The Trombonist - Summer 2012

Summer 2012 £2.50

www.britishtrombonesociety.org

A unique ensemble

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COVER STORY PRELUDE

CONTACTS British Trombone Society www.britishtrombonesociety.org Honorary Patron: Gordon Campbell Executive Board President Brett Baker 01606 783869 president@britishtrombonesociety.org Vice-President

Introduction by Guest Editor, Chris Beaumont

Carol Jarvis vicepresident@britishtrombonesociety.org Chair Ben Bouzan eastanglia@britishtrombonesociety.org

Welcome to the Summer issue of The Trombonist!

Secretary Geoff Wolmark 01377 202209 1-3 Church Street, Hutton, Driffield, Yorks, YO25 9PR secretary@britishtrombonesociety.org Treasurer David Carnac treasurer@britishtrombonesociety.org Development Officer Stewart Drummond education@britishtrombonesociety.org Staff Membership Manager Lisa Penn 0844 4457931 membership@britishtrombonesociety.org Webmaster Edward Solomon 07903 152148 webmaster@britishtrombonesociety.org Associate Webmaster Mike Saville webmaster2@britishtrombonesociety.org Please submit news items for the website to Geoff Wolmark: news@britishtrombonesociety.org The Trombonist Editor Dr. Joanna Cambray-Young 07901 733719 editor@britishtrombonesociety.org Publishing and Distribution British Bandsman Advertising Gregan Quick 01933 445474 adverts@britishbandsman.com Design and DTP GK Graphic Design The Trombonist is published quarterly.

Please send reviews to Ben Henderson 77 Hallam Fields Road Ilkeston, Derbyshire, DE7 4AZ Representatives

When Brett Baker approached me about being the Guest Editor for this issue, I wanted to include articles from at least a few musicians you might not have come across, or if you have then not very frequently. I also wanted to find people who would give you something a little out of the ordinary.

Two people who were at the top of my list are amongst New York’s finest and busiest jazz freelance musicians - David Gibson and Michael Dease.

Both rose to the challenge in their own inimitable way to give you their thoughts in a very stimulating manner.

One subject that’s (obviously!) very close to my own heart is what stimulates the process of changing instruments and how to go about making and managing the change. Kevin Morgan of the Bournemouth Symphony Orchestra has shared his insights and experiences about some instrument changes that he’s made in the last year or so.

I also wanted to share my thoughts with you about an area that’s becoming increasingly useful and relevant - how the use of the internet and technology in our increasingly connected world gives us alternative ways of progressing and developing our musical skills and talents, even when you don’t have access to lessons from a regular teacher.

Many thanks to Brett for the opportunity to do this and I hope you find at least a few thoughts and ideas to take away, investigate further and implement in your own playing.

Enjoy the issue Chris Beaumont

Scotland Chris Stearn 01360 860220 scotland@britishtrombonesociety.org Wales Arlene MacFarlane 07773 290975 wales@britishtrombonesociety.org

Contents

North East & Yorkshire Simon Mansfield 01484 602401 northeast@britishtrombonesociety.org North West Kerry Baldwin 07920 022395 northwest@britishtrombonesociety.org Midlands Ben Henderson 07841 755155 midlands@britishtrombonesociety.org Northern Ireland Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org South Richard Debonnaire 07595 458984 south@britishtrombonesociety.org South West Tony Evans 01752 263069 southwest@britishtrombonesociety.org East Anglia Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org Wessex Bruce Harding 01202 880814 wessex@britishtrombonesociety.org Brass Band Paul Woodward 01924 823840 brassband@britishtrombonesociety.org Jazz Jeremy Price jazz@britishtrombonesociety.org Young People James Howard 07906 392992

5 7 8 9 11 12 15 16 17 18 20 21 23 24 27 29 31 32 34 35

President’s Address - Brett Baker News On the Horizon Slides - Leicester and Gloucester Slides - Aberdeen Slides - Salford Slides - Huddesrfield Star of the Future - Adam Reed Studio - Simon Johnson Cover Story - Black Dyke Quartet Tips from the Top - Roger Cutts and Mike Dease Trombone Talk - David Gibson Composer’s Corner - Richard Cross Masterclass - Christian Lindberg Intonations - Kevin Morgan Trombonist’s Island Discs - Stephen Cairns Where Are They Now? - Nick Hudson Slide Rule Digibone - Chris Beaumont Diary Dates

youngrep@britishtrombonesociety.org

THE TROMBONIST | SUMMER 2012 | PAGE 3

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BONECOVER OF CONTENTION STORY

President’s Address Summer 2012

Dear Members It has an exciting six months for the Society and even busier than I can remember during my ten-year association with the Executive of the BTS. Since last year, the BTS Student Loan scheme has been launched and we have already raised £700. I aim to continue pursuing this scheme for the next few years as the Past President.

Also, the new membership payment structure has been announced and the 99ers have now been set up (please see the Trombonist Spring 2012).

Twitter, YouTube and Facebook have become very active, with Carol Jarvis, our Vice President, taking an active role in this area. As the next magazine will be my last as President, I wanted to reflect on the past 18 months and what has been achieved. I also wanted to remind you what I set out to achieve last year: ! "43 REBRANDING EXERCISE I have been pleased with progress on our online presence and the ability now to buy downloads and CDs via the website.

-ORE EVENTS: I wanted to see an increase to about 16 events over 12 months and although this has taken much of my spare time the BTS did achieve its target. ! RECORDING OF TROMBONE CHOIR MUSIC. The CD has been very favorably received. Please can I encourage you all to buy one as they are only £7.00 to BTS members and this money will go towards the BTS Instrument Loan project, which encourages young people to take up the trombone by supplying instruments to them, and is spearheaded by Jo Hirst, our BTS Teacher of the Year.

4O HOLD A TRULY NATIONAL 4ROMBONE 7EEK: I am very much looking forward to this event, which takes place at the end of May! I hope to see many of you there.

So, what challenges remain for the BTS? Funding is always a challenge for the BTS and hence the rise in membership fees. If anyone feels they can donate money to the BTS, perhaps for a specific project they would like to see take place, then please contact me. Other areas where we continue to move forward include: !IMING FOR CHARITABLE STATUS through bringing on board Steve Cann to work on this project. #ONTINUING A VARIETY OF EVENTS UP AND DOWN THE COUNTRY, which will be a challenge, so please help your regional representative to ensure something happens in your area.

"RINGING OUT A RECORDING OF PERFORMANCES IN THE .ATIONAL %VENT AT #ARDIFF #ONTINUING TO INVEST IN THE WEBSITE AND ITS REPORTING CAPABILITIES #ONTINUE TO INVEST IN ENCOURAGING LEADING PLAYERS IN THE MOVEMENT TO CONTRIBUTE TO THE MAGAZINE The other initiative that has been set up over the past twelve months is the BTS Awards. Please send in your nomination by 1 September this year to secretary@britishtrombonesociety.org ASAP, or fill in and post the form on page 7.

The categories are Player of the Year, Teacher of the Year, Student of the Year and Leading Figure of the Trombone Movement. See the Winter 2011 edition of The Trombonist for last year’s winners.

Brett Baker BTS President

"43 3%%+3 .%7 -%-"%23()0 -!.!'%2 "//++%%0%2 If you are interested in this paid, part-time post, please contact the Secretary, Geoff Wolmark, in the first instance for further information or to discuss this vital role, please either phone 01377 202 209 or email secretary@britishtrombonesociety.org

THE TROMBONIST | SUMMER 2012 | PAGE 5

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BOURGEOIS - TROMBONE CONCERTO Available from R.Smith & Company

Derek Bourgeois’ Trombone Concerto was commissioned by the British Trombone Society for the International Trombone Workshop at Eton, England, in July 1989. The world premiere was given by Christian Lindberg, who has recorded the concerto with the BBC National Orchestra of Wales (Naxos).

SOLO WITH PIANO ACCOMPANIMENT

£12.95

SOLO WITH BRASS BAND ACCOMPANIMENT

£119.95

SOLO WITH CONCERT BAND ACCOMPANIMENT

£135.00

SOLO WITH ORCHESTRAL ACCOMPANIMENT

£125.00

Send for our latest catalogue: R. Smith & Company, 66-78 Denington Road, Wellingborough, Northants, NN8 2QH, England

Telephone: +44 (0)1933 445 440 Fax: +44 (0)1933 445 441 E-mail: orders@rsmith.co.uk

Visit the BTS website for information on how to purchase the CD and listen to excerpts

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COVER NEWS STORY

Ian Bousfield to leave VPO Hard on the heels of his colleague Jeremy Wilson, Ian Bousfield, principal trombone of the Vienna Philharmonic Orchestra and Vienna State Opera, has announced his decision to resign his 1st trombone chair and concentrate on solo performance and conducting.

With the pressures of performing in the Vienna Philharmonic Orchestra, which doubles as the orchestra for the Vienna State Opera, he has found it increasingly difficult to set aside time for personal practice, teaching and conducting, all of which he finds important and incompatible with the demands of

his current position. Announcing the news on his website, Ian stated: ‘The fact of the matter is that I simply have not had a life now for many years. I’ve been living a double life - one as 1st trombone of the Vienna Philharmonic and one on the road as a soloist and teacher. Not only is it becoming bad for my health, and means that I don’t have time for the loved ones around me, but I don’t get the feeling that I give of my best wherever I am when I am stretched so thinly. I have not practised consistently now for over ten years, which might surprise a few of you!

I have reached the point where I cannot go on any longer with four

days’ preparation time for important solo concerts. I am under no illusions that I’m going to be a world-famous soloist or conductor - this is simply a decision to spend my life doing what is important to me and with the people who are important to me. Whilst wishing for a quieter life, I just hope that I get enough opportunity to play, as even after all of these years I still wake up in the morning feeling like the luckiest man in the world, because I get to play the trombone.’

We wish Ian well on his next venture and for the upcoming Summer Course in Solothurn, Switzerland.

Bass trombonist wins BBC Young Musician of the Year Brass Final The Brass Section Final of the BBC Young Musician of the Year competition was recently won by bass trombonist, Alexander Kelly, aged 16, who hails from Hale near Altrincham. He went through to play at the semi-finals on 12 May with the other section winners, but narrowly missed out on a place in this year’s grand final. We at the BTS send him our congratulations on a great performance.

4HE "43 %XECUTIVE "OARD IS PLANNING TO MAKE THE üRST OF ITS ANNUAL AWARDS THIS YEAR TO NOTABLE PEOPLE IN THE TROMBONE WORLD 4HE FOUR CATEGORIES OF AWARDS ARE 4ROMBONE PLAYER 4ROMBONE TEACHER 9OUNG TROMBONIST STUDENT TROMBONIST /THER OUTSTANDING CONTRIBUTION TO THE TROMBONE 7E WELCOME NOMINATIONS FROM "43 MEMBERS EITHER IN WRITING OR THROUGH EMAIL TO "43 3ECRETARY SECRETARY BRITISHTROMBONESOCIETY ORG #HURCH 3TREET (UTTON 9/ 02 0LEASE INCLUDE THE FOLLOWING INFORMATION WHEN YOU MAKE YOUR NOMINATION S YOUR NAME AND CONTACT DETAILS NAME OF NOMINEE CATEGORY OF NOMINATION ABOVE SHORT DESCRIPTION OF REASONS FOR NOMINATION 0LEASE SEND YOUR NOMINATION BY 3EPTEMBER 0RESENTATIONS OF PLAQUES WILL BE MADE AT THE !'- AT /UNDLE 3CHOOL IN /CTOBER 4HE EXECUTIVE BOARD OF THE "43 WILL CHOOSE THE FOUR AWARD WINNERS FROM MEMBERSl NOMINATIONS AND ALL DECISIONS WILL BE PUBLICISED ON THE WEBSITE AND IN THE MAGAZINE

THE TROMBONIST | SUMMER 2012 | PAGE 7

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ON THE HORIZON .ORTHWEST "43 $AY IN "ACUP 3ATURDAY -AY ND 2OSSENDALE 3COUT 'ROUP "ANDROOM 3COUT (EADQUARTERS "URNLEY 2OAD "ACUP ,ANCASHIRE /, !% Featuring Brett Baker, Jonathan Warburton and the RNCM Trombone Choir conducted by Adrian Morris 10:00 Welcome and Registration. Please make it known if you wish to be considered for an opportunity to perform in the afternoon concert as part of a solo / duet / trio / quartet, and also if you wish to take part in the solo masterclasses.

10:15 Warm-up and Trombone Choir Rehearsals with Brett Baker (Main Hall) 10:45 Jonathan Warburton recital 11.30 Break 12.00 Workshop with Brett Baker 12.45 Recital with Ryan Watkins 13:00 Lunch 14.00 RNCM College Trombone Choir conducted

by Adrian Morris 15.00 Break 15.15 Trombone Choir rehearsals with Brett Baker 16.00 Run through with soloists for evening concert 19.30 Concert with soloists from the list above, with The 2nd Rossendale Scouts Band and the Houghton Weavers Workshop Day: £5.00 to members including light lunch, £15.00 non-members Concert: Participants Free £10.00 to all for the evening concert, discounts available.

Further information and to register, contact Brett Baker: president@britishtrombonesociety.org or northwest@ britishtrombonesociety.org

"43 AT THE "LACK $YKE "AND &ESTIVAL ,EEDS 4OWN (ALL 4HE (EADROW ,EEDS ,3 !$ 3UNDAY -AY Featuring Black Dyke Trombone Quartet and Black Dyke Youth Quartet 9.30 Registration 10.00 Warm-up and massed blow 10.45 Break 11.00 Workshop with Black Dyke trombone Section 11.30 Q&A - chaired by Brett Baker 11.45 Performance by Black Dyke Youth Quartet and final run through of pieces 12.15 Lunch 15.00 Concert Contact president@britishtrombonescoiety.org if you wish to participate

"43 .ATIONAL %VENT 2OYAL 7ELSH #OLLEGE OF -USIC AND $RAMA #ASTLE 'ROUNDS #ATHAYS 0ARK #ARDIFF #& %2 3ATURDAY -AY 09.30 Registration (RWCMD Trombone Choir in foyer until 10.00) 10.00 Massed trombone choir in the DS Hall 11.00 Audition Technique Workshop with Roger Cutts in the DS Hall 12.00 Workshop in the Foyer - BBC National Orchestra of Wales trombone section 12.45 On The Slide performance in association with RWCMD 13.00 Lunch 14.00 Recital in the DS Hall - Brett Baker on forgotten trombone solos

14.45 Break 15.30 Recital in the DS Hall - RWCMD Brass Ensemble 16.15 Recital of contemporary music in the DS Hall - Dirk Amrein and Jonathan Warburton 17.00 Bar Interview with Christopher Beaumont of Michael Rath Brass Instruments - available for instrument-related questions 18.30 Concert in the DS Hall - Dirk Amrein, RWCMD Brass Quintet, RWCMD Tubas and world premières performed by Jon Pippen, Brett Baker and Jonathan Warburton 3UNDAY -AY 09.30 Registration (RWCMD Trombone Choir in foyer until 10.00) 10.00 Massed trombone choir in the DS Hall 11.00 Recital in the DS Hall - Simon Minshall 12.00 Workshop with the WNO trombone section in the DS Hall 13.00 Lunch and talk by Marcus Reynolds on Brass Detox 14.00 Don Lusher Competition in the DS Hall with pre-result performance by Stephen Sykes 15.30 Workshop in the DS Hall - Davur Juul Magnussen (principal trombone, Royal Scottish National Orchestra) 16.15 Performance in the Foyer - Gordon Campbell 18.30 Concert in the DS Hall featuring RWCMD Brass Band, the Don Lusher Competition winner, Stephen Sykes, Davur Juul Magnussen, Simon Minshall, Delegates’ Trombone Choir and the Professional Trombone Ensemble Cost of the weekend (excluding evening concert, unless you are performing): BTS members £20.00, £40.00 for non-members.

Each evening concert: £10.00 Contact: Colin Barrett: colby@hotmail.co.uk Brett Baker: president@britishtrombonesociety.org Kevin Price: Kevin.Price@rwcmd.ac.uk

.ORTHWEST "43 $AY IN 0ORTHYWAEN 0ORTHYWAEN 3ILVER "AND (ALL /SWESTRY 3HROPSHIRE 39 ,8 3UNDAY 3EPTEMBER Featuring Brett Baker, the Black Dyke Trombone Quartet, Stephen Lomas, Danny Brooks and Jonathan Warburton 9.30 Registration and coffee 10.00 Massed blow 1 with Brett Baker 11.00 Break 11.30 Alastair Burrows, Stephen Lomas and Danny Brooks recital 12.30 Lunch, with an opportunity to run through pieces with Fenella Haworth-Smith 14.00 Ensemble masterclass with quartets (Black Dyke Band) 15.00 Break 15.30 Massed blow 2 with Brett Baker 16.00 Workshop with Jonathan Warburton 17.00 Rehearsals with band, soloists, Brett Baker, Black Dyke Quartet, Danny Brooks, Stephen Lomas and Jonathan Warburton 18.30 Concert with soloists from the list above £5.00 to members, £15.00 non-members £5.00 to all for the evening concert Further information and to register, contact Brett Baker: president@britishtrombonesociety.org or northwest@ britishtrombonesociety.org

PAGE 8 | THE TROMBONIST | SUMMER 2012

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COVER SLIDES STORY

"RITISH 4ROMBONE 3OCIETY -IDLANDS ,EICESTER 'RAMMAR 3CHOOL

&EBRUARY

BY 3AVANNAH "ONE The BTS came to Leicester on 25 February. To get everyone nicely warmed up, the day started with a massed blow with Brett Baker and Chris Jeans. Pieces played included some of the very first pieces written for trombone choir and, towards the end, more difficult ensemble pieces such as 4OWER -USIC Next to come was a bass trombone recital from Stephen Lomas of Leyland Band, featuring a beautiful rendition of 3òNG 4ILL ,OTTA by Jan Sandström and some impressive sight reading from last-minute accompanist, Dr. David Whittle on the piano. This was quickly followed by the Black Dyke Trombone Quartet workshop, and time for some impressive ensemble work in 'OSPEL 4IME. After its performance, the Black Dyke Quartet was joined by four lucky individuals from the audience and held an open rehearsal featuring 0ROCESSION /F 4HE .OBLES After a short lunch, everyone assembled for the informative History of Solo Music for Trombone 1620-1915 with Brett Baker. After some jaw-dropping virtuosic playing, everyone involved was truly inspired to try out some more music from the distant past.

Following a short break, a workshop with Matt Gee commenced, again featuring pieces many BTS members may not have heard before but from a more modern background. With many different and unusual techniques used in his pieces, inevitably many questions were asked to do with multi-phonics, glissandos, pedal notes and many more tricks. After this he worked with Leicester Grammar School student, Savannah Bone (me!), on some pieces for her ATCL diploma which was to be taken a few weeks after the BTS day.

After a refreshing drink and snack, we had a performance from the Youth Brass 2000 Trombone Choir, with an age range from 11 to 18. Among other pieces, they featured the old favourite of the main theme from Rossini’s overture, 7ILLIAM 4ELL. To finish off the main part of the day there was a massed blow with Paul Woodward and Matt Gee. Members were sorted into teams of four to each learn a new piece of music in around half an hour and work it up to performance standard. When it came to the performances, each group played well and were judged, with constructive criticism, by the other groups.

Lastly came the collaborative concert with the Leicester Grammar School Music Department.

The first soloist of the evening was Matt Gee who was featured with the Leicester Grammar School Symphonic Wind Band playing the impressive Ferdinand David 4ROMBONE #ONCERTO. Next to perform was Chris Jeans’ Crazy Love Band with some toe-tapping jazz and swing classics. To complete the day was Leicester Grammar School Dance Band. Christopher Worsfold - a Leicester Grammar School pupil - serenaded the audience with a beautiful arrangement of /LIVER "ALLADS, closely followed by Savannah Bone playing another Dr. Whittle arrangement of the Barry Manilow favourite, %VEN .OW. In a last attempt to get everyone involved, all BTS members were asked to join the band to perform the classic (OT 4ODDY and 4HE "EST OF %ARTH 7IND !ND &IRE. With its newly reinforced trombone parts, we think the band could not have sounded better! After a very successful day and concert, it just goes to show you can’t have too many trombones!

'LOUCESTER "43 $AY BY 0HIL #OWLEY Sunday 29 January saw nearly 40 trombone players for the Midlands and South West come together for a day of pure trombone indulgence. The event, at Tewkesbury in Gloucestershire, was organised by Omar Khokher and Gloucestershire Music. It was the second one to take place and it seems to be becoming a date for the diary early in the year.

The morning ‘big blow’ was lead by Mark Templeton from the London Philharmonic Orchestra (LPO), who took the players through a wide selection of trombone ensembles, testing even the more advanced of the players. After a short break for a well-deserved coffee, Mark was back giving a masterclass in working in an orchestral section. A wide, comprehensive range of music, styles and techniques was covered, from Mozart’s 2EQUIEM and $ON 'IOVANNI, to Bruckner and Mahler.

The afternoon kicked off with an electrifying, inspirational trombone quartet recital given by Bones Apart. For this, the audience also included over 100 young brass players who were taking part in the Gloucestershire Music ‘Blast Off’ event. The virtuosic playing of the quartet, whose programme included the !NNE ,AURIE 6ARIATIONS, left the audience clamouring for more. To quote one young cornet player (and imagining here a strong West Country accent), “That was well good!”

After a faultless performance, the quartet carried on working with the trombone players, covering more advanced quartets and octets late into the afternoon. The group ended with a question and answer session and a last request, the 3TARS AND 3TRIPES, their signature piece. Wow! A great, great day was had by all the participants, which included players as young as ten years old. Hopefully all took away a glowing feeling of satisfaction and inspiration. Thank you Mark and Bones Apart, but especially Omar and BTS for organising a day that makes playing the trombone such a wonderful experience.

THE TROMBONIST | SUMMER 2012 | PAGE 9

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COVER SLIDES STORY

The Aberdeen Music Scene

by Richard M. Vote The Aberdeen music community, and particularly its trombonists, are proud of what Paul Mealor has achieved to improve the music scene in the ‘Granite City’. Although his superb chamber choir, Con Anima (well worth hearing - buy the CD - mine’s a pint Paul!), may take some of the credit for this too! Paul, Professor of Composition at the University of Aberdeen, is following the great tradition that has sprung up here. Tim Tricker, another award winning composer in Aberdeen, is also a trombonist - it must be something in the air here that is magnified when taking those deep breaths! I was inspired to write this article after someone emailed Radio 3’s Breakfast Show to say that they had a community orchestra in their city (I forget which city, but it was early in the morning!). This got me thinking and counting; Aberdeen and the immediate environs have 14 orchestras. We also have five brass bands, two wind bands, a swing era band, a modern music orchestra, two jazz orchestras and a host of smaller ensembles, from baroque to

jazz, and that is before the choirs are considered! The orchestras range from the professional standard Sinfonietta through the pro-am Chamber, to three inclusive ensembles where people can initiate or re-initiate playing and progress on to higher things. It pays to be extra respectful to one of the latter players because with a very large proportion of hospital consultants in its ranks, you may fall under a bus and wake up with them peering down at you!

The exciting and varied musical opportunities in this city owes much to dedicated teaching in the schools, but perhaps more to those teachers also being committed (and in brass bands, competitive!) players too. A threat to music teaching a couple of years ago from an erroneous perception of it being peripheral was countered by a demonstrated correlation between musical and academic excellence. I have witnessed this link myself - an example being a young lad who used to combine ‘babysitting’ with baritone practice; now, years later, he is an excellent euphonium

BTS President visits Aberdeen

by Richard M. Vote In March, Brett Baker came to Aberdeen and gave a recital and masterclass. My friend, Alan Cooper, who is music critic for the Scottish quality papers, normally takes no prisoners and he wrote: ‘Brett Baker, President of the British Trombone Society and principal trombone of Black Dyke Band, proved to be the perfect guide to lead us on a wondrous adventure of exploration and discovery across the intriguing outer limits of the trombone repertoire. With music ranging from the early Renaissance to the first decades of the 20th century, he teased and titillated our musical palates with a selection of little known pieces that drove instrument and player sometimes to the edge of their virtuoso possibilities.

He began with an arrangement by the Swedish trombone virtuoso, Christian Lindberg, of a piece for solo trombone by an unknown composer c. 1475, Danse La Cleve. I was immediately impressed by the seamless smoothness and bold resonance of Brett Baker’s trombone sound. It was utterly seductive in its appeal. La Hieronyma by Giovanni Martino Cesare added an easy flowing nimble agility to the warmth of tone. Here and for most of the rest of the recital Brett was sympathetically accompanied on piano by Ruth Webb who had travelled to Aberdeen from Manchester for the concert.

The St. Thomas Sonata by another early, unknown composer was discovered in a Czech monastery but was only published 13 years ago. It featured marvellous rapid passages for trombone, which were navigated with remarkable fluency and ease by Brett Baker. The next two pieces were in the classical gallant style, the Concerto for Alto Trombone by Wagenseil and the second and third movements of Albrechtsberger’s Concerto for Alto Trombone. Considering that Brett Baker was playing these pieces on tenor trombone, which made them far more difficult to accomplish, gave further proof (as if any were needed) of his

player with a 1st in Computing Science, which he achieved in just three, out of the usual four, years. Music matters!

Aberdeen University has fuelled the local musical fires, aided by the Music Department’s renaissance under Roger Williams, attracting musical students as well as music students. The energy and enthusiasm of staff and research students in particular has combined with that from the town to develop a tangible community which is manifesting itself in co-operation between ensembles. Former principals of national orchestras willingly sit in the back rows of inclusive local ensembles to add support.

Inspiration comes from regular visits from the three Scottish orchestras as well as other programmes in the Music Hall, and the highlight for me has been the band of HM Royal Marines, although as a former Royal Navy Marine Engineer Officer I may be a bit biased!

Paul and his colleagues at the University continue to make a terrific contribution to Aberdeen’s musical life, of which many other cities may be justly envious.

amazing mastery of the trombone.

Here too, Ruth Webb gave a sparkling performance on piano. Moving on to Carl Heinrich Meyer’s Concertino for Bass Trombone, where much of the music exploits the upper trombone register, descents to the bass notes were accomplished splendidly and leaps between upper and lower registers were smoothly and easily achieved. Somehow for this piece, Brett Baker was able to change the whole timbre and attack of his playing giving it extra punch and a rich masculinity.

On to the romantic era, Josef Novakovsky’s Concertino was broad and expansive and the closing variations opened up a world of thrilling virtuoso playing. This was only the beginning, however. The rest of the pieces in the programme reached ever more eye-popping levels of virtuosity. Phenomenal Polka

by Frederick Innes, who was a player in Sousa’s famous band, was a fantastic showpiece. Arthur Pryor’s Parisian Melodies was great fun and Clay Smith’s The Water Witch, in which Brett Baker achieved a miraculous level of tonguing control, proved that many of these little-performed pieces deserve more of a hearing. Unfortunately, of course, there are not many instrumentalists who can play them.

The last piece in the official programme was a world première.

La Valse Moderne by Gardell Simons, who played in Sousa’s band before moving on to some of America’s prestigious classical orchestras. The piece has recently been restored and reconstructed and we were privileged to hear this first full modern performance.

A thunderous response from the audience that included some of our local brass stalwarts in addition to the large contingent of music students drew forth an encore for solo trombone another rarely played composition by Arthur Pryor - his setting of Annie Laurie. Here Brett Baker pushed the limits of his virtuosity further than even before. One of our local trombonists expressed his surprise and delight at this performance by dubbing it “barely legal”. I think I know exactly what he meant!’

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SLIDES

0ICTURES AT AN %XHIBITION SOUNDS CAN YOU GET FROM 2EPORT BY 0ETER #HESTER

Yes, there really was a full performance of Mussorgsky’s 0ICTURES AT AN %XHIBITION at Peel Hall of Salford University on a cold foggy Sunday 12 February, at least one arranged for trombone and piano, thanks to the imagination of a certain Christian Lindberg, not to mention the stamina of the performers, Alastair Burrows and the accompanist for the day, Fenella Haworth-Head.

However, taking the day as a whole, the thought of 0ICTURES AT AN %XHIBITION and the variety of images therein was suggestive of the entire programme for the day. A huge range of music centred around our favourite instrument, the trombone, was on offer - everything from late medieval plainsong to newly commissioned 21st century work of particular complexity, pausing, like Mussorgsky’s onlooker at the art gallery, at many stops on the way. Alongside the playing the day also saw the debut of the new BTS CD, &ANFARE, itself a compendium of different styles of trombone music. BTS members will be pleased to know that profits from the sale from the CD are to be used to put pBones into schools (as mentioned on page 5).

The day opened with the ever-popular massed blow, this one involving about 20 players. They were treated to the first known piece for trombone ensemble, Tiburtio Massaino’s #ANZONA FOR TROMBONES (1608). As each part is independent, this requires significant concentration - good for getting brains and lungs working! 4OWER -USIC then rattled a few rafters whilst 3CARBOROUGH &AIR restored calm. A new arrangement of !INlT GOT NO 3UNSHINE by Dr. Richard Rock gave a hint of some of the jazzier sounds that would follow later in the day.

The rest of the morning was spent in recitals of different forms. It opened with three soloists - Becky Maglone, who played $ANCE 3EQUENCE, Stephanie Samuel playing $ANSE LA #LEVE (1475) on tenor, not the usual alto trombone, and finally Hannah Stell playing the Saint Saëns #AVATINA They were followed by the Black Dyke Youth Quartet (Dan Eddison, Ross Johnson, ‘Wizz’ Bateman and Adam Reed) who gave us Craig Kaucher’s arrangement of Rimsky-Korsakov’s 0ROCESSION OF THE .OBLES, followed by Mark Freeh’s 4HEIR (EARTS 7ERE &ULL OF 3PRING 'OSPEL 4IME, with the audience finger-clicking in the right place (so they said!) and the gallop from Rossini’s 7ILLIAM 4ELL overture, completed BDYQ’s very effective contribution to the morning. This quartet makes a wonderful sound and really has a bright future.

BTS members were then treated to a very agreeable session of duets, given by Danny Brooks of Brighouse and Rastrick Band on tenor trombone and Stephen Lomas of Leyland Band on bass. As Danny pointed out, duet playing is of great value to our musicianship. It requires so much musical discipline, in listening and in intonation. Perhaps BTS members need to “find a friend” to explore this wholesome activity! Their programme included two of Tommy Pederson’s duets, (OG IN THE &OG and 0EANUT "UTTER also the technically demanding #ONVERSATION by Charles Small. This lengthy piece demanded a huge dynamic as well as technical range of its players. Eric Ewazen’s 0ASTORALE, with the added tone colour of the piano, proved very enjoyable

indeed. This was calm, melodic and smooth, very approachable for players and audience. Michael Davis’ "ONEZILLA completed the set, not only allowing Danny and Stephen to show off their amazing techniques, but illustrating the distinctive sounds and style of what might be called the modern New York school of writing for the trombone.

Alastair Burrows, a freelance player based in Manchester and a recent graduate of the RNCM, completed our morning with a stunning performance of Lindberg’s arrangement of Mussorgsky’s 0ICTURES AT AN %XHIBITION This very ambitious piece, for a trombonist using alto and tenor trombones, and a pianist, perhaps has to be seen to be believed. The trombone plays all the ‘tunes’ in each ‘picture’, blending with the piano, which is left with all the other notes of what was originally a piano piece anyway! The trombone’s tone is sometimes varied by mutes and

PAGE 12 | THE TROMBONIST | SUMMER 2012

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COVER SLIDES STORY

ON a JUST HOW MANY OM A TROMBONE some pictures perhaps work better than others but overall this is a very virtuosic piece for all concerned. For the trombone, it is like a new ‘concerto’ as all aspects of the range dynamics and techniques are involved. Alastair and Fenella’s performance was very well received and the performers were certainly ready for a break when it was over!

The afternoon started with Brett Baker’s Lecture Recital on Trombone solos from 1600-1880. The programme was: G.M. Cesare: ,A (EIRONYMA (1621 - Italy), Anon: 3T 4HOMAS 3ONATA (late 17th century Czech.), G.C. Wagenseil: #ONCERTO FOR !LTO 4ROMBONE, 1st movt. (c.1755 - Austria), J. Albrechtsberger #ONCERTO FOR !LTO 4ROMBONE, 3rd movt. (1769 - Austria), C.H. Meyer: #ONCERTINO FOR "ASS 4ROMBONE (1820 - Germany) (UK Première), Josef Novakovsky: #ONCERTINO (1840 - Germany) (UK Première).

Brett presented us with a detailed exploration of the music and its composition as well as giving some insight into the historical context and the players concerned. The detail is worthy of a much fuller review, but some salient points have a contemporary ring about them. Firstly, it is true to say the use of the trombone and hence composition of music for it depended very much on the availability of good players. It is no accident that Austria was a source of trombone music on the mid-18th century, because Vienna had good players at a time when the instrument was being seriously neglected almost everywhere else in Europe.

Secondly, it was clear that trombone players in the past had to be flexible. Karl Queisser, for example, an influential German trombonist and member of the Leipzig Gewandhaus Orchestra (1821-1841) was also its principal viola player (!). The #ONCERTINO

by Meyer, written for Queisser and rediscovered by Brett, was particularly effective and will be a very interesting addition to the bass trombone repertoire. The added pleasure of the lecture of course was the fact that the pieces discussed were also played for us and Brett delivered them all with his characteristic polish and flawless technique, ably assisted again by Fenella. The airing of his brand-new Rath Sackbut in ,A (EIRONYMA was a special treat for those younger BTS members who had not met one before.

Jiggs Whigham is, of course, no stranger to BTS events, but as ever it was a pleasure to welcome him to Salford and listen to him talk about his experiences and to pass on his thoughts about playing this “very difficult instrument” - “deepest condolences for playing it,” was his opening line! The pleasure for all players, young and not so young, when presented with players of Jiggs’ experience, is that there is always something to be learned. Jiggs himself valued the readiness to listen and learn in his own career and although we might consider ourselves “never good enough,” we can still keep trying. In particular, Jiggs considered the art of ballad playing and during his session he worked with two student players, Ross Johnson and Becky Maglone. Ross perhaps had not bargained for a shoulder massage - but even his rich sound did improve!

The following points came out of Jiggs’ relaxed and very informative session: 1. Remember we are musicians who happen to play the trombone i.e. we serve the music, and music is central to what we do.

2. In approaching a piece of music, particularly jazz, there a five points to bear in mind, in order - rhythm, melody, harmony, sound quality, dynamics (on the latter he made a special plea for being ready to use extremes).

3. Technique is important but not everything. In Jazz something simple can be just as effective as something complex or over-stylised.

4. Air is fundamental to what comes out of the trombone: “No air, no sound, no music, no money.”

5. For smooth playing, use deep abdominal breathing to support the sound in all dynamics.

6. Develop your own style by listening to others; emulate them and then develop your own.

7. On intonation, there is “no such thing as seven positions”.

You should be listening all the time and adjusting accordingly.

8. Relax in your playing: relaxed wrist, deep breathing, relaxed body, natural confident posture.

9. Don’t be afraid when playing: in ballads you are often “telling a story” - do so.

10. Be ready to explore alternative positions (e.g 4th/5th) to aid smoothness; it is usually easier to play smoothly going from a low position to a higher one e.g. 4th to 2nd.

11. If you set your closed 1st position sharp, then you can play your ACTUAL 1st position slightly down the slide and thus allow vibrato in ‘first’ position.

12. On his pBone slide, he just uses water - still sounded great!

All in all, Jiggs presented us with an enjoyable reminder of just how much an exquisitely vocal and silky smooth instrument the trombone can be - something for us all to aspire to.

The main part of the day finished with another full blow for all, at which a newly-acquired pBone was tried by one member (another was seen to buy three - so someone was having a good day!). Thanks were offered to sponsors and all who had made it possible, with special mentions for Kerry Baldwin North West BTS Representative, Duncan Winfield from the University, and especially to accompanist Fenella Haworth-Head, who played in just about every session and certainly played more notes than anyone else!

Later in the evening, Jiggs demonstrated some of his characteristic style and smoothness when he joined the exciting Steel City Trombones for a session in the Old Pint Pot. “The cream on top” of a wonderful day as one BTS member rightly put it. (The gig has since appeared on YouTube - worth checking out!)

THE TROMBONIST | SUMMER 2012 | PAGE 13

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EUROPEAN CHAMPION BAND 2012

PRESENTS

125TH ANNIVERSARY GALA CONCERT FEATURING

BLACK DYKE BAND THE AUSTRALIAN MULTI-INSTRUMENTALIST

JAMES MORRISON AND

STAR OF BBC RADIO 3’S THE VERB - IAN McMILLAN

SUNDAY 1 JULY ) SYMPHONY HALL, BIRMINGHAM T ! ( ( ( ON SALE NOW FROM SYMPHONY HALL BOX OFFICE

! $$$ ! "

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COVER SLIDES STORY

"RITISH 4ROMBONE 3OCIETY $AY (UDDERSüELD BY *AMES (OWARD

4HE 5NIVERSITY OF (UDDERSüELD HAS ALWAYS HAD AN EXEMPLARY REPUTATION FOR BRASS STUDIES WHICH MADE IT THE IDEAL VENUE FOR *ANUARYlS "RITISH 4ROMBONE 3OCIETY $AY 4HE PARTICIPANTS WERE WELCOMED IN THE ATRIUM OF THE -USIC "UILDING BY THE SOUNDS OF THE 5NIVERSITYlS 4ROMBONE %NSEMBLE WHO HAD BRAVED THE EARLY MORNING WEATHER TO GIVE RENDITIONS OF TRADITIONAL TROMBONE ENSEMBLE REPERTOIRE SPICED UP WITH POPULAR MODERN TUNES SUCH AS +ATY 0ERRYlS &IREWORK AND ) #ANlT 3MILE 7ITHOUT 9OU WHICH HELPED TO PUT A SMILE ON MANY PEOPLElS FACES "RETT "AKER THEN LED THE MORNING WARM UP WITH THE MASSED TROMBONE CHOIR WHICH FEATURED THE üRST PIECE EVER WRITTEN SPECIüCALLY FOR TROMBONES AND AN ARRANGEMENT OF (OLSTlS 4HIRD 3UITE 4HE DAY THEN TOOK AN EDUCATIONAL TURN WITH A LECTURE RECITAL FROM "RETT WHERE HE SHOWCASED THE SOLO TROMBONE REPERTOIRE SINCE INCLUDING SEVERAL PIECES THAT HAVE RARELY BEEN PERFORMED BEFORE IN PUBLIC "RETT HIGHLIGHTED THE DIFüCULTIES OF EARLY TROMBONE REPERTOIRE AND THE TECHNICAL CHALLENGES IT PRESENTS TO TROMBONISTS TODAY !FTER THE BREAK THERE WAS A UNIQUE üRST FOR THE "RITISH 4ROMBONE 3OCIETY A SOLO RECITAL FROM !DRIAN (IRST WHO AFTER MANY YEARS OF BEING FEATURED WITH THE "LACK

$YKE 4ROMBONE 1UARTET AT 3OCIETY EVENTS üNALLY STEPPED OUT ON HIS OWN AND GAVE US A FABULOUS RECITAL OF DIFFERENT AND CHALLENGING BASS TROMBONE MUSIC 1UARTET AND QUINTET PLAYING WAS IN ABUNDANCE THROUGHOUT THE DAY WITH APPEARANCES FROM THE "LACK $YKE 4ROMBONE 1UARTET THE "AND OF THE 9ORKSHIRE 2EGIMENT 1UINTET AND THE (UDDERSüELD 5NIVERSITY 4ROMBONE %NSEMBLE EACH MAKING FABULOUS CONTRIBUTIONS TO THE DAY WITH FANTASTICALLY VARIED PROGRAMMES RANGING FROM TRADITIONAL CLASSICAL REPERTOIRE SUCH AS 0AVANE FOR A $EAD 0RINCESS THROUGH TO JAZZ STANDARDS SUCH AS &LY -E TO -OON /NE OF THE HIGHLIGHTS OF THE DAY WAS THE MASTERCLASS WITH $AVUR *UUL -AGNUSSEN PRINCIPAL TROMBONE OF THE 2OYAL 3COTTISH .ATIONAL /RCHESTRA !UDIENCE MEMBERS WERE BLOWN BACK INTO THEIR SEATS BY HIS ENERGETIC RENDITION OF "ASTA (E GAVE SOME VERY INSIGHTFUL COMMENTS INTO THE TECHNIQUE AND INTERPRETATION OF THE PIECES PERFORMED BY THE STUDENTS AND MANAGED TO COAX OUT MUSICALITY FROM EVERY PERFORMER 4HE ACCLAIMED (UDDERSüELD 5NIVERSITY "RASS "AND KICKED OFF THE EVENING CONCERT WITH THE &ANFARE 3T &RANCIS UNDER THE MUSICAL DIRECTION OF 0HILIP -C#ANN 4HE 5NIVERSITYlS TROMBONE QUARTET THEN TOOK ANOTHER TURN TO SHINE WITH A ,ATIN *AZZ PROGRAMME INCLUDING 4ANGO FROM 0IECES

FOR 4ROMBONES AND 2OUND -IDNIGHT BY 4HELONIOUS -ONK 4HE BAND THEN ACCOMPANIED VARIOUS SOLO AND ENSEMBLE ITEMS $AVUR *UUL -AGNUSSEN GAVE A STUNNING RENDITION OF THE 'RONDAHL #ONCERTO FOLLOWED BY "RETT "AKERlS PERFORMANCE OF THE 0RYORlS &ANTASTIC 0OLKA 4HE "LACK $YKE 1UARTET THEN TOOK TO THE STAGE YET AGAIN ACCOMPANIED BY 3TEPHEN ,OMAS OF ,EYLAND AND $ANNY "ROOKS OF "RIGHOUSE IN A üERY RENDITION OF "LADES OF 4OLEDO (UDDERSüELD 5NIVERSITY "AND THEN ROUNDED OFF THE EVENING WITH THE üNALE TO THE 3ALVATION !RMY #LASSIC 'LORIüCO !ETERNUM 0ERFORMANCES FROM THROUGHOUT THE DAY AND OF THE EVENING CONCERT CAN BE FOUND www.youtube.com/watch?v=Sc6z8A0yJYE

2012 Bob Hughes bass trombone competition 4HE "RITISH 4ROMBONE 3OCIETY IS PLEASED TO ANNOUNCE A BRAND NEW COMPETITION FOR BASS TROMBONE PLAYERS UNDER THE AGE OF BORN ON OR AFTER /CTOBER 4HE üRST PRIZE IS A TOP OF THE RANGE BASS TROMBONE KINDLY DONATED BY #OURTOIS )NSTRUMENTS AND THE "OB (UGHES "ASS 4ROMBONE #OMPETITION PLAQUE WHICH REMAINS WITH THE WINNER UNTIL THE NEXT COMPETITION 4HE "43 THANKS ,YNDON #HAPMAN OF #OURTOIS "UFFET 'ROUP FOR MAKING THE GENEROUS GIFT OF THE INSTRUMENT 4HE COMPETITION WINNER WILL ALSO BE INVITED TO PERFORM AT A "43 EVENT OF HIS HER CHOICE DURING 4HE PRELIMINARY ROUND OF THE COMPETITION IS THROUGH THE SUBMISSION OF A #$ RECORDING OF TWO WORKS FOR BASS TROMBONE 4HE TOTAL PLAYING TIME SHOULD BE MINUTES "ASS 4ROMBONE 3ONATA BY 4IMOTHY "OWERS üRST MOVEMENT ONLY PUBLISHED BY 1UEENlS 4EMPLE 0UBLICATIONS -ALLARD $RIVE "UCKINGHAM "UCKINGHAMSHIRE -+ '* 4EL !VAILABLE FROM *UNE %MERSON 7IND -USIC !MPLEFORTH 9ORKSHIRE 9/ (& 4EL ! WORK OF THE PERFORMERlS CHOICE FOR BASS TROMBONE LASTING MINUTES EITHER FOR BASS TROMBONE WITH PIANO ACCOMPANIMENT OR UNACCOMPANIED BASS TROMBONE #OMPETITION 2ULES #ANDIDATES MUST BE UNDER THE AGE OF BORN ON OR BEFORE /CTOBER TO BE ELIGIBLE TO PARTICIPATE IN THE COMPETITION

#ANDIDATES MUST SUBMIT FOUR COPIES OF AN UNEDITED PERFORMANCE ON #$ NO LATER THAN 3EPTEMBER )N ORDER TO MAINTAIN IMPARTIALITY THE #$S MUST NOT INCLUDE THE NAME S OF THE PERFORMER S 4HREE üNALISTS WILL BE INVITED TO PLAY THE SAME PROGRAMME AT THE üNAL COMPETITION ON 3UNDAY /CTOBER AT THE 2OYAL !CADEMY OF -USIC IN ,ONDON ! PIANO ACCOMPANIST WILL BE AVAILABLE AT THE üNAL TO TAKE PLACE DURING THE "43 2!TROMBONE DAY 7ORKS OF THE PERFORMERlS CHOICE MUST BE SENT TO THE "43 3ECRETARY TWO WEEKS BEFORE THE üNAL 4HE COMPETITION JUDGES WILL BE EMINENT PROFESSIONAL BASS TROMBONISTS IN 5+ SYMPHONY ORCHESTRAS #ANDIDATES MUST REGISTER BY *ULY BY E MAILING THE "43 3ECRETARY SECRETARY BRITISHTROMBONESOCIETY ORG )NCLUDE NAME DATE OF BIRTH TITLE OF WORK OF PERFORMERlS CHOICE AND A VERY BRIEF BIOGRAPHY %NTRANCE FEE FOR "43 MEMBERS ã %NTRANCE FEE FOR NON MEMBERS ã 0LEASE MAKE CHEQUES PAYABLE TO "RITISH 4ROMBONE 3OCIETY AND SEND WITH #$ COPIES TO "43 3ECRETARY #HURCH 3TREET (UTTON 9ORKSHIRE 9/ 02 5NITED +INGDOM

THE TROMBONIST | SUMMER 2012 | PAGE 15

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STAR OF THE FUTURE

Adam Reed )NTERVIEWED BY 0ETER - #HESTER

!GE (OME "ROTTON .ORTH 9ORKSHIRE )NSTRUMENT 2ATH 2 BASS TROMBONE #URRENT PLAYING BASS TROMBONE WITH ✷ 2EG 6ARDY "AND STARTED $ECEMBER ✷ 9ORKSHIRE 9OUTH "RASS "AND ✷ .ATIONAL 9OUTH "RASS "AND ✷ "LACK $YKE 9OUTH 1UARTET 4EACHERS ✷ 'ARRY 2EED ✷ #RAWFORD (ALL ✷ 3IMON -INSHALL CURRENT &AVOURITE PIECES 3OLOS 2AINY $AY IN 2IO BY 'OFF 2ICHARDS 3PAIN BY $AVID &ETTER "RASS BAND 0AGANINI 6ARIATIONS BY 0HILIP 7ILBY 6IENNA .IGHTS BY 0HILIP 7ILBY 3HINE AS 4HE ,IGHT BY 0ETER 'RAHAM !MBITION m4O BE ABLE TO PLAY AT MY BEST WITH THE BEST n )F THERE WAS EVER A YOUNG TROMBONIST DESTINED TO PLAY THE INSTRUMENT IT COULD WELL BE !DAM 2EED FROM "ROTTON IN .ORTH 9ORKSHIRE !S !DAM HIMSELF SAID m)F YOU GO DOWN ANY ONE OF MY FAMILYlS ROOTS YOU WILL üND BRASS PLAYERS n 4HE ONCE FAMOUS .ORTH 3KELTON "AND WAS THE HUB WITH ONE GRANDFATHER BEING THE CONDUCTOR ANOTHER PLAYING CORNET AND NUMEROUS UNCLES AND AUNTS PLAYING EUPHONIUMS AND HORNS /F PARTICULAR SIGNIüCANCE FOR !DAM WAS THE FACT THAT HIS MOTHER ,ESLEY AND FATHER 'ARRY PLAYED AND MET IN LOCAL BANDS SO HE WAS BROUGHT UP IN A HOUSE WHERE MUSIC MAKING WAS A CENTRAL PASTIME AS IT STILL IS 4HE PROMINENT LOCAL BAND NOWADAYS IS ,OCKWOOD "RASS IN WHICH HIS MOTHER PLAYS AND !DAM kGUESTSl AND OF COURSE 'ARRY 2EED IS ND TROMBONE OF "LACK $YKE "AND !FTER DABBLING WITH THE CORNET WHILST STILL AT PRIMARY SCHOOL !DAM EVENTUALLY FOUND HIS REAL TALENT ON THE TROMBONE 0LAYING TENOR AT üRST HE WAS INITIALLY TAUGHT

BY HIS FATHER ALTHOUGH A PROMINENT LOCAL TEACHER #RAWFORD (ALL WAS VERY HELPFUL IN GETTING !DAM THROUGH EARLY EXAMINATIONS (E SWITCHED TO BASS TROMBONE FOUR YEARS AGO WHEN IT WAS SUGGESTED HE MIGHT LIKE TO LEARN BASS CLEF AN OLD (OLTON WAS FOUND FOR HIM AND HElS NEVER LOOKED BACK )T HAS BEEN HIS BANDING EXPERIENCES HOWEVER THAT HAVE DEVELOPED HIS PLAYING (AVING STARTED WITH ,OCKWOOD "RASS !DAM WAS A MEMBER OF &ISHBURN "AND IN $URHAM AND IN $ECEMBER HE WAS INVITED TO TAKE THE BASS TROMBONE CHAIR WITH THE 2EG 6ARDY "AND *OINING A BAND WITH THEIR

FORMIDABLE #HAMPIONSHIP 3ECTION RECORD IS GOING TO BE QUITE A CHALLENGE BUT ONE HE IS VERY MUCH LOOKING FORWARD TO !DAM REALLY ENJOYS PLAYING WITH YOUTH BANDS AND WAS A FOUNDER MEMBER OF THE 9ORKSHIRE 9OUTH "RASS "AND WHERE SINCE HE HAS PLAYED IN EVERY TROMBONE SEAT BEFORE SETTLING ON THE BASS 3INCE HE HAS ENJOYED FOUR COURSES WITH THE .ATIONAL 9OUTH "RASS "AND OF 'REAT "RITAIN EACH A mBRILLIANT EXPERIENCE n ESPECIALLY WORKING WITH SUCH VARIED TEACHERS AND CONDUCTORS AS #HRIS 3TEARN .ICK #HILDS AND "RAMWELL 4OVEY !PART FROM THE PLAYING HOWEVER !DAM POINTED OUT HOW MUCH HE ENJOYS THE FRIENDSHIP OF THE PEOPLE ON SUCH COURSES AND HOW WHENEVER HE GOES TO A CONTEST HE IS BOUND TO MEET SOMEONE WHO HE HAS GOT TO KNOW ON A COURSE (E HAS ALSO HAD THE PLEASURE OF PLAYING IN %UROPE WITH ,OCKWOOD "RASS AT THE &RENCH /PEN IN !MBOISE IN &RANCE (E HAS BEEN THERE THREE TIMES AND IT IS mALWAYS A GREAT TIME ESPECIALLY WHEN WE WIN n /NE PARTICULAR SET OF FRIENDS THAT HAS RECENTLY BECOME VERY IMPORTANT TO HIM ARE HIS FELLOW PLAYERS IN THE "LACK $YKE 9OUTH 1UARTET 4HEY MADE A VERY IMPRESSIVE DEBUT AT A "43 EVENT IN "EVERLEY IN /CTOBER AND WITH THEM !DAM FEELS HE HAS DISCOVERED A DIFFERENT STYLE OF MUSIC AND PLAYING WHICH IS AN ENJOYABLE AND SIMULATING CONTRAST TO THE MAINSTREAM BAND WORLD !S THE PLAYERS ARE SPREAD ACROSS %NGLAND FROM THE .ORTH %AST TO THE 7ELSH BORDERS GETTING THEM ALTOGETHER FOR PRACTICE IS mDIFüCULT TO ORGANISE BUT WORTH ITn AS THOSE WHO

HAVE HEARD THEM WILL AGREE 3OMEWHERE IN THIS BUSY LIFE !DAM üNDS TIME TO STUDY AT 0RIOR 0URSGLOVE #OLLEGE IN 'UISBOROUGH AND THE MODEST MUSIC SCENE THERE HAS GIVEN HIM SOME DIFFERENT EXPERIENCES (E PLAYS IN AN ORCHESTRA AND A JAZZ GROUP IN COLLEGE ALTHOUGH HE ADMITS IMPROVISATION AND JAZZ WORK IS SOMETHING HE HAS TO REALLY WORK ON BUT HE IS CERTAINLY READY TO EXPAND HIS MUSICAL HORIZONS ! NEW TEACHER HAS RECENTLY COME INTO !DAMlS LIFE 3IMON -INSHALL WHO HAS ALSO BEEN VERY HELPFUL SO !DAM SAYS IN PUSHING HIM INTO NEW MUSICAL EXPERIENCES 4HE "ORDOGNI "EL #ANTO 3TUDIES FOR "ASS 4ROMBONE FOR EXAMPLE ARE ONE OF HIS CURRENT PROJECTS AND !DAM IS LEARNING THESE TO ADD TO THE DIET OF LONG NOTES SCALES AND LIP ČEXIBILITY EXERCISES THAT FORM PART OF HIS DAILY PLAYING ROUTINE &INALLY A LOOK AT ANYONElS I0OD SELECTIONS THESE DAYS ALWAYS GIVES US AN INSIGHT INTO A PLAYER YOUNG OR NOT SO YOUNG 7ITH !DAM WHAT COMES ACROSS IS THE MUSICAL RANGE 9ES THERE ARE MUCH ADMIRED "LACK $YKE COMPILATIONS ESPECIALLY NUMBER AND 9EAR OF THE $RAGON AN OLD #$ BY "RITANNIA "UILDING 3OCIETY "AND BUT ALONGSIDE THESE ON THE kMUCH PLAYEDl SECTION WAS THE (YPNOTIC "RASS %NSEMBLE !# $# -ICHAEL "UBLÀ (OLSTlS 0LANETS THE 9OUNGBLOOD "RASS "AND AND ,ES -ISÀRABLES RECENTLY VERY MUCH ENJOYED IN ,ONDON "UT !DAMlS TOP CHOICE FOR HIS DESERT ISLAND WOULD HAVE TO BE 4UTTIlS 4ROMBONES 7ITH TASTE LIKE THAT !DAM IS WELL ON THE WAY TO AN EXCITING FUTURE WITH HIS TROMBONE

PAGE 16 | THE TROMBONIST | SUMMER 2012

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STUDIO

4HE -AKING OF ! "IT ON THE 3LIDE BY 3IMON *OHNSON

5NTIL ABOUT MONTHS AGO THE PROSPECT OF RECORDING A SOLO #$ WAS SOMETHING THAT HAD NOT REALLY CROSSED MY MIND WELL NOT SINCE )lD üRST HEARD #HRISTIAN ,INDBERG WHEN ) WAS AT SCHOOL AND COULD ONLY MARVEL THAT A TROMBONE PLAYER COULD RECORD A WHOLE ALBUM OF SOLO REPERTOIRE -Y INSPIRATION CAME FROM !NDY $UNCAN COMPOSER CONDUCTOR TUBA PLAYER IN THE (ALLÀ FOR MANY YEARS AND NOW $EVELOPMENT -ANAGER FOR THE 3COTTISH "RASS "AND !SSOCIATION 3""! WHILE WE WERE WORKING AT THE ""#33/ ONE DAY IN MID 4HE SEED HAD BEEN PLANTED AND WE STARTED TO FORMULATE A PLAN 4HE ADVENT OF MORE ADVANCED RECORDING METHODS HAVE OBVIOUSLY MADE THE PROCESS A LOT MORE STRAIGHTFORWARD ALTHOUGH THE MUSIC IS STILL JUST AS DIFüCULT TO PERFORM -ANY PLAYERS HAVE MADE RECORDINGS TO GREAT CRITICAL ACCLAIM SO TO EVEN THINK ABOUT BEING PUT IN THE SAME MARKET AS THESE WAS QUITE A DAUNTING PROSPECT !NDY AND ) SPOKE AT LENGTH ABOUT WHO WE SHOULD USE FOR THE RECORDING AND PLUMPED FOR +EITH &ARRINGTON AT -USIC (OUSE 0RODUCTIONS WITH WHOM WE HAD BOTH WORKED BEFORE ON DIFFERENT PROJECTS !MONG THE ARTISTS THAT ) GREW UP LISTENING TO ) HAVE TO MAKE PARTICULAR MENTION OF *OE !LESSI AND )AN "OUSüELD "OTH ARE HELD IN VERY HIGH ESTEEM WORLDWIDE FOR THEIR ORCHESTRAL AND SOLO WORK AND ) HAVE TAKEN INSPIRATION FROM THEM IN MY OWN PLAYING #HRISTIAN ,INDBERG IS ALSO VERY TALENTED AND IS PERHAPS LARGELY RESPONSIBLE FOR THE RESURGENCE OF THE TROMBONE AS A SOLO INSTRUMENT AND HE CONTINUES TO BE A HUGE INČUENCE IN MY MUSICAL LIFE BOTH IN PERFORMANCE AND TEACHING 4HERE ARE TOO MANY OTHERS TO MENTION THAT ) HAVE LISTENED TO AND MARVELLED AT THEIR VIRTUOSITY AND MUSICALITY 7HEN GROWING UP ) AM PROUD TO SAY ) WAS VERY MUCH INVOLVED IN THE BRASS BAND MOVEMENT PLAYING WITH "ESSES "OYS "AND ,EYLAND VERY BRIEČY AND &AIREY "AND -Y PARENTS BOTH VIOLINISTS HAD ALWAYS ENCOURAGED ME TO LISTEN TO A BROAD SPECTRUM OF MUSIC BUT ) REALLY ONLY TENDED GO FOR 4OMMY $ORSEY AND 'LENN -ILLER OUT OF CHOICE ALTHOUGH ) WOULD OCCASIONALLY LISTEN TO 3TRAVINSKYlS &IREBIRD AND 2ITE OF 3PRING QUITE HEAVY GOING PERHAPS BUT ) SEEMED TO HAVE AN OBSESSION WITH RHYTHM 4UTTIS 4ROMBONES WAS ALSO A FAVOURITE CASSETTE TAPE WHICH WAS WORN OUT AND REPAIRED SEVERAL TIMES BEFORE THE ADVENT OF #$S 3O ) RECKON THAT ALL OF THIS CONTRIBUTED TO MY THOUGHT PROCESSES WHEN CHOOSING SOME OF THE REPERTOIRE FOR MY RECORDING ALONG WITH LATER INČUENCES FROM MY TIME IN kTHE PROFESSIONl INCLUDING !NDY $UNCAN AND 0HIL .ELL 4HE HARSH WINTER WEATHER OF TOOK ITS TOLL AND THE RECORDING THAT HAD BEEN PLANNED FOR JUST BEFORE #HRISTMAS WAS DELAYED DUE TO CANCELLED REHEARSALS AND MOREOVER CANCELLED VENUES 4HE FOLLOWING %ASTER HOWEVER WE CONVENED IN 'LASGOW TO RECORD A DISC OF QUITE VARIED SOLO TROMBONE MUSIC ACCOMPANIED BY +INGDOM "RASS A #HAMPIONSHIP 3ECTION "AND BASED IN 3COTLAND 7ITH TWO NEW PIECES ONE BY !NDY $UNCAN AND ONE BY 0HIL .ELL AND LOTS OF OLDIES THE 23./ CENTRE WAS THE PERFECT VENUE )lVE ALWAYS BEEN A SUCKER FOR A BALLAD PROBABLY DOWN TO 4OMMY $ORSEY SO THREE OF THE TRACKS ARE ARRANGEMENTS OF STANDARDS BY "ILL 'ELDARD !UTUMN ,EAVES 3TARDUST AND ) ,OVES YOU 0ORGY ALL OF WHICH ARE BEAUTIFULLY SCORED AND WORK FANTASTICALLY SUITING THE MOOD OF EACH PERFECTLY %RIC #OOKlS "OLIVAR HAS LONG BEEN A FAVOURITE OF MINE AFTER üRST HEARING IT PLAYED BY )AN "OUSüELD AND IT IS A WONDERFUL OPENER OR ENCORE TO ANY PROGRAMME 0HIL .ELL HAD VERY KINDLY AGREED TO WRITE A PIECE FOR ME WHICH CULMINATED IN A MENTAL SEVEN MINUTE OBSTACLE COURSE CALLED #APRICCIO )T REALLY IS A WORKOUT FOR BOTH SOLOIST AND BAND AND IS A HUGE CONTRAST TO ANYTHING ELSE ON THE DISC WITH ITS ATONALITY AND DISSONANCE VERY LISTENABLE TO HAVING

SAID THAT AND VERY FUNKY !NDY $UNCAN AGREED ALSO TO REWORK THE SLOW MOVEMENT OF HIS "ARITONE #ONCERTO WHICH IS THE MOST GORGEOUS 2OMANCE )T HAS A BEAUTIFUL MELODY AND SOME NAUGHTY CORNERS WHICH PROVED QUITE TRICKY WITH ONLY ONE VALVE !NDY ALSO REQUESTED "LUE "ELLS OF 3COTLAND WHICH IS A FAVOURITE OF HIS AND WE DECIDED TO BALANCE IT UP A LITTLE WITH THE MUCH MORE SIMPLE 4HOUGHTS OF ,OVE !RTHUR 0RYOR NUMBERS ARE NOTORIOUS FOR THEIR COMPLEXITY AND THEY PROVED DIFüCULT IN MORE WAYS THAN )lD IMAGINE GETTING THE MUSIC FOR STARTERS MY THANKS TO "RETT "AKER FOR HIS HELP 0ROBABLY MY -UMlS FAVOURITE PIECE SHE HEARD ME PLAY AS A BOY WAS THE 'ORDON ,ANGFORD 2HAPSODY )T IS A VERY UNDER RATED PIECE IN MY OPINION AS IT HAS MUCH SUBSTANCE AND GREAT MUSICAL SHAPE AS WELL AS THE OBLIGATORY BIG TUNE ) PLAYED IT üRST WITH "ESSES "OYS IN A CONCERT WITH $ON ,USHER AROUND "OTH IT AND HE WILL REMAIN WITH ME FOR A LONG TIME -ANY PEOPLE HAVE A k$ONl STORY AND THIS IS MINE $ON WAS RUNNING A LITTLE LATE FOR OUR REHEARSAL BUT "ARRIE #HAPPELL WANTED THE BAND TO BE ON TIP TOP FORM SO WE STARTED REHEARSING 2HAPSODY WITH ME PLAYING THE SOLO !BOUT üVE MINUTES IN ) WAS AWARE OF BEING WATCHED VERY DISCRETELY FROM THE WINGS IT WAS $ON )NSTEAD OF MAKING A GRAND ENTRANCE HE LET ME üNISH THE PIECE AND ONLY THEN DID HE COME IN (E SAID THAT HElD NOT WANTED TO DISTURB ME BECAUSE HE WAS ENJOYING IT SO MUCH (E WAS A TRUE GENTLEMAN AND INSPIRATION AND ) MARVELED HOW SUCH A WONDERFUL MUSICIAN COULD BE SO HUMBLE EVEN TO A YEAR OLD BOY 'ORDON ,ANGFORD ALSO CONTRIBUTED WITH 4HE ,ARK IN THE #LEAR !IR A LOVELY ARRANGEMENT OF THE TRADITIONAL BALLAD AND LIKE "ILLlS THREE PIECES BEAUTIFULLY SCORED FOR ALL 4HIS LEFT ME WITH A NUMBER TO INCLUDE THE +INGDOM "RASS "AND TROMBONE SECTION AND 4ROMBOLA BY &RANK "RYCE IT HAD TO BE )T WAS THE üRST PIECE ) CAN REMEMBER HEARING "ESSESl SECTION PLAY AND ) LOVED IT FROM THE OPENING BARS TOTAL CHEESE BRILLIANT 3O THAT WAS THAT AND WE SPENT THE NEXT SIX MONTHS TO ING AND FRO ING WITH ART WORK PICTURES AND EDITS UNTIL WE WERE üNALLY HAPPY WITH WHAT WE HAD ! "IT ON THE 3LIDE 4HE #$ IS AVAILABLE THROUGH +EITH &ARRINGTON AT -USIC (OUSE 0RODUCTIONS AT WWW MUSICHOUSEPRODUCTIONS CO UK AND MYSELF AT SIMON JOHNSON GW BTINTERNET COM

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COVER STORY

"RITISH " RITISH "ANDSMAN %DITOR +ENNETH #ROOKSTON MEETS AN OUTSTANDING GROUP OF MUSICIANS WHO HAVE BEEN AT THE CUTTING Brass bands have changed a lot in the past few decades. Gone are the days when a promising young player would be picked up by one of the big colliery or works bands like Fairey, Foden’s, Munn and Felton’s, Black Dyke Mills or Grimethorpe Colliery, lured by the promise of a job for life. Very often, these actually involved turning up with one’s instrument in hand, clocking on, then spending the rest of the shift practising for the next big contest or the summer season around the city parks and seaside resorts. It was therefore hardly surprising that it was common for players to spend their entire playing (and working) careers with a single outfit, the greatest example being Fred Mortimer’s famous Foden’s Motor Works Band of the 1930s - the only ever double-hat-trick winner at the National Championships - which is reported as having changed only one player during these momentous years.

Nowadays the brass band landscape is very different. The pits, mills and heavy industry, some of which supported their bands and communities for over a century, have all but closed, and even the biggest names are getting used to the hard reality of 21st century business, which finds little benefit in supporting a pastime that the general public rarely sees at its full potential and that many would consider more at home in an industrial museum. As a consequence, lifetime loyalty to a single band is very uncommon indeed.

How rare it is, then, to see a trombone section in one of the finest bands of them all, which has been together for the best part of a decade and that also manages to augment its already busy schedule with some of the finest outreach work being done in connection with brass bands in England. This is the case with the Black Dyke Trombone Quartet, the members of which I caught up with after a recent concert, one of around 50 engagements that Black Dyke Band gives annually.

Well known to all readers of 4HE 4ROMBONIST is Brett Baker, the band’s principal trombone since 2000, who began his career in the Forest of Dean where he played with Bream and Lydbrook bands before moving to Flowers Band in Gloucester and then

Williams Fairey in Stockport. He was also principal trombone of the National Youth Brass Band of Great Britain and a brass finalist in the BBC Young Musician of the Year competition, and now enjoys a busy career as a trombone soloist and educator.

A fifth generation Salvationist and a fourth generation trombonist, Paul Woodward’s early playing experiences were, of course, in The Salvation Army.

He first came to Black Dyke’s attention in 1996, during James Watson’s tenure as Musical Director, but due to the impending birth of his first child, Paul had to decline the offer of the principal seat at that time. Seven years later, he took on the position of 2nd trombone, but increasing pressure of work in the banking industry meant that he had to relinquish that seat soon after. It was during a trip to Bermuda in 2004 that the band’s current Music Director, Nicholas Childs, suggested that a good compromise would be to support Brett in a new position of co-principal trombone, and that’s the way it has been ever since.

Garry Reed, the band’s 2nd trombone, started playing with North Skelton Band (later British Steel Teesside) in 1974.

Twenty-three years later, an accident that resulted in a split lip brought his trombone-playing career to an abrupt halt. Never one to be defeated, Gary went about the business of rebuilding his career, starting with the well-known ,ITTLE & AND ' -ARCH (although he admits that he did have a few different names for it at that time!), and two years later he was again fit enough to join the ranks the North east’s leading band, Reg Vardy (formerly Ever Ready).

Although his Brotton home is just over 100 miles from Black Dyke’s base in Queensbury in Yorkshire, Garry faithfully makes the journey to every rehearsal and engagement with his good friend and principal tubist, Joe Cook, at whose invitation he joined the band in 2004.

The elder statesman of the ‘Dyke Bones’ is Adrian Hirst, a chartered surveyor who recently celebrated 20 years with the band. Adrian started playing bass trombone at Frickley Junior Band in South Yorkshire, moving to Barrow Colliery Band where he met his wife, Karen. In

1998, both of them joined Yorkshire Imperial Band and Adrian moved on to Black Dyke in 1992, where he took over from Mark Frost, who was at that time embarking on a professional career.

So, a talented and long lasting quartet indeed, but what’s the secret of its longevity? “Having a wife who understands the demands of top-level brass banding is one aspect central to lasting in a high-profile and hard-working band like Black Dyke,” said Adrian, continuing, “We had a string of 2nd trombone players over a period of four or five years, who all had to leave for various different reasons, but luckily all of our circumstances are suited to the band’s schedule nowadays, plus we happen to get on well with each other. There’s no one-upmanship either. We always help each other as a team and if Brett goes on one of his tours, he usually comes back even more enthusiastic after a break from the band.” To this, Brett added, “I wouldn’t have been in the band for 12 years without the arrangement we have with Paul. He steps in as solo trombone when my other playing activities mean that I’m not going to be around, but not many brass band soloists have this luxury.”

Garry, a plumbing and heating engineer to trade, added with his tongue firmly in his cheek: “My wife is a brass player too, so that certainly helps me to balance band and family life, but working for myself is another advantage. I can organise my schedule around the band and the other guys like having someone on call when their heating needs repaired!”

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COVER STORY

TTING EDGE OF TROMBONE QUARTET PLAYING FOR THE PAST DECADE DECADE

Brett, Garry and Adrian are the regular ‘first team’ players at Black Dyke, so how does Paul Woodward feel about being left out for some of the major events? “It’s the most difficult thing ever!” he began. “I’m more than happy to be the ‘occasional’ member as it keeps me playing at a high standard, even although my work commitments would otherwise make that impossible. I generally go to listen to rehearsals during the preparation for major contests as the pieces in the pad will more than likely be featured in future concerts, so I have to know them all. When it comes to the major contests, though, I’m always there supporting the band and feeling like I’m playing every note from my seat in the audience!”

Due to the slightly different rules in play against continental opposition, Paul had a rare chance to feature in a winning Black Dyke performance when the band won the recent European Championships in Rotterdam, on which Brett commented: “It’s the first time we’ve played four trombones at a contest and it worked a treat. One of the main reasons we’re still together is that there is four of us, and events like the one in Holland help keep that chemistry, but none of it would work if Paul and I were over-competitive or didn’t trust each other.”

Few leading bands have the luxury of four trombonists on their books, so having a group that also performs separately as a quartet is a rare aspect of Black Dyke’s activities. So what do the guys get up to when they’re not playing for the full band? “We do a lot

of workshops for the BTS,” said Adrian, “But we’ve also done some work with Ashley Jackson, the famous Yorkshire artist, played at the unveiling of a train and performed at business seminars, so it’s fairly diverse. This has also included work with Salvation Army bands to raise funds to send young trombonists to their equivalent of the National Youth Brass Band.”

Among those to write and arrange for the group are Derek Bishop (bass trombone with Scottish Ballet) and Roger Harvey, while Ian Jones’ arrangements of well-known Salvation Army marches are always very popular when the Quartet plays at SA venues. The Quartet has also made a number of recordings, with its &LY -E TO THE -OON CD being released just before they acquired a set of Rath trombones in 2007. “We also put a few tracks on my solo CD, -ONUMENT, made with Black Dyke, while the recentlyreleased 3OLOIST 3HOWCASE features $EVILlS 'ALOP, which older listeners may remember as the theme for $ICK "ARTON 3PECIAL !GENT!” said Brett.

We’ve established that the Quartet is prominent amongst brass bands, but how do the ‘Dyke’ boys connect with the wider trombone community? “I think a lot of the jazzers see us as equals,” said Brett, “plus many of the orchestral players started their careers in brass bands, but our work at the BTS days helps considerably in building relations.”

Commenting on contrasting styles, Adrian added, “A lot of brass band bass trombonists change when they go to college, with the edge sometimes being taken off their sound. I think that playing in a brass band needs that, but you wouldn’t want to become overzealous. Neither Garry or I were products of colleges, in fact we were both taught initially by cornet players, so I’m sure that will be reflected in our style of play, but you also find that a lot of top orchestral players, like Dudley Bright with his thick, open sound, still keep aspects of brass band styles throughout their playing careers.”

For the past five years, Black Dyke has had a partnership with Michael Rath Trombones, so what do the players think of their equipment? “They’re

very free blowing and the parts are interchangeable, so the instrument I have is individually tailored to my sound,” said Garry, with Adrian adding, “We tried a few bits and pieces before we settled on what we have now, as Mick had just moved factories and we were limited to what we could try, but they must be working well as we’ve noticed that a lot more brass band players are using them since we got this set.” Brett continued: “As well as making great instruments, Mick Rath is very straightforward and easy to get on with, so we always feel that we have their immediate support should any work need done on them.”

Being amongst the busiest musicians in the UK, I wondered what the lads had lined up next. “We have a very full diary,” said Garry, “but we have no immediate plans to do anything different from our current work. With the band’s schedule we can’t fit in too much as a quartet, but it would be nice to do an ITA gig!”

They have won every brass band honour open to them, some a number of times, so you might think it would be easy for them to become conceited. However, there’s none of that at all, as Adrian summed up: “People from other top bands notice a difference when they come to play for Black Dyke. The band is extremely well run and highly disciplined, so there are never any empty chairs at rehearsals. If for any reason someone can’t make it then one of our ‘family’ of deps, often former players who are happy to help out when they can, will be in there taking their place.” Paul added, “The one thing you can never forget is what a privilege it is to play for a band like Black Dyke. Youngsters watch even the way you put your mute in, and often ask for autograph and photos. It’s the same with the quartet, so it is great to be able to give something back in our workshops.”

As our conversation drew to a close in the concert hall bar, yet another group of aspiring young musicians approached our table hopeful of a picture, an autograph and a handshake. As ever, none went home disappointed, but with these guys you wouldn’t have expected it any other way!

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TIPS FROM THE TOP

Roger Cutts (ERE ARE SOME OF MY SUGGESTIONS FOR PRE MUSIC COLLEGE STUDENTS WHO ARE INTERESTED IN DEVELOPING THEIR OPERATIC REPERTOIRE 4HE RANGE OF OPERAS ) HAVE PERFORMED DATE FROM 'LUCK TO AN OPERA WRITTEN FOR 7ELSH .ATIONAL /PERA 7./ BY *AMES -AC-ILLAN IN 4HIS COVERS A PRETTY WIDE SPECTRUM OF STYLES AND ALMOST CERTAINLY DOES NOT GO AS FAR BACK IN TIME AS POSSIBLE !N UNDERSTANDING OF WHAT TYPES OF INSTRUMENT WERE USED AT CERTAIN TIMES BY CERTAIN COMPOSERS WOULD BE BENEüCIAL TO APPRECIATE THE SOUND REQUIRED THE TECHNIQUE DEMANDED AND ALSO AN IDEA OF VOLUME NECESSARY &OR EXAMPLE IN /TELLO 6ERDI VALVE TROMBONES WERE MOST LIKELY TO HAVE BEEN THE WEAPON OF CHOICE AND AS SUCH SOME OF THE FAST GRACE NOTES WHEN PLAYED ON SLIDE TROMBONES ARE INTENDED TO MIMIC THE CORNET TRUMPET PARTS RATHER THAN DEVELOP SOME MODERN TECHNIQUE TO SOLVE THE WRITING -Y SUGGESTION FOR A küRST OPERAl TO LISTEN TO AS AN ASPIRING TROMBONIST WOULD BE 4OSCA BY 0UCCINI 4HIS PIECE COMBINES MOST ASPECTS OF THE OPERA WORLD LOVE JEALOUSY TORTURE MURDER EXECUTION SUICIDE ETC AS WELL AS SOME POWERFUL BRASS WRITING BOTH QUIET AND LOUD )N FACT THE üRST NOTE OF THE OPERA A UNISON

LOW "B WAS REQUESTED TO BE PLAYED mAS LOUD AS YOU POSSIBLY CAN IN ORDER TO GET THE AUDIENCElS ATTENTIONn DURING ONE RUN WE PERFORMED )T ALWAYS WORKED !S WITH MANY MUSICAL WORKS BUT PARTICULARLY OPERA IT IS VERY IMPORTANT TO KNOW WHAT IS HAPPENING IN THE STORY WHEN YOU PLAY TO GET THE CHARACTER OF YOUR MUSIC RIGHT AND TO BALANCE WITH THE SINGERS AT ALL TIMES )N "ILLY "UDD "RITTEN WE PLAY THE MOTIF WITH #LAGGERT AN EVIL CHARACTER WHICH REQUIRES THE QUIET PASSAGES TO BE PLAYED WITH A SINISTER QUALITY RATHER THAN JUST AT THE WRITTEN DYNAMIC LEVEL )N $ON 'IOVANNI -OZART WE PLAY AT THE VERY END OF THE OPERA WITH THE MURDERED #OMMENDATORE AND CREATE AN ENTIRELY NEW SOUND FOR THE LISTENER MEANING THAT WE TAKE THE P DYNAMICS AND GENERALLY DOUBLE THEM IN ORDER TO CROWN THE ORCHESTRAL SOUND )T IS ALWAYS VALUABLE TO SEE A PERFORMANCE LIVE TO UNDERSTAND THE POWER AN OPERA CAN PROVIDE AND START WITH AN OPEN MIND FOR WHAT YOU MAY HEAR #HOOSE CAREFULLY AS SOME PIECES MAY BE VERY LONG OR THE STORY MAY NOT APPEAL 4HE -AGIC &LUTE -OZART OR 4HE "ARBER OF 3EVILLE 2OSSINI MAY APPEAL FOR THEIR COMEDY VALUE 4HE OPERATIC REPERTOIRE IS A SUBSTANTIAL PART OF OUR RANGE AND SHOULD BE LEARNED AS THOROUGHLY AS THE MORE OBVIOUS SYMPHONIC REPERTOIRE -ANY YOUNG PLAYERSl üRST GIGS WILL BE A STAGE BAND FOR AN OPERA

Curiosity ‘SKILLED’ the cat!

BY -IKE $EASE !S A SELF TAUGHT SAXOPHONIST AND BELATED CONVERT TO THE TROMBONE AT AGE ONE CAN IMAGINE SOME OF THE PERFORMANCE ISSUES ) ENCOUNTERED DURING THAT TIME MUCH LESS THE BAD HABITS ) HAD DEVELOPED &ORTUNATELY MY FONDNESS FOR THE TROMBONE AND *AZZ MUSIC IGNITED A PASSIONATE CURIOSITY ABOUT THE GENRElS DIFFERENT STYLES AND ITS KEY PLAYERS !

QUICK )NTERNET AND LIBRARY SEARCH SOON HAD ME LISTENING TO *ACK 4EAGARDEN * * *OHNSON #URTIS &ULLER AND "ILL 7ATROUS AND MY HEAD WAS SPINNING WITH THE VASTLY DIFFERENT TONES TIME FEELS AND HARMONIC CHOICES )T WAS IMMEDIATELY CLEAR TO ME THAT ) SHOULD BECOME DEEPLY FAMILIAR WITH THE MUSIC OF THESE GREAT *AZZ TROMBONE MASTERS IF ) WERE TO CONSIDER A CAREER ON THE TROMBONE 4HE RECORDS ARE AVAILABLE FOR ALL OF US TO UTILISE )TlS AS IF THE MUSIC IS IN THE AIR WE JUST HAVE TO REACH FOR IT 4HERE ARE THREE EFFECTIVE WAYS TO INTERNALISE SING THEIR SOLOS WITH THE TRACK WRITE DOWN MEMORISE AND ANALYSE THROUGH TRANSCRIPTION YOUR FAVOURITE IMPROVISATIONS AND LISTEN LISTEN ,)34%. !S MY UNDERSTANDING GREW SO DID MY DEDICATION AND CURIOSITY AND ) DECIDED TO LEARN AS MUCH POSSIBLE $ETERMINED TO RECEIVE QUALITY INSTRUCTION ) REACHED OUT TO 7YCLIFFE 'ORDON AND $R *OHN $REW AND UPON MOVING TO .EW 9ORK *OE !LESSI 0ER "REVIG 3TEVE 4URRE 3LIDE (AMPTON 3TEVE $AVIS 2OBIN %UBANKS THE LIST GOES ON AND ON 4HESE TEACHERS HELPED ME TO BREAK BAD HABITS OPENED MY CREATIVE AWARENESS AND DEEPENED MY SENSITIVITY

TO THE RICH TRADITION OF MUSICAL HISTORY AS WELL AS ASPIRING TO THE FRONTIER OF SONIC DISCOVERY /NE OF MY EMPLOYERS .ATIONAL %NDOWMENT FOR THE !RTS .%! *AZZ -ASTER SAXOPHONIST AND COMPOSER *IMMY (EATH REMINDS US TO mKEEP ONE FOOT IN THE PAST AND ONE FOOT IN THE FUTURE n SO THAT YOU HONOUR YOUR ROOTS WHILE MOVING FORWARD 4O FURTHER EXPLAIN THE TITLE OF MY ARTICLE )lLL SAY THAT THE LEGENDARY MASTER MUSICIANS THAT ) KNOW HAVE NEVER EVER STOPPED SEARCHING AND LEARNING 4HEIR CURIOSITY INVIGORATES BOTH THE SPIRIT AND THE MIND WHICH IS WHY ARTISTS LIKE #LARK 4ERRY ,EE +ONITZ *AMES -OODY "ENNY 0OWELL WERE AND ARE TIMELESS 4HE UNDENIABLY GREATEST DOUBLE BASS PLAYER IN JAZZ MUSIC 2AY "ROWN TOOK LESSONS THROUGHOUT HIS CAREER TO STAY AT THE TOP OF HIS GAME ,AST YEAR #URTIS &ULLER INTRODUCED ME TO A TROMBONIST THAT HE JUST UNCOVERED THE FANTASTIC )KE 2ODGERS WHO HAD AN EARLY SWING ERA HIT WITH .ICKELlS 7ORTH OF ,IVER )TlS NOT JUST LESSONS EITHER ITlS THE CURIOSITY AND RESTLESS SEARCH FOR INSPIRATION AND KNOWLEDGE THAT MUST BE NURTURED AND CULTIVATED 7HEN THIS FORCE IS PRESENT WITHIN YOUR INNER BEING YOU WILL BE ABLE TO ACCOMPLISH ANYTHING YOU SO DESIRE 4O USE A SPECIüC EXAMPLE A WORKING KNOWLEDGE OF THE PIANO IS ESSENTIAL TO A THOROUGH UNDERSTANDING OF HARMONY AS IT RELATES TO 7ESTERN MUSIC BUT WHY STOP THERE 2HYTHM IS CERTAINLY AS IMPORTANT AND MORE IMPORTANT IN MY OPINION TO *AZZ MUSIC !N ENTRY LEVEL DRUM SET AND

PIANO IS MORE AFFORDABLE THAN MANY WIND INSTRUMENTS ) THINK ITlS A WONDERFUL IDEA FOR ASPIRING MUSICIANS TO BE WELL ROUNDED IN THEIR UNDERSTANDING OF RHYTHM SECTION INSTRUMENTS BASS DRUM SET AND PERCUSSION PIANO OR GUITAR ) BELIEVE THAT IT CAN ONLY HELP 4ODAY ) DEDICATE A SIGNIüCANT PORTION OF MY TIME TO *AZZ EDUCATION THROUGH MY PRIVATE STUDIO IN .9# CLINICS AND MASTER CLASSES AROUND THE WORLD AND THROUGH -ICHIGAN 3TATE 5NIVERSITY AND 1UEENS #OLLEGE #ITY 5NIVERSITY OF .EW 9ORK #5.9 7ITH THE ADVENT OF 3KYPE VIDEO CHAT )lM ABLE TO TEACH STUDENTS REGULARLY IN THEIR HOMES IN COUNTRIES AS FAR AWAY AS *APAN 3WEDEN AND !USTRALIA "EING INITIALLY SELF TAUGHT AND AN kEAR PLAYERl IT GIVES ME JOY TO HELP STUDENTS BREAK INTO THE WORLD OF *AZZ HARMONY TROMBONE TECHNIQUE ARTICULATION ČEXIBILITY AND ALL THE THINGS THAT ) LEARNED ON MY OWN AND THEN HAD TO RE LEARN CORRECTLY -ANY OF MY FORMER STUDENTS HAVE GONE ON TO ATTEND CONSERVATORIES SUCH AS 4HE *UILLIARD 3CHOOL AND THE -ANHATTAN 3CHOOL OF -USIC AND HAVE SUBSTITUTED FOR ME IN THE $IZZY 'ILLESPIE !LL 3TARS 2OY (ARGROVElS "IG "AND AND 7INARD (ARPERlS 3EXTET 4HE GROWTH ) HAVE WITNESSED IN MY STUDENTS IN .9# AS WELL AS THOSE AROUND THE WORLD IS ALMOST DIRECTLY PROPORTIONAL TO THEIR INTEREST EXCITEMENT AND YES CURIOSITY TO THE WIDE WORLD OF MUSIC AROUND THEM (ERElS TO A WONDERFUL AND EXCITING JOURNEY WWW MICHAELDEASE COM

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TROMBONE COVER STORY TALK

m!RE YOU TALKING TO me n BY $AVID 'IBSON

How can I be an excellent improviser?

As a university student, this query seemed clear. I obsessed over the technical components of rhythm/time, harmony/ colour and melody/vocabulary. I practised my instrument and worked at the piano.

I did transcriptions and analyses of recorded improvisations by the accepted masters of jazz. This work aided me in compiling an arsenal of tools with which I could communicate musically and gave me insights into the thoughts of these ‘masters’. As I’ve matured, my focus has become more textured, more mysterious and more personal.

Improvised music is a conversation.

This conversation is not only between the musicians on stage, but also with the audience. When working with my quartet, I remind the audience that we’re actually a quintet and they, the audience, are the fifth member. Their applause, cheers or silence are a vital part of the conversation since the musicians are playing off of their energy. And what is this conversation? It’s an exchange of thoughts or ideas. It’s sharing. It’s reacting and relating, in the moment, to the thoughts of others.

Politicians deliver speeches every day.

How often are we actually inspired?

Inspiration often occurs when a speaker has a clear vision and shares their thoughts with generosity rather than wielding those thoughts to convince or convert us. The latter approach is a more hostile form of communication that illuminates a subtle disdain for the listener. I don’t believe that most people attend live performances or purchase recordings to be scolded for either their ignorance or their views. Therefore, I have chosen to SHARE my musical thoughts with the audience and invite them to understand. How do I do this? I ask myself a revolving series of questions designed to keep me honest.

Do I believe what I’m playing? As children, we learn about the world from our parents. Eventually, we begin to develop our own vision of the world… or of music. If we’ve done the research and the critical thinking, then we can be sure of our conclusions. It’s risky to trust our version of reality, but it’s ours and we know it well. Taking the risk to be honest requires us to also risk rejection. That risk is worth it. We’ll repel some, but we’ll attract others. Everyone

won’t understand us, but many will. As we solidify our views and develop the confidence to express them, we’ll find OUR audience and OUR musical mates and enjoy the freedom to be ourselves.

In this kind of an environment, we can become even better.

Am I trying to impress someone? On any given night in New York City, an iconic musician may appear in the audience.

I’ve looked out to see Benny Powell, Slide Hampton, Dr. Lonnie Smith, Eddie Henderson, Bernard Purdie ET AL. The challenge in this situation is to divorce oneself from the accepted roles of teacher/pupil or mentor/protégé. If we play something to impress someone, it will likely clutter our presentation and will be obvious to the very folks we’re trying to impress. Sincerity is impressive.

Sharing our considered thoughts with passion is good enough. We don’t have to dress them up in agendas, artifice or gimmicks.

Am I afraid? Fear can inform all sorts of undesirable behavior. Music is something we pursue, whether musician or audience, to ENJOY. Fear can minimise that experience for both. Was I worried

about being late to the gig? That worry won’t help me get there any sooner and it’s likely to remain with me even after the gig begins. Do I doubt my chops?

The worry won’t help. Am I concerned that my music will be rejected by the bandleader, audience, club-owner or contractor? That worry will likely cause me to make ‘safe’ and uninspired decisions. Fear can, in some cases, be a beacon for some kind of change, but it’s rarely useful for more than a moment.

Deliberate action will affect the future positively. Your audience will follow your lead. If you’re scared, they’ll be scared for you. If you’re enjoying yourself, they’ll likely enjoy with you.

So, you’ve done your study, analysis and practice. You’ve stocked your arsenal with tools. Life will offer you the opportunity to employ them, but you must consciously observe and listen in order to continue learning and develop a deeper understanding of your environment.

Don’t forget to risk revealing your true thoughts…that’s what the people really want to hear. You’ll be doing everyone a favour, even if you fail. Be fearless. They’ll thank you for it. You’ll be showing them how they can do it, too.

THE TROMBONIST | SUMMER 2012 | PAGE 21

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PAGE 2 | THE TROMBONIST | SPRING 2012

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COMPOSER’S COVER STORY CORNER

Composer’s Corner BY 2ICHARD #ROSS

Hi! I’m Richard Cross, a freelance trombone player, having graduated from the RAM back in 1999. I also arrange and compose. We are fortunate in that trombones blend very well together, and the four octave range in which we live and breathe offers rich possibilities for a quartet - the bottom end provides a deep, fruity bass; the middle range is firmly entrenched in the tenor register, lending itself well to harmonies, whilst the top end is high enough to carry a singing melody. We’re also blessed with the versatility of our horn. With such an array of styles available (classical, jazz, pop, big band, brass band, early music….) we have the pick of the bunch at our fingertips (or should that be chops?)

Many have gone before me in writing for trombone quartet. I decided to see what sounds could be conjured from the medium, in terms of encapsulating beauty, style and musical satisfaction, whilst still making the parts playable by good to advanced players. I wanted to find what the limits were within these boundaries and so set out on a project to create a new library of arrangements.

The 19 arrangements currently available span 90 minutes and include show tunes, a couple of Bacharach numbers, jazz standards and our very own )lM 'ETTINl 3ENTIMENTAL /VER 9OU. Rather than provide straight transcriptions of what is undoubtedly fine original source material, I have put a creative framework around each piece to explore the themes in fresh ways, giving a new take on existing and well-loved music that sits naturally well on the trombone.

An arranger’s goal in this setting is to make the best use of the source material whilst developing it effectively for the instruments at hand. It’s a delicate

balancing act in adding your own slant to existing music, respecting it whilst casting it in a new light and keeping everything within the boundaries of good taste oh, and it’s got to be playable too! As a creative musician, whether composer or arranger, you can never really predict how people will react to your work. You have to trust in your instincts in writing both creatively and in a way which will serve others. I am very pleased to say that many musicians have taken the music under their wing and done great things with it. The beginning of this was when Bones Apart recorded -Y &UNNY 6ALENTINE on their first CD, .O -ORE "LUES, and went on to perform it live on BBC Radio 3. One day, Carol Jarvis called me to say that the broadcast would be on the radio in a couple of hours. I was in the Museum of London and decided to go home to record the broadcast. Outside the museum, I was so excited that I forgot where I had parked my car! Once home, it was a strange experience hearing one of my arrangements over the radio, in the same room where I had sat writing out the scores. The contrast between the well-spoken Radio 3 presenter’s voice and my surroundings could hardly have been greater - the flat I was in was in one of the less picturesque areas of our capital, and was very popular with the local cockroach community!

Bones Apart performed -Y &UNNY 6ALENTINE on tour in America in 2001 and several American players requested a copy of the music - from this, the publishing label, Turned On Music, was born. One player, Dave Wingard, landed a gig on the lawn at the White House and emailed me to say that -Y &UNNY 6ALENTINE was on the programme to be performed to the US Senate! Unfortunately, the politician who was sponsoring the event was then promptly voted out of Senate and the event never took place - so much for democracy!

Arrangements have been performed across the world, from the New Orleans Trombone Choir to students at conservatoires including the Royal Academy, Royal College, Guildhall and Trinity, as well as the University of Cambridge and American colleges and universities. Former International Trombone Society President, Don Lucas, has performed arrangements with The American Classic Trombone Quartet.

Professional performers working in orchestras, including The New York Philharmonic, have also added Turned On arrangements to their repertoire, as

have players in the British Army and Royal Marines bands. An arrangement has even been played in a night club in Japan!

Typically, a theme will have perhaps three hearings throughout the course of the arrangement, which grow in richness and intensity as the piece progresses.

Sometimes, classical elements are employed as dividing sections between hearings of the theme, such as glowing chorales or atmospheric held chords; later on, jazzier elements sometimes let rip. To keep the music within reach of all players, any jazz style solos are fully written out (although chord symbols are sometimes provided should there be scope for an improviser amongst your ranks!). The lead line is passed around between the players making the music easier and more interesting for all.

People have emailed saying that it would be great to have recordings of the music available, so I carefully multi-tracked all parts to each of the arrangements and a CD, ! 7ALK /N 4HE 7ILD 3LIDE was launched at The International Trombone Festival in Nashville in June 2011. It was a huge challenge playing all four parts myself and getting them to ring as an ensemble, but it was great fun too!

The CD and arrangements are available to order online at www.turnedonmusic.com You can also listen to excerpts of each track on the CD and read feedback from musicians across the world.

THE TROMBONIST | SUMMER 2012 | PAGE 23

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MASTERCLASS

Christian Lindbe Paul Hindmarsh reports on a memorable trombone masterclass from Christian Lindberg and a pioneering brass band concert at the Royal Northern College of Music (RNCM)

Those of us with long memories may recall the early days of the public masterclass a generation or more ago, when some of the world’s greatest musical artists were set before television cameras to pass on a spark of genius to those with ambitions to achieve similar elevated heights. These early masterclasses varied enormously in character and outcomes. I recall that one distinguished, retired soprano used her masterclass as an excuse for ritual humiliation and ego trip: something like, “No dear, not like that, like this”, and then proceeding to perform the piece with full reminiscence of the ‘glory days’.

This may have been great for viewing figures, but not the most beneficial experience for the student.

Some of the most inspiring of masterclasses from a generation ago were given by two highly esteemed cellists Paul Tortelier and Janos Starker. Tortelier was one of the world’s great enthusiasts, an extrovert character whose easy charm engaged audiences and players alike.

He was able to be both encouraging and critical to those privileged to learn from him, striking a balance of benefit between master, student and audience.

Starker was rather more intimidating, but he treated the masterclass format like any other lesson. The audience were just onlookers. Starker’s public masterclasses at the RNCM during the now defunct International Cello Festival were masterpieces of their kind. Students were put at ease, but given a forensic workout that resulted in an audible improvement within minutes.

Something of the same forensic ability to identify instantly a technical or musical problem, and make an immediate difference, was the strongest impression left after an inspiring masterclass given at the RNCM on 2 March 2012 by trombone legend, Christian Lindberg. Patrons of the annual RNCM Festival of Brass will be aware that the brass department offers a series of public masterclasses throughout the year. In January, the RNCM featured the trumpet. Rex Richardson began a

one-month RNCM ‘residency’ by putting a number of students through their paces in jazz styles, while the genius that is Håkan Hardenberger, currently the RNCM’s International Chair in Brass Studies, drew one of the largest ever RNCM non-concert crowds for the trumpet masterclass that followed his wonderful celebrity recital.

A masterclass with Christian Lindberg must be at the top of every young trombonist’s wish list. Just to hear him play is a lesson in itself. His one-off visit attracted a smaller, but no less enthusiastic audience, including the ‘wunderkind’ of the trombone, 16 year-old Peter Moore. The nine lucky RNCM students to receive the Lindberg treatment were chosen by audition from the whole trombone ‘class’ by Head of Brass Studies, Professor John Miller, who commented that he was looking for those students who had something special to offer and who would benefit from having their playing placed under the microscope. In addition, his selection was governed by the music the students had prepared, so that the audience would have a range of styles and moods to enjoy.

First up was Nathan Moore, who chose to play a movement from John Kenny’s Sonata for Solo Trombone. This was the first time that most of us, including Lindberg, had heard this piece, with its braying effects, intense and dramatic writing, and multiphonics. Faced with a new, but formidably technical piece, Lindberg homed in on a single aspect of Nathan’s production - breathing. We could hear an intake of breath on every phrase. Most brass players make these huge gasps for air. Listen to the way most test pieces start in a brass band contest!

Is it necessary? Lindberg thinks there are better alternatives, for both posture and breathing, by expanding the whole ribcage and thereby reducing pressure on the diaphragm and throat. He acquired this method through the practice of yoga. However, it is part of every singer’s technique to breathe in this economical

and silent way (as I learned when switching from trombone to voice studies in my early 20s) and hugely beneficial when transferred to brass, as Nathan went on to demonstrate.

Between students Christian turned to the audience, answering questions on a number of technical and artistic matters.

What an engaging touch this was. His rapport was instant. He put audience and students completely at ease - very impressive. Next up was a trombone quartet - Paul Exton-McGuiness, Elizabeth Bateman, Jonathan Brierley and Daniel Mitchell - performing Ray Premru’s Tissington Variations.

Once again, we were all on virgin territory here, and from the way the quartet began, it was pretty obvious that they were not over-familiar with it either, or with playing as a chamber music quartet. So we were treated to a compelling study in how to coach chamber music - listening, responding, taking ownership of the musical expression, knowing when to take a lead and when to support, maximising dynamic range and projecting character and style. In just 20 minutes, the approach was transformed. The music was making so much more sense to players and audience alike.

Christopher Jones (principal trombone of Leyland Band) and Stephen Jones (2nd trombone of Grimethorpe Colliery) chose to feature pieces from the Lindberg repertoire. Folke Rabe’s Basta is a Luciano Berio-inspired piece of musical theatre.

The stage was empty at the start. Then on rushed Christopher, playing as he ran. Once at the music stand, all kinds of weird noises emanated from the end of his bell - extraordinarily direct, what a fine technique in the making, but sounding random and disjointed.

Over the ensuing few minutes an amazing musical alchemy was revealed before our eyes and ears, as Lindberg first demonstrated and encouraged Christopher to relax, to define with greater clarity the many ‘characters’ in the musical drama and then draw them

PAGE 24 | THE TROMBONIST | SUMMER 2012

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MASTERCLASS COVER STORY

erg masterclass back together and tell a coherent ‘story’.

Out of the chaos emerged moments of wit, humour, energy and lyricism - amazing.

Stephen Jones played the first movement of Derek Bourgeois’ Trombone Concerto.

Christian knows this virtuosic entertainment from the inside. He focussed on making the most of Stephen’s fine tone and technique, introducing a lightness of touch to the lyrical moments and encouraging a more reined approach. He didn’t need to say very much in fact. Stephen was immediately responsive to the encouragement, revealing how valuable to confidence levels appreciation and admiration can be, especially when delivered by one of the greats. A highlight for many of us was Christian’s demonstration of the second subject of the concerto – such passion in the lyrical line, full of intensity and ‘vocality’, with a hint of subtle vibrato.

I’m not quite sure what Christian made of the following few moments. Matthew Denny wheeled out his brand new contrabass trombone and proceeded to play, with the excellent Jonathan Scott once again at the piano, US composer Anthony Plog’s Statements. In truth, it was a pretty dull piece of music, but Christian was nevertheless encouraging to Matthew to tease out the music from it. Once Matthew’s posture and breathing were seen to, some effective musical moments emerged. What a fast learner he was.

The last music of this totally absorbing evening was also the finest - Frank Martin’s Ballade. It was beautifully played by Beth Calderbank, but as Christian so astutely observed, she was rather reserved and introverted in her approach. Having admired Beth’s steely concentration and her musicality, he set about drawing out a genuine performance, using various images to aid Beth in her projection of the music.

Within a few moments, she was beginning to open out the phrases, and take a longer expressive view of this fine piece. This was the one occasion during a memorable evening when Christian couldn’t resist demonstrating at length. Beth responded so quickly, bringing a rich and rewarding evening to a memorable close.

THE TROMBONIST | SUMMER 2012 | PAGE 25

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2012 AUDITIONS /% 0*" +3 ( !")3 +# 0.& +*!+* -! 0*" *&1"-.&/3 +# 0!!"-.7"(! /% ",/") "- / "**&. *!-++) +-*2 (( /% /+ "- / 3 *!-++) -! +1") "- *&1"-.&/3 +# (#+-! /% +1") "- *&1"-.&/3 +# 0*!"-( *! please contact Philip Biggs, Administrator 2 The Coppice, Impington Cambridge CB24 9PP Tel: 01223 234090

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The Wessex Junior Tubas Not much larger than a euphonium, the Wessex ‘Junior’ Eb and Bb tubas are ideal to fill those bass seats in youth bands as well as light enough to use for standing gigs. Nice playing with good tuning and surprising broad tone for their small size.

Bb and Eb ‘Junior’ tubas £895 APRIL SALE £695!!!

Euphonium £795 lacquer, £895 silver Potential buyers are always welcome to visit us in Andover, Hampshire to try by appointment, or contact us to find when we are visiting your area.

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16-05-2012 13:33:48

INTONATIONS COVER STORY

The Rath of Robb BY +EVIN -ORGAN

When Donal Bannister left the Bournemouth Symphony Orchestra (BSO) several years ago, the commerce in interesting second-hand trombones in Dorset dwindled to almost nothing. As principal trombone of the BBC National Orchestra of Wales, he now has a lovely house in Cardiff, which he has extended to cope with his family and a collection of instruments to rival the Bate Collection at Oxford University. I can only mention this if you promise not to tell his wife, who thinks he has sold them all!

Seeing an opportunity for market growth, I began to hang around the musical instrument section of eBay to an extent that, quite frankly, became a little obsessive. Who would have thought there were so many duff trombones out there?

How successful I became at finding them!

Actually, after over two decades of playing the same few instruments, it was great fun turning up at work with the latest ‘best thing since sliced bread’.

Donal’s successor, Robb Tooley, seems to have a good knowledge of trombones.

Having recently moved down from the cut and thrust of the London freelance scene he obviously has a great depth of experience. Not only that but his trombone was made up of at least two others AND he has appeared on a TV quiz show - what a pedigree!

So, although I was not at the point that I would have presented a business plan to Lord Sugar, I did have a collection of trombones I was happy with. I was still using the tried and tested favourites at work but now played on a variety of makes and models in the various education ensembles, brass groups and big bands I performed with, which made life much more interesting. At this point Robb threw a very large spanner in the works. Having mentioned that he was thinking of buying a new trombone for use in the orchestra to replace the ‘meccano’ mongrel he was playing on, he suggested trying out the Rath trombones at Packers of Taunton. We popped in on the way to Bristol and Steve Herbert, the brass specialist, helpfully guided us through the process of comparing the various bells, slides, tuning slides, valves and lead pipes. As Robb was in more urgent need of a replacement instrument I left him to fiddle with his bits (so to speak!) and went to peruse the rest of the shiny and enticing trombone stock.

Steve made a note of our preferences for future use and off we went to work.

A few months passed and the memory of the Raths diminished slightly as I regularly surfed ‘The Bay’, as I understand it to be known by the Internet intelligentsia, for interesting bits of old brass. Robb was still keen to get a new hooter though and contacted Chris Beaumont at Rath, who brought a car full of trombone goodies for us to try at The Lighthouse in Poole, our regular venue. We tried out all possible combinations of material, leadpipe and configuration, one playing while the others listened. I advised Robb on the quality of sound of each variation and he advised me to stop splitting notes to at least give him a chance of making a judgement! After a few hours Robb had decided on his ideal setup and I was hungry and confused. A toasted sandwich made all the difference and I not only found a set up I liked but also decided to have a go on the alto that Chris temptingly removed from the case and tantalisingly assembled in front of me. I tend to find that altos are more variable beasts than tenors and have played on a B&S, Miraphon, Conn, Latszch, Yamaha, as well as a cheap Chinese copy. The Rath is lighter in sound than a Conn and the other Germanic type designs, but has the intonation of the top end Yamaha models. I played as many excerpts as I could remember, a few tunes and really enjoyed myself. Robb kept hold of his chosen selection of pipes, bells and whistles and we bade Chris farewell.

Robb spent a few weeks trying out the Rath R4F with the BSO, comparing two lead pipe variations, then took the plunge and bought it. He sounds great, so good in fact that it convinced me to try one in the orchestra too. After a week or so of trying that setup and also swapping sections with Robb I decided to change the slide and drove to Packers where Steve again was a great help.

I am now very happy with my R4, the craftsmanship, build quality and finish is superb and easily compares with any other manufacturer. Even other brass players have commented on the quality of production (Michael Rath’s, not mine!).

However, trying to explain the difference between it and my traditional 8H and 88H is not easy. I had used a late Elkhart 8H for many years, tactically avoiding having to learn to use a plug. Even my spare was a 1970s 8H. About ten years

ago, I decided I needed to start using an F attachment and Packers let me trial three 88Hs, all of which were good but inevitably very different to my Elkhart straight and I ended up playing the chosen 88H all the time, once I had got used to the extra resistance of the valve.

However, more recently I began to suffer from tennis elbow caused by overdoing the home DIY. I began using the 8H again which solved the problem and so my R4 is a straight tenor to replace that. The 8H feels like it has a huge dynamic range and a wide variety of colours whereas the 88H feels tighter and more focussed.

The R4 is more like the 88H in that it has a beautifully focussed sound and feels pure, clean and velvety at quieter dynamic levels - the production is very responsive. The difference between the R4 and 8H at higher dynamic levels is marked - the 8H feels like it has a ‘slot’ for the fortissimo range whereas the R4 moves more gradually through the dynamics. Although the 8H feels like it is projecting, it is losing some of the energy in the feedback it is providing the player, whereas the R4 appears to project more of that energy. Of course, these observations are possibly unique to me and may well change over time. Even quality instruments such as these have different strengths and weaknesses - as do most of us that play them - and it is the balancing of these that is the real challenge in finding an instrument. It is clear that I will need to play a straight to minimise injury and the R4 is a great successor to my well-worn 8H. I will be adding an R4 valve section to my shopping list for the odd occasion when it is absolutely necessary and so I can keep that side of my technique going.

I have really enjoyed this adventure in trombone experimentation and must thank Donal for unwittingly setting me on the journey, Robb for egging me on and the rest of the section, Kev Smith and Andy Cresci, for suffering the consequences without complaint. I can’t wait to tell them the Rath alto is arriving this month...

THE TROMBONIST | SUMMER 2012 | PAGE 27

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COVER STORY

PAGE 28 | THE TROMBONIST | SUMMER 2012

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TROMBONIST’S ISLAND COVER STORY

3TEPHEN #AIRNS ) üRST BECAME INVOLVED WITH THE TROMBONE WHEN ) WENT TO SECONDARY SCHOOL AND WAS FORTUNATE IN HAVING %RNEST 2UDDOCK CONDUCTOR OF THE !GNES 3TREET "AND AS A TUTOR ,ATER ) ATTENDED THE #ITY OF "ELFAST 3CHOOL OF -USIC AND WAS REALLY LUCKY TO HAVE HAD LESSONS FROM $ANNY ,ONGSTAFF WHO WAS THEN A MEMBER OF THE ""# .ORTHERN )RELAND /RCHESTRA $ANNY WAS ONE OF THE MAJOR INČUENCES ON MY PLAYING AND REMAINED MY TUTOR WHEN ) PROGRESSED TO STUDYING MUSIC AT 1UEENlS 5NIVERSITY 4HERE ) WAS AWARDED A (ARTY 3CHOLARSHIP WHICH ENABLED ME TO TRAVEL TO ,ONDON FOR OCCASIONAL LESSONS WITH THE LEGENDARY !LFRED &LASZYNSKI OF THE ""#3/ -ANY RECORDINGS AND PIECES OF MUSIC HAVE A LASTING INČUENCE ON OUR PLAYING AND ) AM DELIGHTED TO HAVE THE CHANCE TO REFER TO SOME ) HAVE FOUND INSPIRATIONAL OVER THE YEARS 4HE .ATIONAL "RASS "AND #HAMPIONSHIPS 4HIS RECORDING OF THE .ATIONALS OF ON VINYL OF COURSE HAS TO BE TOP OF MY LIST FOR $ON ,USHERlS SUPERB PREMIġRE PERFORMANCE OF 'ORDON ,ANGFORDlS 2HAPSODY FOR 4ROMBONE AND "RASS "AND !S A TEENAGER THIS RECORDING REALLY KNOCKED ME OUT SO MUCH SO THAT ) EVEN SUBJECTED MY OBOE PLAYING SCHOOL FRIEND TO LISTEN THROUGH THE COMPLETE TRACK SEVERAL TIMES ) WAS LATER LUCKY ENOUGH TO PERFORM THE PIECE WITH THE !GNES 3TREET "AND ON A COUPLE OF OCCASIONS AND WON THE .ORTHERN )RELAND SOLO CHAMPIONSHIPS TWICE WITH IT 3IBELIUS 3YMPHONY .O 4HE $ANISH .ATIONAL 2ADIO 3YMPHONY /RCHESTRA ,EIF 3EGERSTAM ) GUESS THERE CANlT BE A TROMBONE PLAYER ON THE PLANET WHO DOESNlT LOVE THIS WONDERFUL SYMPHONY WHICH IS THE CULMINATION OF THE GREAT &INISH COMPOSERlS SYMPHONIC OUTPUT ) NEVER FAIL TO BE MOVED BY THE POWER AND MAJESTY OF THE WRITING IN THIS WORK !GAIN ) WAS FORTUNATE TO HAVE THE OPPORTUNITY TO PERFORM THE INCREDIBLE TROMBONE PART IN MY üNAL YEAR AT UNIVERSITY AN UNFORGETTABLE PIECE BOTH TO REHEARSE AND PERFORM ,ONDON "RASS ) 'OT 2HYTHM 3ONGS FROM THE 3HOWS ) LOVE THIS RECORDING NOT ONLY FOR THE SUPERB PLAYING OF ,ONDON "RASS WITH FEATURED SOLOIST -ARK .IGHTINGALE BUT ALSO FOR THE HIGHLY SKILLED AND IMAGINATIVE ARRANGEMENTS OF POPULAR kSTANDARDSl &OR ME ANY OPPORTUNITY TO BE PART OF A QUINTET OR DECTET IS SOMETHING ) WOULD NEVER LET PASS BY SINCE THERE ARE SO MANY FANTASTIC ARRANGEMENTS FOR THESE COMBINATIONS WHY IS IT THAT SO MANY TROMBONISTS ARE SUCH GOOD ARRANGERS 2UTTER 'LORIA 4HE #AMBRIDGE 3INGERS 0HILIP *ONES "RASS %NSEMBLE *OHN 2UTTER /NE OF THE BIGGEST THRILLS FOR ME IS TO PLAY WORKS LIKE THIS FOR ORCHESTRAL BRASS AND VOICES 4HE PLAYING OF THE 0*"% ON THIS DISK IS ELECTRIC AND THIS IS A PERFORMANCE THAT ) CAN LISTEN TO OVER AND OVER AGAIN 4HERE IS THE ADDED BONUS OF SEVERAL OF 2UTTERlS OUTSTANDING ANTHEMS INCLUDED ON THIS RECORDING !GAIN IT HAS BEEN MY PRIVILEGE TO PARTICIPATE IN PERFORMANCES OF BOTH THIS WORK AND THE SAME COMPOSERlS 4E $EUM *OSEPH !LESSI 3ONG OF %XUBERANCE .O LIST OF RECORDINGS WOULD BE COMPLETE WITHOUT INCLUDING SOMETHING BY *OSEPH !LESSI AND HIS DISC WITH THE -ETRO "RASS NOT ONLY DEMONSTRATES THE .EW 9ORK 0HILHARMONIC /RCHESTRA PRINCIPAL TROMBONISTlS WONDERFUL SOUND AND IMMACULATE TECHNIQUE BUT IS INSPIRATIONAL IN THE CHOICE OF PROGRAMME 4HE

HIGHLIGHT FOR ME IS 2AY 3TEADMAN !LLENlS PROGRAMMATIC 4HE %TERNAL 1UEST !LTHOUGH ) LOVE LISTENING TO JAZZ ) RARELY GET ANY OPPORTUNITY TO PLAY IN THIS GENRE 4O üNISH ) MUST MENTION A COUPLE OF RECORDINGS THAT ) THINK ARE WORTH GETTING TO KNOW !NDY -ARTIN WITH THE -ETROPOLE /RCHESTRA ! BRILLIANT DISK THAT SHOWCASES !NDY -ARTINlS FANTASTIC SOUND AND JAZZ TALENT WITH EXCELLENT ORCHESTRATIONS CONTRASTING LUSH SOUNDS WITH SOME GREAT SWINGING CHARTS -ARIA 3CHNEIDER 3KY "LUE 4HIS MAY NOT SPECIüCALLY BE A kTROMBONEl DISC ALTHOUGH THERE ARE SOME OUTSTANDING SOUNDS FROM -ARIA 3CHNEIDERlS GREAT BAND 4HIS IS A RECORDING WHICH ) WOULD RETURN TO AGAIN AND AGAIN IF MAROONED ON A DESERT ISLAND FOR 3CHNEIDERlS IMAGINATIVE COMPOSITIONS WHICH ARE FULL OF UNEXPECTED HARMONIC TWISTS AND TURNS AND COLOURFUL ORCHESTRATIONS 4HIS IS A FAIRLY WIDE RANGING SELECTION OF RECORDINGS TO TAKE TO THE DESERT ISLAND BUT ) HAVE ALWAYS BEEN OPEN TO EXPERIENCING A VARIETY OF SOUND WORLDS AND ) HOPE THAT THIS SELECTION MAY STIMULATE SOME LISTENING INTEREST FOR OTHER PLAYERS OF OUR FAVOURITE INSTRUMENT

3TEPHEN #AIRNS IS THE .ORTHERN )RELAND "43 REP AND HAS BEEN A MEMBER OF THE SOCIETY SINCE (E IS (EAD OF -USIC AT "ELFAST (IGH 3CHOOL AND IS CONDUCTOR OF THE ST /LD "OYS "AND FROM "ELFAST (E IS PRINCIPAL TROMBONE OF &ESTIVAL "RASS AND THE "ELFAST 0OPS /RCHESTRA

THE TROMBONIST | SUMMER 2012 | PAGE 29

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PAGE 30 | THE TROMBONIST | SUMMER 2012

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WHERE COVER ARE THEY STORYNOW?

First of all, a huge hello to all my trombone colleagues and friends back in the UK. I frequently check the BTS website for updates on trombone life back home and can see it is still in a healthy situation, thanks to the sterling work from the BTS team.

Brett Baker kindly asked me to produce an article for the BTS last summer. Sadly, it has taken some time to get around to producing the article due to me being heavily involved with my work over here in Abu Dhabi. However, now things are slowing down I have finally had chance to put fingers to keyboard.

Back in 2008, the Hudsons made the daunting decision to ‘up sticks’ to the sunnier climbs of Abu Dhabi. My wife is a classroom music teacher and in early January 2008 she was offered the position of Head of Music in a new British Academy in Abu Dhabi. The company we now both work for is a big educational establishment in the Emirate and have a long term plan to construct over 20 British schools in Abu Dhabi over the next few years.

My role within the company was to establish an instrumental tuition scheme for the students within the academies and make instrumental tuition available to the full student base. I am extremely pleased to say that in just one of our academies we have around 450 students involved in the music scheme - and it’s growing daily!

Abu Dhabi is a very much a multicultural city with over 85 percent of the population being ex-pats. The emirate itself is growing at an incredible pace; constructions are going up all over the place - architects seem to be having a field day over here! #APITAL 'ATE !BU $HABI One of the things I have found difficult to get used to is the unbelievable heat. Before we left for the UK vacation last

summer, temperatures were reaching 52 degrees - Celsius! And the humidity is quite staggering; it can get up to 95 percent in the summer months. In mid-December the temperature can get as low as chilly 27 degrees.

Getting used to the weather has been a challenge, one that I don’t think we will ever completely overcome. However, thanks to air conditioning life is bearable (maybe that is one of the contributors to Abu Dhabi’s huge carbon footprint!)

9AS (OTEL !BU $HABI The music scene in Abu Dhabi is varied. One sometimes wonders why, with all the funding available here (thanks to the oil) a professional orchestra has not been introduced. However, there are a number of amateur orchestras and choirs in and around the Emirate that attract a good number of expat musicians.

Interest in western music is considerable. #OMPUTER IMAGE OF THE INSIDE OF THE 0ERFORMING !RTS #ENTRE !BU $HABI On the upside, Abu Dhabi has one of the most respected music festivals in the world. This annual event attracts some of the world’s finest performers. Since we have been here Emma and I have been lucky enough to hear the Vienna Philharmonic, the New York Philharmonic and London Symphony Orchestras, as well as Wynton Marsalis, Harry Connick Jr., Coldplay, Stevie Wonder, Yo Yo Ma, Paul McCartney and Britney Spears (my wife went to that one, not me - honest!) and we are looking forward to the schedule for 2012!

Life here is good. Our children are receiving a wonderful education, we have a lovely villa on Yas Island, our job satisfaction has greatly improved since we’ve been here and we wake up to sun every morning!

THE TROMBONIST | SUMMER 2012 | PAGE 31

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SLIDE RULE

-)#(!%, $%!3% '2!#% Michael Dease is regarded as one of the leading trombonists in the jazz world today. Listening to this disc shows just why, as every aspect of this release oozes quality, class and a great amount of care taken in all stages of production.

Dease is some talent! A Masters degree holder in Jazz Performance from Julliard and multiple winner of various trombone competitions, he has worked with many big names including Herbie Hancock, Wynton Marsalis and Slide Hampton. He has recorded for Paul Simon and Alicia Keys, won the ASCAP young composer award, is a producer, lectures at two universities and has his own record label. A fine pedigree for one still relatively young.

'RACE is the fourth album with Dease as leader and he has assembled a fine collection of musicians to work with. The rhythm section are all ‘A listers’ - pianist Cyrus Chestnut, bassist Rufus Reid and drummer Gene Jackson. An equally fine horn section add to the mix and interact with Dease in such a way that the listener just gets caught up in the whole experience, rather than feeling as though this is just another solo disc.

As a listener, the most important thing for this reviewer, above all else, is always sound quality. I was immediately struck by the warmth of tone on display, whatever the musical context. Whether it be in the slower more mellow music or in moments of dazzling dexterity the sound is always pleasing to the ear. The technical side of Dease is mightily impressive, indeed, at times awe-inspiring!

However, it is always used as a servant of the music, it is never technique for technique’s sake, it always means something and that previously mentioned great tone remains unaffected no matter how many notes are being played.

So what of the material? 'RACE has a carefully selected track list with only the title track being an original composition. All the others are well chosen covers, often presented from a different viewpoint. Miles Davis’ &OUR has been covered many times but it is presented here as a ballad displaying great musicality and versatility - the tender tenor sax solo we hear is also Dease. He studied saxophone until his senior year at high school when he made the sudden switch to trombone. This versatility is further shown in the disc’s closing track, Nascimento’s 3ALT 3ONG where we hear a brief switch to soprano sax.

From the opening track, Jobim’s gentle samba $ISCUSSAO where we hear both trombone and valve trombone from the leader, this is a very well paced disc, with Dease switching styles (and instruments!) with seemingly effortless ease - just listen to the conversations between Dease and Chestnut in Herbie Hancock’s 4OYS and his frightening accuracy in Oscar Peterson’s bop tune 4IPPINl! The production from John Lee is of the highest quality, creating a sound world that is very natural and draws the listener to Dease without it ever feeling as though solo lines have been ‘stuck on’. This is a disc that will stay in my playlist for a long time!

-ICHAEL &OWLES

$%..)3 2/,,).3 4(% %,%6%.4( '!4% It seems that there is no end to the versatility of Dennis Rollins, whether it be as performer or creative artist. Having conquered the jazz scene with his group, Badbone and Co, his debut album with the newly-formed Velocity Trio sees Rollins turn to the more intimate combination of trombone, organ and drums, the result of a conversation with Courtney Pine that focused on whether Rollins thought it possible to create a trombone led trio that could explore the stylistic range of his influences as both a performer and composer.

The answer was an unequivocal yes and as a consequence, it could be said that there is a musically autobiographic element to the finished album, with Rollins himself having written all of the tracks which see him flirt with funk, groove, dance, Latin and mainstream jazz in a manner which, to Rollins’ credit, communicates itself as entirely natural given the diversity of styles and genres that he employs along the way.

The album title, 4HE %LEVENTH 'ATE, derives from what Rollins describes as a ‘universal paradigm shift’, a focus on global awareness and the evolution of human spirit that homes in on one specific point in time, the date 11/11/11. No surprise then that there are eleven tracks on the album and that eleven also happens to be the sum of Rollins age of 47.

With multi-phonics/tracking often utilised by Rollins to impressive effect in his own trombone part, the soundworld is often reminiscent of the 1970s, lending the album something of a ‘retro’ feel as a result of the organ (brilliantly played by Ross Stanley).

It is directed with style and musical authority by Dennis Rollins and his magnificent sound, the immense tone of which ranges from delicious hot chocolate like warmth to admirable earthiness as the music dictates.

The longer tracks, which span the jagged Latin inspired syncopations of the opening 3AMBA 'ALACTICA, via the mellow, languid melodic lines of 4HE /THER 3IDE to the funky, toe tapping &REEDOM *AZZ $ANCE are punctuated by four brief solo interludes, the shortest barely more than 30 seconds long. These act as ‘gates‘ into the various musical universes that Rollins explores. It’s a clever and effective structure that gives the album a satisfying feeling of unity, culminating in 4HE %LEVENTH 'ATE itself; a multi-tracked trombone chorale over which Rollins sings a sultry, deliciously evocative melody. It’s simply stunning stuff.

Recorded at Steelworks Studios, Sheffield, the recording and production values are nothing short of exceptional. Even by his own high standards, the trademark Dennis Rollins sound has never sounded so good. #HRISTOPHER 4HOMAS

PAGE 32 | THE TROMBONIST | SUMMER 2012

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COVER SLIDE STORY RULE

$!6)$ ')"3/. -)#(!%, $%!3% !.$ *!-%3 "524/. ))) '/).' 3/-%7(%2% This album features three of New York’s finest trombonists - David Gibson, Michael Dease and James Burton III - and the nine tracks on the CD are all composed or arranged by these fine musicians. In fact, seven are original compositions especially made for this recording.

The disc opens with &RENCH 0RESS by David Gibson and features all three trombonists in great form each complementing one another in style, sound and perfect balance. Next up is the old Tommy Dorsey number in modern clothes, 'ETTING 3ENTIMENTAL /VER 9OU. Here, David Gibson takes the lead with some cool playing, reinventing and reshaping this classic standard, making the number very much his own, but never straying too far to rob the music of its original intention.

The title track, 'OING 3OMEWHERE is a James Burton original and finds the composer joined by Michael Dease in a superb demonstration of jazz trombone playing reminiscent of the ‘cool school’. Track 4 has the deceptive title of 4HE $ANCE. This was written by David Gibson and it’s certainly not reels or jigs, but starts off as a slow smoochy stroll round the dance floor for Gibson, progressing to moments of real passion, driving more notes out of him than any fast-paced foxtrot! The playing just gets better and better. These three guys could be identical triplets with the instinctive repartee between them - quite stunning!

Next, another fine David Gibson composition titled 4HE #OBBLER in which the lead is shared between Gibson and Dease and once again played superbly before the three soloists come together in .EW "LUES, as good a piece of blues playing you could hear. Once more the styles and sounds are so well matched and technically assured. For me, one of the highlights of the album is the Michael Dease work, !LL (ART where Dease displays some great control throughout the register with his fine solo lines. After an equally impressive +ILLEEN -ODE by Dease and Burton respectively we arrive at the final track in which all three trombonists combine once again for a great arrangement by Michael Dease of the old Ray Noble jazz standard, #HEROKEE Special credits must go to the fine backing featured throughout the recording, with a great rhythm combo providing some stunning accompaniment all round, from Rick Germanson on piano, Dwayne Burno on bass and Dion Parson on drums. This is an album for the true trombone jazz connoisseur, brilliantly produced by Dillon Music, well thought out and played to perfection. Just sit back, relax and let these three gentlemen take you into their world, you’ll be glad you did.

If you buy just one album of jazz trombone this year, then this has got to be the one! *OHN -AINES

3)-/. */(.3/. !##/-0!.)%$ "9 +).'$/"2!33 ! ")4 /. 4(% 3,)$% I first met Simon Johnson at the National Youth Brass Band of Great Britain and took over from him at Williams Fairey Band in 1992.

He was a player that I always admired and we have only really met on a few occasions since those happy days in the youth band. To get this solo CD was a real buzz and I was not disappointed by the choice of music or delivery on this disc.

Andy Duncan approached Simon about the idea of a solo disc in 2010 and, as Simon points out, “The seed had been sown”. One of the first commissions to come out of discussing what should be on the album was a new commission from Philip Nell. Philip is certainly a talented composer and his #APRICCIO is a formidable piece, though I am not sure it fits in with the overall mood of the rest of the CD. The album starts with a popular pot-boiler, "OLIVAR Little is known about the piece or the composer, but it has certainly seen resurgence in performance in recent years. Simon’s high register has always been strong and he demonstrates this to the full in this Latin American work. Next is the middle movement of Andy Duncan’s #ONCERTO FOR "ARITONE, the middle movement played on trombone works much better than I would have thought, though I still prefer this as a baritone solo. Simon comments that Andy Duncan needed to alter the piece slightly for trombone and the use of the trigger in the faster passages works very well.

4HOUGHTS OF ,OVE is next up and Simon returns to his brass band days at Fairey in this performance, which is a piece he was fond of at the time. Then three slow melodies appear on the disk in succession in the form of !UTUMN ,EAVES, 3TARDUST and ) LOVES YOU 0ORGY. Simon captures the mood in each of these solos playing with sensitivity and panache. I would have preferred to see the arrangements spread evenly throughout the disc, although I would stress they are excellent choices for a trombone album with brass band. For me, there is little better than an arrangement by Bill Geldard, as these pieces show.

Gordon Langford’s 2HAPSODY FOR 4ROMBONE comes next on the album and this fresh approach to the solo works well, the cadenza being particularly enjoyable and Simon’s impressive high register again being shown to the full. An interesting choice of repertoire then follows in the form of the same composer’s arrangement of ,ARK IN THE #LEAR !IR. This works really well for trombone and the arrangement is excellent, making one wonder why it has never been used before?

The penultimate track is the old favourite - "LUE "ELLS OF 3COTLAND. Although played often it is a popular solo by young trombonists and it fits well within the repertoire choice. Finally, in the form of an encore, the trombone section of Kingdom Brass are joined by Simon to play 4ROMBOLA by Frank Bryce.

Andy Duncan and Anne Crookston lead the band and shape the music skilfully and sensitively, never getting in the way, yet providing a firm foundation. Simon’s first solo disc has been long overdue and let’s hope we get to hear more of his superb playing in the form of more recordings in the future.

"RETT "AKER

THE TROMBONIST | SUMMER 2012 | PAGE 33

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DIGIBONE

Learning in the digital age

by Chris Beaumont For many of us, regular trombone lessons are something that we’re not able to continue with once we get past the point of leaving full-time education.

A general lack of resources such as time, money, energy and the regular availability of a suitable teacher mean that we have to be smarter and more creative about how we approach improving as trombonists and musicians.

As the world seems to become increasingly interconnected and technology becomes smaller, faster and cheaper, it can be easy to become a little overwhelmed with the sheer scale of it all.

The thought that you can send out a 140-character message which can be seen instantly by 140 million people on Twitter, for example, can be a little daunting to say the least. What this does give us though, is very easy access to video and audio resources, as well as the thoughts and ideas of some of the leading performers and teachers of our time, in a way that simply wasn’t possible even ten years ago.

To come back to the original premise, all of this material now gives us as trombonists so many opportunities to learn from people who have been generous enough to make this content available to anyone who wants to access it. Spend a little time browsing the websites of trombonists such as Jay Friedman, Ian Bousfield, Joe Alessi, Doug Yeo or Brett Baker for ideas that you can implement into your own practice sessions. There are so many resources like this that are available right now. If you’re looking for some new ideas for a daily maintenance routine, a quick search on Google comes up with 249,000 results. Now it’s

a given that not all of these are going to be useful, but how about something from Denson Paul Pollard, bass trombonist at the Metropolitan Opera in New York?

A student of mine who had been working on improving his upper register used an exercise that I’d found on Denis Wick’s Facebook page to make some quite dramatic changes in a relatively short space of time. YouTube, of course, is a gold mine for all kinds of video; why not take a front row seat at a masterclass with Charlie Vernon or Bill Watrous? And, of course, the vast majority of this is free. As Mr. Jim Rohn said, “it doesn’t get any easier than free.”

To take things a little further, technology also gives us opportunity to connect with people that geographically we wouldn’t be able to do. Skype and other similar services are becoming increasingly useful tools beyond the original intention of video conferencing. Now with a reasonably good set of speakers and a video camera you can have very effective lesson with someone wherever you or they happen to be.

How about a lesson with one of New York’s top jazz musicians?

Both David Gibson and Michael Dease have been teaching lessons through Skype for some time, as well as many others.

Brett Baker is one of a few people based in the UK who are doing this too.

These are just a few quick ideas to get you started. Of course, nothing can replace regular lessons with an excellent teacher, coupled with consistent practice. If you’re one of those people for whom this isn’t possible then there are other options. Spend a little time looking for new ideas and see what you can do, the world is your oyster!

PAGE 34 | THE TROMBONIST | SUMMER 2012

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COVER DIARY DATES STORY

Diary of Events 2012 Please refer to page 8 for more detailed information about BTS events, including times and costs.

Saturday 19 May: BTS Day in Lancashire 10.00 Registration 2nd Rossendale Scouts Band BTS Workshop and Concert Featuring Brett Baker and Jonathan Warburton.

Also Featuring the RNCM Trombone Choir conducted by Adrian Morris 2nd Rossendale Scout Group Band, Scout Headquarters, Burnley Road, Bacup, Lancs.

OL13 8AE Contact Brett Baker on President@britishtrombonesociety.org

Sunday 20 May: BTS at the Black Dyke Band Festival in Yorkshire 9.30 Registration Featuring the Black Dyke Band Trombone Quartet Leeds Town Hall The Headrow, Leeds, LS1 3AD Contact: Paul Woodward on northeast@ britishtrombonesociety.org

Monday 28 to Wednesday 30 May: Christian Lindberg at the RWCMD, Cardiff Royal Welsh College of Music and Drama Address as above Contact: Kevin Price Kevin.Price@rwcmd.ac.uk BTS members will have free access to the rehearsal on Monday morning

Wednesday 4 to Saturday 7 July: International Trombone Festival 2012 Paris, France 60 of the best trombone players from all over the world.

This should not be missed. Featuring all genres from all four corners!

Conservatoire a Rayonnement Regional (CRR) de Paris 14 rue de Madrid 75008 Paris, France Metro: Line 3 Station Europe Bus: Line 53 station Europe www.itf2012.org/

Sunday 22 July to Saturday 28 July: Ian Bousfield Masterclass Solothurn, Switzerland All those interested can register online at www. musikakademie-so.ch/welcome-page/ or can contact Ian Bousfield directly via his website for more information: www.ianbousfield.com

Saturday 26 and Sunday 27 May: BTS National Event in Wales

Sunday 9 September: BTS Day in Shropshire

Featuring special guests; Jacques Mauger, Simon Minshall, Davur Juul Magnussen, Jonathan Pippin, Dirk Amrein, Gordon Campbell, Brett Baker, trombone sections from the BBC National Orchestra of Wales and Welsh National Opera, plus the RWCMD trombone choir.

Royal Welsh College of Music and Drama, Castle Grounds, Cathays Park, Cardiff, CF10 3ER Contact: Colin Barrett colby@hotmail.co.uk Brett Baker president@britishtrombonesociety.org Kevin Price Kevin.Price@rwcmd.ac.uk

9.30am Registration Brett Baker and Black Dyke Band Quartet, Stephen Lomas (bass trombone, Leyland Band) and Porth-y-waen Silver Band.

Porth-y-Waen Silver Band Hall Porth-y-Waen Oswestry Shropshire SY10 8LSGW Contact: northwest@britishtrombonesociety.org

Sunday 7 October: East Anglia BTS Day and Annual General Meeting 9.30 Registration Artists TBA Oundle School, Oundle, Peterborough, PE8 4GH Contact: Ben Bouzan eastanglia@britishtrombonesociety.org

Sunday 28 October: Royal Academy of Music Trombone Day Marylebone Road, London, NW1 5HT Contact Bob Hughes: pastpresident@ britishtrombonesociety.org Featuring Dudley Bright, Black Dyke Trombone Quartet, Ian Bousfield and more.

Saturday 3 November: Isle of Man BTS Day Featuring the Black Dyke Trombone Quartet Details TBA Contact: secretary@britishtrombonesociety.org If you want an event to take place in your area then contact president@britishtrombonesociety.org

THE TROMBONIST | SUMMER 2012 | PAGE 35

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16-05-2012 13:32:36