As a child, Jon listened to Dave O’Higgins’ album Biggish Band - a record that shares a similar line up to The Big Shake-Up, but with the addition of guitar and Hammond organ.

“This amazing album features Mark Nightingale on trombone and Oren Marshall on tuba. Oren would start up fantastic grooves that the double bass player would take over; then the rhythm section would keep it going for all of the

solo sections. It would then go back to a sousaphone led groove for the rest of it.

Dave had written a real New Orleans-y tune called the Big Shake Up and it became one of the first tunes I arranged for Bad Ass Brass.”

While agonizing over a new name for the group, Russell Bennett – one of Jon’s closest friends - suggested pulling a tune out of the pad and calling the band after it. Sure enough, it was that very tune from O’Higgins’ album.

In November 2016, the group launched their first EP under the new name.

This 5-part release features three brilliant original works by Russell Bennett, Dave O’Higgin’s Big ShakeUp and Callum Au’s fine arrangement of God Bless the Child featuring vocals by Sharleen Linton. This is a collection of lots of different styles – something that reflects the group’s intentions to bridge the gap between big band, pop, jazz music and beyond.

The group is on fine form as they offer an impossibly high level of playing with great energy. Jon leads the band and adds even more to the experience of seeing the group live; he’s passionate about engaging every audience they play for.

Jon: “I would almost say I enjoy presenting concerts more than I enjoy playing the trombone. It’s not so much the counting in and the leading, I just love chatting to the audience, I could sit on stage and chat for hours – in fact, I often do. The guys in the band are always going ‘come on, we need to play another tune!’.”

As well as their work as performers, the group are passionate educators too.

Ella Haller Zeiwrzchowska

The ensemble has long standing partnerships with a variety of schools, music services and festivals.

Jon: “We do all sorts. It’s mainly improvisation – getting young players to think about coming out of their music.

We go in to schools and do workshops where we compose a piece with them, work out parts and perform it as part of a concert with them. We bring lots of New Orleans stuff to little kids too – Fats Domino’s I’m Walking is a favourite.

We also love teaching brass bands a tune by ear, a favourite for this is Branford Marsalis’ tune Mo’ Better Blues. They love it!”

The Big Shake-Up are not only set on inspiring the next generation to pick up instruments, but they are keen to promote the art of writing and arranging too. They even hope to encourage new material for the group to try.

What’s next for the Big Shake Up? Jon: “We would love to do some more Jazz festivals and have plans to release another album too. I imagine this would be another live recording and it will be all original compositions, and all pretty crazy. That’s the idea!”

The Big Shake-Up and ensembles alike are paving the way for musicians to pursue what they love and believe in.

This group of friends have worked hard to create something together and this true collaboration shines across their output; I am sure we all look forward to hearing more from The Big Shake-Up. For more information, please visit www.bigshakeup.co.uk.

Jane Salmon

THE NEW ORLEANS BRASS BAND New Orleans Brass Band music dates back to the end of the civil war when army bands were disbanded and lots of marching band instruments became available.

Black musicians in particular started to play their own music on instruments that were unfamiliar and a style started to develop.

In particular the brass marching band was popular for funerals, the film cliché of the band somberly marching, while playing a slow tempo, only to suddenly break out into a joyous sound while everyone starts to dance and sing.

Overcoming adversity and finding the real joy in existence was the main aim of this music.

The music became more codified and became a fairly standard line up. It would generally include drums, tuba or sousaphone, trombones, trumpets and clarinets or saxophones. It was very similar to the music line-ups and music of early jazz pioneers like Buddy Bolden and Louis Armstrong.

The bands tended to not have a harmony instrument as it’s not much fun marching with a piano.

They developed a style using backings and a rhythmic relationship between the drums and bass which filled a lot of the space, allowing the other instruments to blow together over a solid background.

Like Township Jazz or Gypsy brass bands the energy of the music comes not from a high level of musical education but from learning the music together as a folk tradition.

Later again, the music stretched away from traditional jazz by adding funk rhythms and other traditional ideas from other communities.

The modern style is defined by funk rhythms rather than swing. The bass and drums underpin the music and the other instruments improvise on top and provide backings. The Treme Brass Band is a wonderful example of this tradition. Another is the Rebirth Brass Band.

Paul Moylan 17

SPRING 2017 THE TROMBONIST

JOHN KENNY

BY JANE SALMON

– ITA LIFETIME ACHIEVEMENT AWARD The extraordinary John Kenny has just become the second British trombone player to be awarded the International Trombone Association’s Lifetime Achievement Award – an award reserved for those who have distinguished themselves by their contributions to the trombone profession over a long career.

So far, John has enjoyed a life that encompasses almost every corner of the arts imaginable.

He is celebrated worldwide for his inspirational work as a soloist, chamber artist, composer, researcher and teacher.

John: “The trombone has been the most wonderful springboard into every area that I have worked in.

When I was studying as a trombone player, I was studying to be a trombone player.

I discovered that the artistic opportunities on offer were just not exciting enough for me.

I always felt that I needed to do other things, but in actual fact, finding my frustrations with the trombone was the best thing that could have happened to me.”

John has a long relationship with the discovery and research of ancient instruments and his exploration of the trombone family reaches back as far as anyone can imagine. In 1993 John became the first person for 2000 years to sound a Carnyx – the great war horn. This was a reconstruction that ended up the flagship project for the new discipline of Music Archeology and has since led to the discovery and replication of ancient instruments from various sites across Europe. Inspired by this work, John went on to found Carynx and Co. who exists to combine music archaeology and the world of contemporary music.

The same company now acts as a parent organization to ensembles including the trombone trio Pandora’s Box, which features Emily White, Miguel Tantos and John Kenny.

The trio are frequently joined by Swedish trumpet player and composer, Törbjorn Hultmark on soprano trombone. HeadSpace Ensemble are supported too. This very special quartet brings John and Törbjorn’s conventional brass playing together with two extraordinary electronic instruments; the Head=Space and HiNote. This pair of instruments was designed for Clarence Adoo MBE; a former trumpeter who was involved in a devastating road accident that left The great drive and creativity behind this collection of ensembles are reflective of John’s passion to pursue his own ideas.

“I always wanted to somehow make things happen, it’s always very much been part of my mentality. By the time I left the Royal Academy of Music, I already knew that I really needed and wanted to travel. I wanted to meet and respond to people who had exciting things to say.

I suppose I set about trying to finding those people and finding out whether I could be a part of what they were doing. A lot of that actually meant hitchhiking into Europe; just going to see people. Listening. Watching, experiencing.

That’s carried on; if you don’t search, you don’t discover.”

18

John is a widely recognised composer and has contributed a great deal to the trombone repertoire. John’s initial drive to compose came from working with the London Contemporary Dance Theatre in the 70s and 80s. While in rehearsals, John found great inspiration in physical shape and movement.

“It is still the case that I am most frequently motivated to compose by extra musical ideas – by theatrical ideas, movement ideas, poetic ideas, visual impulses. Consequently, a tremendous amount of my music isn’t published as it’s not intended for the concert hall - it has to be reinvented every time it is performed.

There is a heavy improvisational element within lots of my music and the interpretation comes out of conversation and connection with the performers; yet it’s composition nonetheless.”

John’s performing, teaching, writing and creating all centre around his need to communicate. The trombone is John’s expressive tool of choice; his springboard for ideas.

“The trombone is an intensively expressive instrument – it is an instrument with huge power, it is naturally theatrical and it has a great history with links to ancient families of instruments that I could not have imagined existed.

The expressive tools that trombone players have to hand have been vastly expanded by the works of Berio, Stockhausen, Globokar and Xenakis – to name a few. John has a tremendous fascination with how these works have added to our expressive palette and has himself contributed to normalizing ‘extended techniques’ by employing these techniques in his music as a form of expression, but never as a technical exercise.

John is a Professor at the Guildhall School and teaches across the country at specialist institutions including Royal Conservatoire of Scotland and St Mary’s Music School, Edinburgh.

“Like many people, certainly of my own generation – when I was a student I had not thought of teaching. I wasn’t taught to teach; in fact, possibly even the reverse. It’s possibly the case that I went out into my professional life thinking that you taught if you couldn’t do. I very rapidly found that I had to teach,

of course, but I also immediately found that I liked to teach.

I feel it’s very important for me that if I teach at the highest level – at the top flying conservatoires, I have to also teach little kids who are starting - I must constantly go back to how it all begins.

I developed a method of teaching kids on the alto trombone, which Conn sponsored. In fact, my own son Patrick learned that way. I love to teach little children – one of the greatest pleasures of playing in the Spanish festival I visited just before Christmas, was to see what an enormous success our Spanish cousins are having out there in teaching little children. I was watching huge trombone ensembles of little children playing trombone on stage, from memory at a really high level.

We are talking octets and even twelvepiece ensembles with little children on trombone.

As a teacher at conservatoire level, I have had a great deal of pleasure over the years teaching people. Most of those students thought I was teaching them, but in actual fact they were teaching me. You will find a lot of teachers say that - and they say it because it’s true.

Our students mirror our own ideas and our own problems, forcing us to think about our own reactions, our own taste, and our own problems. In the process of discussing, demonstrating working with every single student, you discover an enormous amount about yourselves.

You discover things you couldn’t discover any other way.

Teaching is very important, it’s a lot of fun and everyone is very different.

At the Guildhall, I have the enormous privilege of having an interesting role in which trombone is only a part of what I do. In fact it’s the smallest part of what I do. I get to work right across our Wind, Brass and Percussion department and get to work with other people who come through the door as well. So, I suppose my role is primarily to discuss ideas, and that’s where I work best.

Working with ideas. In any teaching situation where I get to the point of working with ideas as opposed to just nuts and bolts, that’s where it gets really enjoyable; it really propels. That works with little kids too, because in that sense – working with ideas – I often work with story telling. I am telling stories and I am trying to get people to react

to stories; react to expressing ideas that aren’t necessarily musical but music helps express the idea.”

This year is set to be John’s busiest year yet as his ambitions and discoveries continue to develop. John plans to continue his work with the European Music Archaeology Project and is set to perform 0n a newly reconstructed instrument in Tarquin, Rome. Pandora’s Box will be visiting the International Trombone Festival and also have plans to record The Barony A Frame - Scott Lygate’s new work for the ensemble.

John will perform and lecture in Tenerife, Malta, France and Italy and is currently composing a new piece for two carnyces. There are new works on the way for the HeadSpace ensemble too, who hope to make an album in the Autumn. John also has plans to work with the TNT Theatre Group in Munich, creating music for Shakespeare’s Twelfth Night.

“This is another year full of composing, teaching, creating and discovering.

There are new things appearing too – I’ve just had a request from one of the most exciting jazz musicians in Scotland, Chick Lyall, who wants to create a piece for piano, electronics and trombone. I’m looking forward to that very much indeed.”

These are just a few of John’s achievements; to be awarded the ITA’s Lifetime Achievement Award is particularly fantastic as this is just John’s story so far.

“People can do things that I can’t imagine, because I am not those people. We have a wonderful panoply of possibilities as trombone players – it’s never been a better time to be a trombone player. When I think about it, that’s my final reaction – my goodness, some people have given me an award for simply enjoying myself for the last 35 years. It’s not a job, it’s my life and I certainly don’t feel that I have had a lifetime yet – I have only just started.

John has shaped a life that is undefined and unbound and continues to inspire his colleagues and countless musicians across the world. The British Trombone Society are delighted to have had the opportunity to talk to John and very much look forward to sharing more about his work in the future.

Congratulations again, John!

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SPRING 2017 THE TROMBONIST

BY LIAM KIRKMAN

BACK TO SCHOOLRECORDING THE ABRSM SYLLABUS It seemed like such a good idea at the time… It was soon to become apparent however that recording all 143 tunes from the ABRSM syllabus grades 1-5 was going to take some time. I don’t think I’ll forget one of my colleagues suggesting “…how hard can it be?

We’ll have it polished off in an afternoon!”.

Thanks to this optimistic approach we’ve finally got there, despite it taking significantly longer than a single afternoon.

The first hurdle was obtaining the music, which anyone who teaches can testify can sometimes be a real waiting game. A phone call to June Emerson (www.juneemersonwindmusic.com) and 48hrs later, two huge boxes arrived at BTS HQ and we were in business.

Well, almost… It’s all well and good thinking grades 1-5 are straightforward but the piano accompaniments aren’t necessarily so basic. Huge thanks therefore go to Erico Ishihara, Emma Fowler and John Higginbotham for the marvellous ivory tinkling. Another obstacle was obtaining permission from ABRSM to refer to their syllabus on our website but after the necessary licence fee was paid we were good to hit ‘record’.

The trombonists were myself, Davur Juul Magnussen, Nick Hudson and Matt Gee. Being the one in control of the “red button” meant I could take care of the easier grades (and the jazz stuff) and stitch up my colleagues with what was left. It’s interesting to hear how the four of us have different styles and approaches and hopefully will be an example to youngsters that it’s not all about “producing a single note followed by another identical note”.

A number of records have been attempted during the recording process. For Davurhow many tunes can you record in an afternoon (25) and for me-how many takes required to record a grade 2 piece without splitting a note (coincidentally also 25) 20

The ABRSM have introduced a new syllabus this year and there’s plenty of great material to discover in every style.

It’s impossible to review everything here but several publications really stand out.

JAZZ FX by David Gale is really well thought out with duet versions of all the tunes as well as very stylish backing tracks.

CORNISH PASTICHE arr. Mark Tanner is a collection of traditional Cornish folk songs and are really beautiful arrangements to play. Nick Hudson recorded these and it is a lesson in lyricism.

THE VICTORIAN TROMBONE arr. Simon Wills is a collection of “7 Sensational Solos for Trombone”.

The tunes are great to play and Simon’s performance notes are equally entertaining!

DANCE TO THE BEAT OF THE WORLD

by Jock McKenzie is a fun collection of self-explanatory unaccompanied tunes.

Pop, Funk, Calypso etc.

CITYSCAPES by Peter Graham is an ingenious book of easy (grades 1-3) original tunes that perfectly portray the musical styles of the cities each tune is named after, Moscow, Paris, New York, Kyoto etc.

As I’ve said, it’s impossible to review all the repertoire here but one final mention must be made of MELODIC STUDIES ON TROMBONE TECHNIQUE

by Adrian Taylor. This extremely comprehensive book of studies covers all sorts of required techniques including tonguing, slurring, dynamics, glissandos, alternative positions, sound, the F valve (etc etc!!). I don’t care if this is grade 5 material, it’s now in my practice routine.

We recorded the piano parts separately into Logic as MIDI files thereby giving

us the option to possibly offer these at a later date as “play-alongs” with control of the tempo. The trombone was recorded mostly using a Samson VR88 ribbon mic on loan from Samson.

Whereas most ribbon mics tend to be expensive, extremely delicate and requiring a good preamp, this is an affordable entry level ribbon which worked very well with the low and mid frequencies of the trombone as well as handling high sound pressure levels and also being “self-powered”.

The recordings themselves are relatively unprocessed with minimal reverb added just to sweeten the overall sound.

The four trombonists recorded here are all well used to recording sessions of various sorts and I’m sure all of us would agree that the best way to improve your playing is to record yourself regularly. It can sometimes be an unforgiving experience listening to yourself but the microphone doesn’t lie and it really is the quickest way to identify tuning issues, inconsistencies in tone or articulation etc. These days digital recording devices are pretty cheap but for practice purposes many smartphones will do a good enough job.

The main incentive in tackling this project was to offer BTS members the opportunity to explore the repertoire, be it for examination or not. As a teacher or student wondering what to work on next, there are loads of great tunes to discover but we often stick with what we know. Most of this repertoire is not available to buy on CD or download and BTS members can access it for free.

If you teach or know someone who is learning the trombone give them some good advice…. Join BTS. The ABRSM grades 1-5 recordings are at www.britishtrombonesociety.org/ resources

BONE THOUGHTS FROM ABROAD

BY OLD NOTECRACKER

There is much discussion of trombone legato these days. When I was in my youth, this aspect of playing was never discussed: people either did it or they did not, as the fancy took them.

Nobody complained or threw things (at least, not because of our legato) but I always felt that somehow better organised times would come.

Now they have; indeed nowadays it is hard to keep up, so rapid is the pace of change; scarcely a week goes by without the postman bringing me a book or a PhD thesis on the subject. The 2017 World Trombone Committee Biennial Conference on Technical Standardisation at Ponca City, Oklahoma was, in this regard, inspiring.

Two years ago the emphasis was on articulation and of course the single approved way of starting a note has already become universal. (It is to be hoped that other instruments will enter the 21st century and do away with their own irritating vagaries; string players in particular need to abandon the pretence that their myriad inflections and note shapes are “expressive”. They are no such thing, merely confusing and inconsistent). This time the topic was Correct Legato and I was particularly pleased to see a motion tabled that, if passed, will make it compulsory to move the slide as quickly as possible at all times irrespective (or, as the Americans say, irregardless) of the style of music being played. I very much enjoyed the competition to discover the person who could jerk the slide most effectively. Some jerkers were so assiduous in their labours that they could hardly breathe, and one instrument was actually shaken to pieces: I rather felt a prize should have

been awarded to its diligent player but none was. Of course there are always nay-sayers and fault finders on these occasions, and some dolts objected that the legato playing was somewhat jagged – when the players were able to relax enough to blow at all. I feel this to be snobbery by liberal elites wanting to stand in the way of progress. The study of technique in its purest form should never be diluted by such considerations and the exhilarating new physicality of the modern trombone may one day lead to its becoming an Olympic sport; though of course instruments will have to become much larger and heavier if this is to happen.

I was delighted to see my old friend Dewey Chew of Dakota at the conference, promoting his new laserguided digital slide speedometer.

He claims, rightly, that this will obviate the necessity of checking legato by ear and will introduce a much-needed degree of objectivity into this muchdiscussed aspect of our sport. He has already become a wealthy man thanks to his patent embouchure gymnasium but continues his researches purely out of the love of music.

His technology is new but the desire to measure is not, and I told him about Szabolcs Meggyesfalvi, a notorious Hungarian trombone player of the inter-war years. He developed the first slide speedometer using an ingenious arrangement of ratchets and clock springs.

It worked, but weighed more than seven pounds and imposed considerable resistance on the movement of the slide.

The inventor sought to overcome this with a regimen of strict abstinence and vigorous exercise; he was often to be seen in the Turkish baths in Budapest developing his legato muscles by swinging an enormous steel mace around his head for hours at a time, singing his battle song Harsona játékosok Nem Kell agy Csak az izmok... which our G trombonist Ernest Pilsbury

told me was a love song. (Evinrud Hearn travelled to Budapest especially to measure the mace but Meggyesfalvi got rid of him with a well-aimed Stalin 5AL mouthpiece between the eyes; he always kept a bucket of them to hand for use as missiles).

Now, it is excellent to have a giant’s strength but it is tyrannous to use it like a giant. During the 1938 Nyíregyháza brass band championships, Meggyesfalvi was disqualified for hurling a small pig into the midst of the City of Kekscemét tenor horn section.

The initial complaint came not from the musicians - who of course were used to such things - but from an Albanian animal rights campaigner who happened to be passing.

A statistician by trade, Meggyesfalvi was fascinated by that masterwork Blue Bells of Scotland by Mr Arthur Pryor and attended as many performances as he could, timing each rendering of the last variation with a stopwatch and entering detailed observations on metronome markings in the part.

He used a new copy of the music for each survey and by the 1950s had amassed more than seven hundred of them, all annotated in his exquisite copperplate handwriting. Alas, his archive was put to the uses of personal propriety by Russian troops during the 1959 Budapest toilet paper famine, the shock of which loss prompted him to enter the cloister and he became a Cistercian friar, much devoted to the sackbut-playing St Aphrodisius of Languedoc (who, readers will recall, was able to walk on snails without crushing them and indeed did so while performing). I cherish the memory of Meggyesfalvi chasing the Swiss virtuoso Guillaume Mentha down the street after a particularly fine performance of Blue Bells, waving his metronome in the air and yelling “Willy by St Aphrodisius of Languedoc that was 148 beats to the minute!”

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BONE THOUGHTS FROM ABROAD CONTINUED...

At least that is what Pilsbury told me he was yelling; I have no Hungarian and was never sure of the extent of my old friend’s grasp of the language.

And Meggyesfalvi was only man I ever knew to beat Ernest Pilsbury at poker.

There has been a certain amount of carping lately about the limited repertoire performed by trombonists but I feel this to be misplaced.

What, I wonder, is the logic in ensuring that everyone plays in exactly the same way and then disturbing the purity of the exercise by playing all sorts of different music? Nevertheless I do wonder why more is not heard of the work of Giovanna Strozzapreti, a Futurist composer, installation artist and commis-chef at the Casa Forfora in Palermo (the restaurant started by the legendary Giuseppe Forfora with profits from a termite-proof slide cream that he invented for Italian military bandsmen during the Abyssinia campaign).

Her handful of trombone compositions had enigmatic titles: there was a piece for alto called Dovè il mio Spazzolone? and a seven-hour concerto with dancers for G trombone, Il Mio Diletto è un Grosso Grasso Ubriaco. The latter piece

had parts for half a dozen Lambrettas revving their tiny engines and at one point required all the church bells in the town where it was performed to be rung.

It was composed for Ernest Pilsbury, who at first was unenthusiastic, but after a couple of days’ rehearsal it became apparent that he was rather smitten with the composer. They would sit up late drinking a vile yellow liqueur called Scoreggi or some such name, arguing the finer points of Art and, if I know Pilsbury, of card-sharping and bicycle thieving as well.

I and the other members of the British Empire Trombone Quartet were torn between celebrating the civilising influence of a woman on our criminal companion and anxiety because la Strozzapreti was self-evidently deranged. She was never without a cigar, which she never lit and would often eat in moments of vexation, was a stranger to soap and water and was fond of practical jokes involving spaghetti. She confided to me that she was attracted to Pilsbury because of his his idiosyncratic slide technique - which involved keeping the slide stationary while moving the instrument and his

entire body back and forth (he had to sit on a three legged stool to play).

He, for his part, was besotted with her and I must admit his playing acquired new dimensions: he was renowned for being one of the few trombonists who could blare in pianissimo and this faculty originated during his time with Giovanna.

Strozzapreti eloped with Pilsbury in September 1953; three performances at the Teatro Communale di Bologna had to be cancelled in consequence but he was back in harness for the fourth concert. La Strozzapreti had, it transpired, locked herself in her studio and was working all the hours of the day and night on her now-lost masterpiece, Non me ne Frega un Cavolo, made from dozens of G trombones welded together in a curiously suggestive pattern.

Pilsbury’s playing was little impaired by the loss of three teeth and a broken nose.

When I asked him what had happened to his marriage he retorted “all the romance went out of it” and that was as much information as we were able to extract from him. Dear old Pilsbury: he was a great artist and a great romantic, even if his slide action was a little too languid to pass muster in Ponca City, Oklahoma.

THE HALLÉ YOUTH ORCHESTRA IS NOW RECRUITING FOR 2017-18!

ABOUT US

The Hallé Youth Orchestra, established in 2002, offers talented young instrumentalists aged 13-19 years the chance to experience playing in a full symphony orchestra supported by professional musicians.

With weekly rehearsals on Sundays, 12-3pm, in central Manchester, the Youth Orchestra provides its members with experiences like no other. Highlights include performing throughout the year at the Bridgewater Hall, working at the highest level with professional musicians, performing alongside the Hallé Orchestra, performing across the UK and Europe on residential courses and tours and meeting likeminded young people who share a passion for music and performing.

JOIN US

The Hallé Youth Orchestra is looking for outstanding young musicians aged 13 to 19 years, and of grade 6 and above standard, who love orchestral music and the excitement of contributing to a large orchestra. Full members take part in rehearsals and concerts during term-time and in other activities including residential courses and tours. Members are expected to commit to weekly Sunday rehearsals during the autumn and spring terms. There are no activities during the study leave period of May and June although members are also expected to attend a residential course and/or tour during the summer holidays of 2018.

Membership is free, however all members are invited to make a voluntary donation towards the Hallé as a contribution towards the core costs of maintaining the orchestra. Members are also expected to contribute towards the cost of residential courses and tours where appropriate. Limited bursaries are available through an application process to help cover the costs of residential courses, tours and travel to rehearsals and concerts.

HOW TO APPLY

The application form can be found on the Hallé website: www. halle.co.uk/youth-ensembles-recruitment/ and the deadline for applications is Friday 5th May 2017 with auditions being held in central Manchester across late June and July. More information on what to expect in the auditions will be provided after the application deadline.

FIND OUT MORE

To see the Youth Orchestra in action, why not come along to the annual Hallé Youth Ensembles Concert where they will be performing Dvorak’s The Water Goblin and Respighi’s Fountains of Rome. For more information on how to book tickets, visit the Hallé website: www.halle.co.uk/whats-on/ youth-ensembles-concert-2017/.

We hope the following video will also provide a good introduction and insight into the Youth Orchestra: www. youtube.com/watch?v=zx2Y_6dB4VM&t=1s.

For all Hallé Youth Orchestra enquiries, please do not hesitate to contact Isabelle Orford on isabelle.orford@halle.co.uk or 0161 907 9056 22

The maggio method was developed by a man named Louis Maggio, a highly accomplished trumpet player.

In a tragedy when on the way to work on an icy day, Maggio slipped, knocking out some teeth and badly damaging his lips.

Beyond medical help, he set about rebuilding his chops from scratch and returned stronger than ever!

The method that followed can be found in the “Original Louis Maggio System for Brass” book by Carlton Macbeth, an old pupil of Maggios. It includes multiple exercises all based around the principle of air and building range from the bottom up.

Most of these exercises include low arpeggios using pedals and false tones, breathing through the nose to keep the chops set, followed by an increasingly high arpeggio or slur.

THE MAGGIO METHOD

BY TOM DUNNETT

WRITE AN ARTICLE ON THE MAGGIO HE SAID. IT’D BE EASY HE SAID. HERE GOES… The “Louis Maggio System for Brass” has been an important part of my practice routine since the start of college. The idea of something useful to start my practice with, was very appealing. I was introduced to the magic Maggio by my teacher at the Birmingham Conservatoire, Ashley Horton. At this early stage, he had but to click his fingers and I was game, but the mention of those such as Gordon Campbell and Mike Lovatt did help things along too!

So I began working religiously on the Maggio. Little did I know that Ash was keeping a watchful eye, not only in making sure I was executing this method correctly, but also how it was affecting my playing. As I felt the system working and, ultimately, lived a little longer, I began to understand what the Maggio meant for me.

This understanding is of course still a work in progress.

One of the main things that struck me was that this method is not the same for everyone. In some ways I feel lucky that the Maggio “worked/ works” for me, although maybe at the time I just didn’t know any better and persisted! Who knows!

Chops and chops maintenance is something I still discuss with Ash today if I’m ever feeling down about my playing, or we’ve had too many pints.

I’ve met some incredible players who’ve never touched the Maggio, and others who swear by it: it’d be impossible to open with a sweeping statement. So for me, the Maggio starts the day reinforcing some key principles.

It builds range from the bottom, while helping you keep your chops set and ultimately encouraging the “correct” use of air.

Its “purpose” for me has changed over the eight years or so I’ve been using it.

To start, it was my “go to” thirty-forty minute warm up that appeared to be having positive effects on my playing, consistency was the key. Now I’m not as committed, but it’s still something I return to on a regular basis. It helps me to “realign” and refocus across the range, get the air moving properly and relax. This is particularly evident after a long stretch of tough blowing where I may have been “pushing on” or forcing things in order to keep going!

So I’ve found writing an article on the Maggio difficult for several reasons.

Like many methods of practising brass, not only does it not work for everyone, but for those where it does, it still appears different for each person!

I’m a massive Maggio fan, and all I can say is give it a go! Just make sure you’re relaxed and maybe talk to someone who’s been playing twice as long as me first!

SPRING 2017 THE TROMBONIST

EXTRA! EXTRA! READ ALL ABOUT IT! SOLUTION TO CROSSWORD – WINTER 2016

That’s right, it’s competition time once more! We have yet another excellent prize for one of you lucky readers to snap up. This time it’s an Okura practise mute!

To find out more about the mute turn to page 33 where Sion Jones has done an excellent review for us!

Entry to the competition couldn’t be easier.

Simply answer this question:

WHAT 80S TV PROGRAMME USED ‘THE ACROBAT’ AS ITS INTRO MUSIC? Deadline is the 1st of June.

Email answer to editor@britishtrombonesociety.org Good luck!

ACROSS: 1. O’Casey 5. Iolanthe 9. Frederic 10. Editor 11. Death-bed 12. Unveil 13. Serenade 15. Beat 17. Opus 19. Assassin 20.

Cellos 21. Musician 22. Nesbit 23. She-devil 24. Rhythmic 25. Tangos. DOWN: 2. Carnegie 3. Sedatest 4. Yardbirds 5. Incidental Music 6. Andante 7. Totted up 8. Earplugs 14. Dust sheet 15. Bruckner 16. Anglesey 17. On screen 18. Uno animo 19. Abolish

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Thank you Justin Clarke, for taking the time to tell the BTS about yourself and your life as a musician.

BACKGROUND? Orchestra I’ve been playing in the Bern Symphony in the USA’s (Switzerland) for 10 years now. I grew up brothers and r smallest state, Rhode Island. My fathe to play it ted wan I played the trombone and naturally director band ol scho good too and I was lucky to have a estra orch an in play ’t didn I . and opportunities to play local in ing play my d lope deve and until I was 17 or 18, in a ska band. big bands, rock bands, and even had a gig ’t believe I had I had a strong interest in music but I didn when I went to what it took to become a professional, so ic business mus a Syracuse University in NY state I took eting, mark ing, neer degree (management, sound engi y to luck was I ut, ugho copyright law, and so on). Thro of st boni trom ipal princ is, have lessons with Bill Harr bass to ched swit I and estra Orch the city’s Symphony loped a trombone under his advice. My playing deve to audition for lot with him and I gained the confidence ic schools. mus some of the more prestigious American at or Tayl e That’s what led me to study with Dav ood at Harw Don then Manhattan School of Music and the Juilliard School.

HESTRA? HOW DID YOU COME TO JOIN YOUR ORC he gig for sub a as me sent or In 2006, Dave Tayl a few met I e Ther ival.

Fest ad Gsta the at e couldn’t mak tion audi an local musicians who encouraged me to take that later over in the Bern Symphony Orchestra. I flew in the Swiss year and have been living and working here capital ever since.

STAND OUT MOMENTS? national Festival Orchestra. They do numerous inter ing tour mov rly cula parti a de inclu s light tours and high y; also phon and recording project of Mahler’s 9th Sym my for ohn singing four-part Brahms and Mendelss I will always family in New York. Another performance ert with conc orial mem s remember is Claudio Abbado’ ons.

Nels ris And r unde , estra the Lucerne Festival Orch out with y phon Sym ed nish Unfi We played Schubert’s

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Justin Clarke

conductor, Berg’s Violin Concerto, one of ler’s 3rd my favorite pieces, and the finale of Mah finished was Symphony. The silence in the hall after we Rheinhold to absolutely gripping. I also got to sit next bad(!)

Friedrich and Ian Bousfield, they’re not too A NORMAL WEEK? job. If I’m It’s always different, that’s why I love my projects a y phon sym few a have in Bern we typically the theatre. month at the same time as a few operas in at the I try to see my students typically once a week . train the Geneva Conservatory, so I’m often on d be coul I estra Orch If I’m with the Budapest Festival le peop t mee to lling trave anywhere, but I try to use the r teve wha of nies cran and s and to get to know the nook city we’re in.

DOUBLING? which The only valve playing I do is on a helicon, it play es etim som is a bit like a sousaphone, and I h muc lve invo n’t does with a Balkan brass band. That do I ges. chan I-V out ing finger work, it’s more blast then, but play contra and a little bit of tenor now and of bit fair a do I , ever How rs. othe not as much as period of lot a with rmed perfo I’ve and ing sackbut play ck Baro instrument groups, including the Freiburg scene in Basel Orchester. There is a rich historical music la Cantorum Scho the at and I studied with Charles Toet finer, and and ler smal are Basiliensis. The instruments room h muc not ’s there but make a beautiful sound, ng the putti I’m sure e mak to ys for error. I have alwa . horn the gh throu air of unt appropriate amo TEACHING? atory (Haute I have been teaching at the Geneva Conserv be teaching to y luck I’m .

2013 Ecole du Musique) since Bandini, rea And of class bone trom alongside the tenor gh. throu es com that t talen g youn so there is a lot of yone ever that is ing teach t abou thing The wonderful s for every is different and you have to find what work beautifully nt individual. The goal is to play the instrume me to s force and make music. It’s a challenge and it from my h muc as stay flexible. I have the feeling I learn e both we’r end the in students as they learn from me, so better.

The Bass Bone Files : TOP SECRET

BASS BONE FILES

BY ROGER ARGENTE

The Bass Bone Files : TOP SECRET

Masterclass HEM

TROMBONE HEROES? I studied with one of my bass trombone heroes, Dave Taylor. He’s a huge figure for our instrument and has played with the biggest names in classical, jazz, modern, and rock music. He has a sound and style that’s immediately recognizable. He taught me to always “say something” regardless of the style. I take a lot of inspiration from jazz, of course the top name every bass trombonist should know is George Roberts, still today his sound is untouchable. Others like Curtis Fuller, Frank Rosolino, J.J. Johnson are big inspirations, to name but a few.

YOUR PLAYLIST? I’ve got lots of CDs and records. Style is all over the place really, but generally I get enough classical music from work and I try to listen to some other things for inspiration and variation. Recently that includes some electronic stuff (Flying Lotus, James Blake), jazz (Bill Evans, Ellington), hipster rock bands from Brooklyn, and I can’t ever seem to get enough of Bach Cantatas.

I also picked up a “Live in Dallas 1968” James Brow n record from my brother that’s absolutely ridiculous.

THE FUTURE? I want to keep developing my teaching and solo and chamber music playing. I started my own group “The Transient Ensemble” and we released our first CD last year. The response has been very positive and I want to get some new repertoire written for us (bass trombone, piano, violin, doublebass, and two percussionists).

RELAXING? In Switzerland there is no shortage of alpine beauty.

I hike and ski very regularly and since 2011 I’m a Swiss-licensed paragliding pilot. The combination of concentration and relaxation is unique. The sound of wind in your ears and nothing else is fantastic.

INSTRUMENTS? I’ve played on Shires for several years now and I’m really happy with the sound and versatility I get. Rene Hagm ann

in Geneva made me a custom valve section for me.

Bell- B I 7YM T 7 Single Bore Slide Hagmann Progressive Bore Valves Laskey Mouthpieces Sackbuts: I use instruments by Rainer Egger (Basel)

I have an Eb bass baroque sackbut and a custom made G sackbut. I also use a classical sackbut in F. PET HATES? Musicians who don’t listen and adjust COMPOSERS? Bach, Bach, and Bach. Brahms, Schumann, Mahler if I’m feeling melodramatic and Bartok played by Hungarians.

BACK IN TIME? Brahms: How long did it take you to grow that beard ?

Wagner: Did that opera really have to be longer than 5 hours?

But seriously, I would love to know what the musicians sounded like in the time of Gabrielli, Monteverdi, Schein and Schutz.

KEEPING FIT? I mix it up a lot, but always basic slow and soft playin g helps everything, otherwise lots of glissandi, scales, and arpeggios to stay agile.

WEBSITE? www.justinthattromboneguy.com NEW RECORDINGS? My solo CD “Permanent Transience” with The Transient Ensemble was released on Neuklang Recor ds last year. The Abbado Memorial concert was recently released on DVD.

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President’s Problems

Dear President,

Dear Plesident

I have recently been offered a show in London’s glittering West End playing mostly pop music in a small horn section.

The trouble is my experience in playing light music only extends as far as Eric Coates. Will I be ‘found out’ in the first rehearsal and what steps can I take to befriend my colleagues?

After a ten-year hiatus from trombone playing, I have returned to find in my local music shop that most instruments are in fact now made of gaudy coloured plastic.

Despite my concerns about what image these novelties portray to serious concert goers, I also worry about the environment and so am working on a more ecologically friendly instrument constructed entirely from bamboo. Using an old Chinese method of weaving, I have the bell shape finished but am having trouble in lubricating the not-sostraight slide branches. Any advice?

Yours legitimately

Norma Butcher Dear Norma,

As a fellow ‘pretender’, albeit musically vice versa, I offer this advice.

1) It is your responsibility to keep time, not the drummer’s and certainly not the MD’s. (they will almost definitely be as unqualified as you are) 2) What is written in the part will probably be wholly inaccurate and is to be treated as a guide. Do not play written rhythms and note lengths literally. You should have a comprehensive knowledge of the styles of Tower of Power, James Brown, Chicago, Earth Wind and Fire, Blood Sweat and Tears etc. It will also help if you have a few years’ experience of playing in a big band. It would help to familiarise yourself with Count Basie, Duke Ellington, Terry Gibbs, Woody Herman, Thad Jones/Mel Lewis, Bob Mintzer, Harry Connick Jnr etc.

3) Take the correct equipment. All mutes should be white/red or made of metal. Certainly not wooden, worse still plastic or cardboard. Your trombone will not have mouthpieces made for it featuring a number smaller than a 7 and you will have to play low Cs in 6th (no plug) 4) Do not ask the trumpet player “...is that long or short?”

LISTEN !!!!

5) Despite the MD (incorrectly) asking for accented crotchets to be longer than accented quavers.... smile politely but ignore them. NEVER follow the singer (you’ll note Andrew Lloyd Weber was not included in point 2) 6) There is no such thing as “Broadway” swing. It either does or it doesn’t.

7) It is sometimes acceptable to stop the note with the tongue. It is sometimes acceptable to stop the note with the tongue. It is sometimes acceptable to stop the note with the tongue!

8) If you deputise the show (and you should at every opportunity), pay up within 7 days. I hope this helps with getting you started and best of luck! When’s your first rehearsal?

PS If you need a dep...

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P. Bon Chung

Dear Mr Chung I too have worried, what with all the latest trends for “whole class learning” schemes, what will become of all these instruments. It sounds like you’ve really hit on something with your bamboo trombone design though. I’m all up for new organic solutions to problems that don’t really exist.

My young son came home from school professing to have made an iPod in class. It turns out the “device” was made from Balsa wood and so the operating system had some flaws but it did float…something Apple can’t claim to have achieved. Perhaps if you stick with natural ingredients and try using sesame oil or a blend of rice vinegar, minced garlic, soy sauce and cilantro you could do the gig and then feast on the instrument afterwards…… I think it just might float, too.

Dear President, We are five female trombonists studying “The positions women held in 19th Century popular music” at Kings College Cambridge. We have started a quintet specialising in the repertoire of the Parisian Music hall trombonist Marguerite Dufay. We are struggling to come up with a name for our ensemble as it seems most of the “Bone……” references have already been used. Do you or your readership have any ideas?

Tabitha, Arabella, Rowena, Talulah, Sabrina

Dear Ladies, Yes, I do believe the “Bone…..” tag has been slightly overdone of late. With the “French connection” (has that been used by anybody?) might I suggest referring to the word “sacqueboute”. Perhaps you could call yourselves “Push me, Pull me”, does that work for you? Well, it’s a tricky one but if all else fails you could resort to using your initials…

TROMBONE SCALING UP & DOWN

I love to play the alto trombone. I love the colour it lends to the orchestra. I love the solo repertoire, however small. I love the elegance of the alto trombone sound.

When it’s done correctly, the sound of the alto trombone is captivating like a mother’s voice of encouragement.

But this article is not just a case for the alto trombone. Rather, I hope these words encourage all trombonists to consider at least a two mouthpiece, if not a two-trombone solution for their professional career.

We, modern trombonists, are required to play such a variety of music and many pros from tenor to bass have a variety of equipment solutions. It could be more than one mouthpiece for a single trombone or several trombones and multiple mouthpieces. For any professional trombonist that performs Baroque to Modern music, practical consideration must be given to balance and dynamics at all times… but we all do this anyway, don’t we?

Consider that dynamics are timbre colours chosen by great composers.

Of course, volume is the literal meaning of dynamics in music, but because the trombone bell is conical like a trumpet rather than cylindrical like a tuba, our tone colour changes quite radically as we play throughout the dynamic spectrum.

From dark and warm, to bright and cold, we traverse the dynamic range from pianissimo to fortissimo and offer quite a range of colour to the ensemble.

Continues on following page...

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Large mouthpieces and large trombones means the colour of forte happens at a much greater volume and works well for heavily orchestrated works from the late Romantic to Modern periods.

By comparison, small equipment reaches the colour of forte at a much lesser volume, thus allowing the trombonist to contribute more to the performance of a Classical or Early Romantic work without the unintended destruction of the ensemble’s balance. If you choose trombones or mouthpieces that are too small, the section can sound like a ska band when the ensemble plays tutti fortissimo.

Alternatively, if the section or player chooses equipment that is too large, the subtle colour difference between mezzo forte and pianissimo disappears and the trombonist is instantly relegated to a single, warm, “moo-cow” timbre regardless of most volume shifts.

Ask an orchestral trumpet player how many trumpets they play for their job.

A keen observer will see they not only change instruments per program, but they often play more than one trumpet in the same piece.

As far as trombones are concerned on the matter, Gustav Mahler recommended doing exactly this in his Seventh Symphony. At rehearsal #39 in the first movement, he indicates “eventuell auf alt posaune zu blasen” which means, “if needed, play with alto trombone”.

This is suggested for a four bar passage that has a range of notes between an f sharp to a b natural. Mahler did give us higher notes throughout the Seventh and all of his other symphonies and I assume they were to be performed on the tenor trombone. However, this phrase at rehearsal #39 in the Seventh Symphony is marked pianissimo, and is very pure, sotto voce – perfect when played on the alto. A tenor trombone playing the same pianissimo phrase has by default a much wider sound that is thick by default.

Comparative clarity on the tenor would not be easily achieved and such a strain would be audible.

There are several other less obvious places in the symphonic repertoire to utilise the alto trombone similar to trumpet switching, like at the opening phrases of Berg’s Three Orchestral Pieces. The Boston Symphony Orchestra trombone section utilises Edwards tenor trombones and Kruspe style German 30

trombones (Deutsche Posaunen) as well as a variety of smaller trombones and mouthpieces from tenor to bass for the Boston Pops. This wide range of equipment allows us to better match the trumpet section and balance the orchestra as a whole.

When the trumpet sections plays rotary trumpets, we generally match with our German trombones. The rotaries get a much warmer front to the attack and timbre of each note while reaching an elegant flame in the forte volume, similar to a soft mallet timpani hit and roll. I find the switch to Deutsche Posaunes allows us to match both timbre and default note shape better than our regular trombones, which tend to have a harder edged front, direct tone, and consistent colour.

As Principal Trombone of the Boston Symphony Orchestra, I use a Kruspe alto trombone, a small bore tenor for Ravel, Berlioz, and Pops, and large bore tenor for everything else. As far as the tenor trombone is concerned in auditions, we could learn again from our trumpet colleagues who take several trumpets to each audition. Although it may be an impractical solution to fly with three trombones, Principal Trombone candidates can choose to bring an alto and large bore tenor with a few mouthpiece choices for the tenor trombone. It goes without saying that smaller equipment does make it easier to play in the upper register, just like big equipment allows us to command the low register with more confidence.

However, I do find this obvious gain of either range extreme to be negated by the obvious lack of good tone quality.

Small equipment does give us easier high range at first, but sadly it isn’t the best tone. Easy access to range extremes is less exciting than achieving the correct volume with great pitch and a gorgeous tone quality.

This brings me to my final point that I cannot overstate: do not underestimate the amount of practice it takes to maintain reliable proficiency on more than one trombone. Too many great trombonists refuse to play alto trombone, German trombones or jazz trombone simply because they can’t pick it up the week before a performance and feel confident about pitch or response on game day. I used to feel the same way until, again, I observed my trumpet friends practice their piccolo trumpet,

Bb, C, and D trumpets EVERY DAY. My friends, we must keep pace with our trumpet colleagues by at least doing the same!

In closing, I admit that the strategy I’m suggesting may be at least cost prohibitive. Moreover, the time it takes to master two, let alone three instruments is no small investment either. So my friends, start with a new mouthpiece addition to your arsenal. One of the best auditions I ever played was when I prepared my audition on one trombone and two mouthpieces: one for Bolero and Symphony Fantastique, and another slightly larger mouthpiece for everything else. As you gain confidence with switching per the needs of the music and ensemble, you will find your tone colour and blend goals guiding your equipment decisions. This can greatly improve your odds of success rather than struggle through a commitment to a single setup that works well for a lot of repertoire but not for everything.

Toby Oft has been Principal Trombone of the Boston Symphony Orchestra since 2008. Heralded as one of the finest trombone players of his generation, he is also an internationally active and renowned teacher. Current professor of trombone at the New England Conservatory and Boston University his master classes are in great demand both in the U.S and abroad.

...my final point that I cannot overstate: do not underestimate the amount of practice it takes to maintain reliable proficiency on more than one trombone.

ROGER WILLIAMS A TRIBUTE FROM PAUL ARCHIBALD: Casual conversations amongst musicians occasionally bemoan the lack of ‘characters’ in professional music making, implying that today’s work environment requires a rather clinical perhaps commercial approach to high level performance. If you need a perfect example of a modern day ‘character’, an individual who broke the mould, who pursued his own path at the highest level then Roger Williams, who has sadly passed away after a long illness, was surely the embodiment of the bohemian spirit.

Merely to call Roger a bass trombonist does him an injustice. He did, of course, perform with many of the great London orchestras and was a busy and highly successful West End musician but it was his personality, eccentricity, enthusiasm, quirkiness and sheer joie de vivre that guaranteed a smile on the face of those who were fortunate enough to share his company. His self-deprecating take on his euphonium and tenor trombone playing never fooled anyone.

He was an intensely thoughtful musician and his beautiful lyrical playing is evident on the many recordings he made throughout his life. Because of his refusal to lose his child-like love for anything connected to brass he constantly explored and experimented.

He was an evangelical supporter of the avant-garde and an influential member of Music Projects / London, he travelled the world with English Brass Ensemble courtesy of the British Council and he helped define two of the most iconic folk groups to grace these shores – Brass Monkey and Home Service.

He was an important influence in Colin Towns’ Mask Orchestra and the Stan Tracey Big Band and he even found time to expand his many talents into the world of professional music copying and score preparation.

His greatest success was his family life and his love for Gillie and his beautiful children Katie and Max. His funeral at St Paul’s Church in Grove Park was a tribute to the man and musician. It was a celebration of the music that he

loved, as diverse a collection of styles and influences as you could wish for and reflected his love and passion for music, the arts and life. As Colin Towns stated in his tribute to Roger in the London Jazz News “Roger simply loved life – walking, photography, travelling and of course his beautiful family. An almost normal human being, but anybody who knew him would say: ‘he’s a truly extraordinary man, a great friend, brilliant musician and by the by a brilliant chef too’.” Thank you Roger for being a ‘character’ – loved by family, friends, colleagues and audiences – and for inspiring all of us with your joy and enthusiasm.

Roger moved to bass trombone in his first year of study at the Academy, probably because it was more quirky, with extra bits of plumbing to mess around with and he took to it like a duck to water. We would never again sit together in a section because of the lone nature of the bass trombone, but now had a shared passion and made the most of it. Days of blowing through excerpts, playing recordings, cooking and talking because commonplace. Notting Hill must have come to dread our Wagnerfest sessions, playing all the loudest parts of the Ring cycle until we could blow no more. I think the Carnival was invented simply to drown us out!

Roger loved cycling and ensured that this ailment infected me too. We would head off into darkest Essex in search of the best ale available as recommended in the CAMRA guide. The ride to our destination was usually straightforward, but the return journey often developed complications, due probably, to slightly impaired judgement. Over time we pretty much perfected the art of falling off a bicycle with minimum damage.

We also both dipped a pen in the black art of music copying, sometimes sharing work that was too demanding for just one scribe, meeting up, red eyed after days without sleep, to hand in parts just before a deadline. Thank goodness all that is now the work of computer programs.

FROM CHRIS STEARN – MEMORIES OF A DEAR FRIEND: I first met Roger in our now long distant college days; I at the Guildhall, he at the Royal Academy of Music, Roger having gained entry after just over a year of playing tenor trombone! I will never forget that first meeting. An ad hoc orchestra in some hall in a corner of London and an outstretched hand comes rushing toward me, “Hello! Iʼm Roger... SO pleased to meet you!” His greeting was so warm, so honest, and his trombone playing so enthusiastic, I knew right away that we would get along.

Over the years, even with me being at the other end of the country, we never lost touch and would catch up regularly over food and wine in London or Scotland. There were a steady stream of recordings that arrived on my doorstep, as Roger continued in his mission to educate me regarding the wider world of music. Each sonic epistle reflected his highly refined musical ear and gave me much to consider.

More than anything, Roger cared.

He cared about his friends and he cared about his family. He cared deeply about music and loved to share his passion.

It has been a rare privilege to be the friend of such a man. Goodbye old chum.

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REVIEWS NOT SO STANDARDS JIGGS WHIGHAM – INTERNATIONAL TRIO – LIVE AT NIGHTTOWN AZICA RECORDS 2015 REVIEWED BY ROSS ANDERSON

Jiggs Whigham’s album, Not So Standards is indeed not the same old standards you would have heard a hundred times before. Each of the six tracks has a modern spin, which sets it apart from any other version I have heard previously.

Recorded live at the Nighttown Club in Cleveland, it boasts six one-takewonders from the trio of creative minds that is the Jiggs Whigham International trio.

Opening with the dulcet tones of Jiggs himself, the first track Days of Wine and Roses is a master class in melodic soloing. Flying around the trombone with ease, he shows why he is classed as one of the world’s top jazz musicians.

Following this is an extended piano introduction into track two, Autumn Leaves. Florian Weber’s ethereal introduction give this otherwise overplayed tune a new lease of life, setting the base for the whole track.

Jiggs shows off his own compositional prowess in track 3, entitled Steve, a gentle ballad-like chart dedicated to the late great British pianist and composer, Steve Gray.

In contrast to the previous tune, track 4 starts with the rhythmical presence of Decebal Badila on bass, playing the repetitive pedal under the well-known song, Some Day my Prince Will Come.

After the introduction, the piece launched into its well-known jazz waltz feel, with Decebal providing a solid rhythmic and harmonic foundation for Florian and Jiggs to blow over.

Decebal’s solo near the end of the track is as virtuosic as any front line player and shows how important it is 32

to feature players who would otherwise remain hidden in the depths of a rhythm section. Perhaps the most ‘standard’ sounding track on the album is track 5, Milt Jackson’s Bags Groove. A favourite for jazz educators owing to its simplistic 12-bar blues changes and easy to remember head, the trio have managed to turn this well-known tune into an interestingly groovy foot tapper.

Track 6 is Sonny Rollins’ Saint Thomas as you have never heard it before.

With an interesting take on the tune, they create an exciting and different version of this classic melody.

If you have a spare hour or so, this album is definitely worth a spin.

I would recommend putting the kettle on, making a nice cup of tea and sitting down to fully appreciate this wonderful trio, as it demands your full attention to catch all the fantastic nuances and intricacies it has to offer.

PETER MOORE (TROMBONE) AND JAMES BAILLIEU (PIANO) WIGMORE HALL RECITAL: MONDAY 30TH JANUARY – 1:00PM REVIEWED BY JOSH CIRTINA

The BBC Radio 3 Monday lunchtime recital series has gained great popularity in recent times thanks to the featuring of internationally renowned artists every week – and Peter Moore with pianist James Baillieu were no different!

To begin the recital was a thrilling world première of a new commission by James Maynard, a colleague of Peter’s as 2nd Trombone in the London Symphony Orchestra. Urban Variations opens with a 6-note theme that the composer sketched in his Beijing City Guidebook after hearing a ‘hawker’ on the street.

The following movements are variations upon this theme and are based on a

EWS I V E R

park in St John’s Wood in London and the hustle and bustle of New York City. Maynard writes so descriptively, captivating the audience immediately from the initial declamatory yet solemn theme, all the way to the frenetic and chaotic last movement. Moore really showed off his mastery of the trombone throughout this work, in my opinion totally capturing the composer’s intentions.

In a sudden juxtaposition, Peter and James followed this with Schumann’s Fantasiestücke, Op. 73. The two musicians here so masterfully interpreted this romantic work, originally written for clarinet and piano in 1849. They both performed with the highest levels of control and sympathy towards the music.

To follow was Axel Jørgensen’s Romance Op. 21 for trombone and piano and Henri Duparc’s La vie anterieure from 1884. These works both feature wonderfully smooth and swooping melodies, which really suit the soloist and his accompanist. Peter’s rich sound has a singing quality that few rarely achieve and this is heard in particular in his slow, melodic playing.

Moore truly spoils the audience with his ability to play with such sensitivity and maturity that belies his age.

For me, the highlight of the recital was Rachmaninov’s Cello Sonata in G minor Op. 19 (3rd movt.). Originally written for the cello, it is understandably something of challenge to play this on the trombone, yet Moore displayed effortless virtuosity throughout the entire range during this performance, with unparalleled musicality.

We were next treated to further evidence of the impressive talents of pianist James Baillieu, alongside Peter, in Hindemith’s Sonata for trombone and piano, a piece renowned for its fiendish piano part. Both musicians performed with exceptional ability and really succeeded in bringing this work to life in very exciting ways.

GEAR REVIEWS OKURA BASS TROMBONE MUTE REVIEWED BY SION JONES

The Okura bass trombone practice mute is available on their website okuramute.com. It’s a compact mute, looks great and weighs less than a large chicken egg; so far so good.

Firstly I have to admit, I have not found myself using a compact practice mute for actual practice, as I don’t think they are good enough. I think that they are handy things to have in your trombone case for the time you need a warm up or blow a few notes when you find yourself in a ‘quiet zone’.

However, I do find the current compact practice mutes too expensive to buy for what they are worth in quality or for what I would personally use them for.

As the Okura is available on their website for €49.50, so around the £50 mark with shipping, it is already cheaper than the more well known brands. Gladly, it’s a good one.

The sound is good for a practice mute, it resonates well and is quiet enough not to be heard. The intonation is good across all ranges and that is without an option to change the tuning.

Therefore I do believe that it would work for the quick warm up scenarios as well as for some longer practice sessions.

The biggest selling point for me is the weight; it really does feel like there is no mute in the bell, so the large egg comparison is a serious one!

If this mute was double the asking price, there is no way I would buy it. If the mute lacked the qualities I’ve mentioned above but the same price then I still would not buy it.

The difference is, the Okura is better, cheaper and so in my opinion the better value for money practice mute out there.

Also available on their website is a piccolo trumpet, trumpet, French horn mutes and a new tenor trombone practice mute all in the same £50 bracket.

BLAIR BOLLINGER MODEL SHIRES BASS TROMBONE

Unlike other Thayer valves I’ve previously used, I was pleased to find they weren’t completely without resistance, and therefore they felt more natural. I did sometimes struggle with their speed, although I’m sure a few different oils could change this, and admittedly it is rare you’d require this speed in standard repertoire. The sound in this register is very centred, but didn’t quite have quite as much ring as my 62HG.

Conversely, I found the sound in the upper register to be a little woolly and quite hard work. However, I had exactly the same issue with my 62HG when it was new. Perhaps this is because so much of the manufacturing focus is about the bottom-end - I guess the clue is it’s a ‘Bass’ trombone. I did a couple of recording tests and found I could get roughly the same sound and phrase shape on both trombones, but it felt completely different on my chops. I’m sure that after a couple of weeks of playing, it would feel normal. With more commercial playing, the trombone felt nimble and zingy where needed and I have to say that the tuning throughout the entire test was excellent.

I’m a big believer in finding what works for you. I’m happy with my current set-up, but if I was in the market for a new trombone to replace my 62HG then the Shires would be a strong contender and whilst I use different instruments for different gigs, I’m sure that it would work perfectly in an orchestral situation too. After all, that’s what Mr. Bollinger uses it for. This is a seriously good trombone, but if you’re considering purchasing then go and try it yourself. You are the best judge of what you like most, and I think when you’re looking at spending £6295* for a trombone (which is almost a week’s wages for most of us bass trombonists!), it’s important for you to be certain it’s the right instrument for you. *Available now at Phil Parker Ltd.

REVIEWED BY SAM FREEMAN

I’m not someone who tends to change my set-up around.

I have two bass trombones and one tenor; I tend to use my Elkhart 62H for orchestral work, and my Conn-Greenhoe 62HG for most other things - shows, sessions, commercial playing, big bands and so on. As the latter is the only trombone I’ve ever bought new, I felt it would give me a good reference point against which to test the Shires.

I turned up at Phil Parker’s - who weren’t expecting me - and was given a warm welcome and a room to play around with both instruments.

Starting with gentle slurs inside the bass clef, I found the trombone to be easy blowing, and this trend continued when working down the register. I comfortably played down to a pedal B and found the sound to be open at the very bottom.

Test Repertoire: Warm – up slurs/tongued exercises

• • • • • • • • • • • • •

Suite V Sarabande (Bach) subZERO Concerto (Schnyder) Jazz Crimes (Redman) Monody for Bass Trombone (D. Freeman) My Funny Cello Suite (Nightingale) Symphony I movement IV (Mahler) Tannhauser Overture (Wagner) The Creation (Haydn) Dance of the Knights (Prokofiev) Uptown Funk – Bass line, and ‘horn’ riff (Mars) I’ve Got You Under My Skin (Riddle) Soul Bossa Nova (Jones) Brass Scene Kid (No BS Brass Band) 33

Photography courtesy of Betina Skovbro

G&T WINTER 2017 2016 THE TROMBONIST SPRING

BY MATTHEW GEE & MARK TEMPLETON LIVERPOOL PHILHARMONIC HALL: MNOZIL BRASS One of the finest brass ensembles in the world return with their latest show Cirque. They are literally unmissable and with the enigmatic (is that the right word?) Zoltan Kiss leading the charge it is sure to be memorable. Who knows exactly what this show has in store, but if their plethora of YouTube clips is anything to go by it is going to be another smash. May 5th, 19:30.

BRIDGEWATER HALL, MANCHESTER: BBC PHILHARMONIC AND THE HALLÉ ORCHESTRA Two of the UKs finest orchestras team up to deliver Arnold Schoenberg’s colossal Gurrelieder under Sir Mark Elder. This will be a visual and aural spectacle, with huge brass forces and an equally large choir thrown into the mix.

A truly epic way for both orchestras to close their respective seasons.

June 4th, 18:30.

LEEDS, NOTTINGHAM, HULL, LIVERPOOL AND GATESHEAD: OPERA NORTH Following on from their critically acclaimed Ring Cycle, Opera North concert-stage Puccini’s final opera Turandot. This is a cracking opera with great trombone parts, played by an inform orchestra under maestro Alexander Markovic. Expect sell-out performances.

Another instalment of G & T sees plenty of big names and some equally as big rep. being performed all over the UK. Without further ado:

LEICESTER/LONDON: PHILHARMONIA ORCHESTRA With Gustav Holst being a trombone player, you’d expect his trombone parts to be well written, but his writing for all brass in The Planets is brilliant. April 22nd, De Montfort Hall and 22nd April, Royal Festival Hall, 19:30 and 15:00 respectively.

ROYAL FESTIVAL HALL, LONDON: ROYAL PHILHARMONIC ORCHESTRA Walton’s First Symphony is a riot for brass and contains a full spectrum of what a trombone section can do; brilliantly written choral passages, crisp rhythmic motifs and menacingly powerful melodies. Hear it for yourself.

June 6th, 19:30pm.

ROYAL FESTIVAL HALL, LONDON: ENGLISH NATIONAL BALLET Here is a real treat for you. The ENB will be performing Prokofiev’s ballet Romeo and Juliet with choreography by Rudolf Nureyev. The score alone contains some of the most tragically beautiful music, but to see it performed as it was intended, costumes, sets etc, will be glorious. August 1st – 5th.

CARDIFF/SWANSEA: BBC NATION ORCHESTRA OF WALES Stravinsky’s Rite of Spring is a good workout for the trombone section. This piece requires lots of precision and good section radar. Throw in a few cheeky high notes, some searing chords and some wicked rhythms and you have a twentieth century classic. June 8th, St David’s Hall 19:30, June 9th, Brangwyn Hall 19:30.

brass. April 26th The Lighthouse, and April 27th Colston Hall, both 19:30.

THE BARBICAN HALL, LONDON: LONDON SYMPHONY ORCHESTRA Shostakovich’s 15th Symphony is pretty bonkers. There are quotes from Mahler, Glinka, Wagner and most noticeably Rossini (William Tell). There are several little solos for first trombone and a slow, rich one in the 2nd movement which needs a big, warm sound. Despite some very angular harmonies, this is a really accessible piece and being Shostakovich’s last symphony, definitely worth a listen. May 7th, 19:00.

THE BARBICAN HALL, LONDON: BBC SYMPHONY ORCHESTRA Minimalist music doesn’t often feature in G&T, but Dr Atomic by John Adams, telling the story of Oppenheimer and the first atomic bomb, is a powerful and engaging opera. Lots for the bones to do, some tricky rhythms and a great shout up for first trombone. John Adams himself conducts. April 25th 19:00.

That concludes G&T for another issue.

Hope something takes your fancy.

Tweet us if you go to any of these gigs and what you thought of them.

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

GLASGOW CITY HALLS: BBC SCOTTISH SYMPHONY ORCHESTRA The two days preceding the big Trombone festival in Glasgow, hear trombone concertos by Jan Sandström, Kalevi Aho and Christian Lindberg, POOLE/BRISTOL: BOURNEMOUTH played by Christian, Jörgan van Rijen SYMPHONY ORCHESTRA and Simon Johnson. Top players and I always love playing Mahler Five. It Follow the rep.

BTS–on Twitter: and Like Facebook to receive regular dates for your diary. interesting this has to @britishtrombone be one of the doesn’t haveusason many glory moments Submit your own events on the BTS website www.britishtrombonesociety.org andbut they will be included on social media, the BTS highlights of the decade. June 22nd and as the second or third symphonies MT MG website and right here in the magazine.

23rd, 19:30. there is some sublime writing for the low 34

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WHAT’S ON 30PM 22ND APRIL 2017 - 7.

PETER MOORE SOLO Barbican Hall on/icalrepeat.dewww.lso.co.uk/whatsandnational-youth-brass-b tail/2017/04/22/590/-/ of-great-britain.html

28TH APRIL 2017

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COLDSTREAM GU in aid of Comba ARDS AT CADOGAN HALL t Stress-Mark Te mpleton Solois t

0PM 7TH JUNE 2017 - 7.3

1.15PM RECITAL NER MUSIC FESTIVAL 2.15PM MASTERCLASS CONCERT AT THE PIN , Pinner. HA5 3AA AT DEPARTMENT OF MUSIC Pinner Parish Church icfestival.co.uk UNIVERSITY OF BRISTOL, http://www.pinnermus Victoria Rooms, Queens Road, Bristol. BS8 1SA. ‘Inspired: a Life of Breath’ composition competitio n. http://lifeofbreath.org/event/inspired-concert-and Follow the BTS on Twitter: @britishtrombone and masterclass/ like us on Facebook to receive regular dates for your diary.

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