The Trombonist - Summer 2015

#BTS30 summer 2015 £5.00

the

trombonist celebrating 30 years

The British Trombone Society is 30 years old this Summer!

Royal Liverpool Philharmonic Trombones the three mustketeers

National Youth Orchestra the inspire ensembles

the lion king

16 years in the orchestra pit

slidin’ about

pBone Ambassador Quartet

WIN

WIN a co py f ian bo usfielo new boo d’s k

contents Regulars 6

Presidents Column

New appointments and a chance to vote for the annual awards.

7

News, Event Reviews & Previews Portadown, Kirkbymoorside & London.

25

Jazz by Jeremy

Learn how to navigate changes and expand your jazz knowledge.

33

What’s On

Up and coming ‘not-to-be-missed’ events for your diary.

Resources 11 spotlight selection

The Royal Liverpool Philharmonic Trombones.

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30

Trombonist’s Handbook

Top tips in Cardiff from travelling trombonists.

32

G&T

Matt and Mark’s highlights for the next three months.

profiles 20

west end focus

The Lion King in its 16th year.

26

The Bass Bone Files Roger Argente profiles Michael Eversden.

34

FAST TALk

A minute with...

Simon Powell

features 16

Youth Music

The National Youth Orchestra.

23

Rising Star

This Summer issue’s Star of the Future

29

Multi-tracking

Christopher Bill’s secrets to success

31

reviews

Zoltan Kiss - New Mouthpiece Håkan Björkman’s - ’Selections’ Michael Eversden -‘Out of Bounds’

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Welcome to the Summer ISSUE OF THE BTS magazine

Editors: Carol Jarvis & Simon Minshall editor@britishtrombonesociety.org Sub-Editor: Peter Chester Publishing and Distribution: HMCA Reviews Editor: Ross Learmonth reviews@britishtrombonesociety.org

This Summer we celebrate 30 years of the BTS, hence the front cover collage - it’s amazing to see how far the BTS magazine has come. The winner of the Easter Egg Hunt competition, and Zoltan Kiss mouthpiece, was Frank Matley. Congratulations Frank - we’re pleased you’re enjoying your new mouthpiece! There were 14 eggs in total, so if you didn’t quite find enough… check again! We had a lot of very quick entries, so well done everyone.

Advertising: Wesley Tatton advertising@britishtrombonesociety.org Design: Sian Nowley sian@hmca.co.uk The Trombonist is published quarterly

Any views expressed in ‘The Trombonist’ are those

This issue you could win a signed copy of Ian Bousfield’s book, which is to be officially released at the International Trombone Festival next month.

Turn to page 13 to find out more.

of the individual contributors and do not necessarily

represent the views of the British Trombone Society.

Contributors in this issue:

If you have any comments about your BTS magazine, items you enjoy, things you’d like to see more of, or if you would like to write something for the magazine yourself, then please do drop us a line. We’d love to hear from you.

Roger Argente Christopher Bill Tony Boorer Martha Ann Brookes Stephen Cairns Peter Chester Simon Cowen Matt Denney Matt Gee

Here’s hoping you have a lovely Summer break.

With best wishes, Carol & Simon drop us a line: editor@britishtrombonesociety.org

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page 29

The Trombonist Magazine

Tony Howe Katy Jones Amos Miller Simon Minshall Simon Powell Jeremy Price Jane Salmon Hannah Stell Mark Templeton

page 17

page 14

page 26

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Summer 2015 the trombonist

president’s column By the time you read this, our 30th anniversary day at the Royal Academy of Music will have drawn to a close, as we look forward to our next national event at the University of Leeds on Sunday 4th October - with the legendary Jiggs Whigham now confirmed in attendance!

Other big names are in the pipeline…

Large gatherings like these need a lot of planning and I cannot overstate the outstanding contribution of our Southern rep, Matt Lewis, to ensuring the success of our day at the Academy. Thanks also to the rest of the BTS team, featured artists, sponsors (especially Parker’s Music Shop), competitors and attendees. During our AGM at Oundle school this November, my two-year tenure as President comes to an end and it is my privilege to formally announce that current Vice-President Liam Kirkman will take over.

Also at the AGM Geoff Wolmark leaves us after ten distinguished years as Secretary: Membership Manager Chris Sowerby has kindly agreed to take on many of Geoff’s responsibilities under the new post of BTS Administrator, while Alison Keep becomes the new Secretary. I will happily remain on the Committee during this changeover period. In other staff news, the indefatigable Carol Jarvis has stepped down from the Committee to concentrate on co-editing the magazine, while Stewart Drummond moves on after a decade of dedicated service to the BTS. Both will remain as trustees and we thank them for the unique contributions they have brought to our organisation. We are delighted to welcome to the Committee freelance trombonist Becca Pope from Warwick Music and will announce the other replacement in due course. Like Committee members, our Regional Reps are also volunteers and work pressures have led both Paul Woodward to resign as brass band rep and Simon Mansfield as our Yorkshire & North East rep: contact is being made with possible successors and will be announced soon. In the meantime I’d like to thank Paul and Simon for their vital role in being the ‘eyes and ears’ of the BTS in their areas.

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As always, it’s that time of year when we invite nominations for our annual awards: Student of the year; Teacher of the year; Player of the year and Outstanding contribution. From 2015 onwards, with the blessing of her son, we add to our honours the Sheila Tracy award for any female trombonist who has made a significant contribution in her field.

All suggestions to Geoff Wolmark (secretary@britishtrombonesociety.org) by email before the end of August, please: winners will be announced in the next issue and awarded at the AGM. Writing this immediately after a General Election, I am reminded of the power of collective action and would like to close with a gentle reminder that the BTS always needs input, however small, from its members: here are five easy and practical steps everyone can take right now: 1) Are you paying us the correct subscription, preferably by direct debit?

If in doubt, simply contact Chris Sowerby by phone or email (01924 437359, membership@britishtrombonesociety.org).

2) Do we have your up to date contact details? Email Chris, as above.

3) Log onto www.easyfundraising.org.uk to raise money for the BTS at no cost to you: it takes literally seconds and works seamlessly when you shop online with a host of companies (e.g. Virgin Trains, Travelodge, John Lewis, Amazon, Boots, eBay, M&S) 4) Submit a nomination for our annual awards by emailing our secretary.

5) Tell any non-members about us!

Wishing you all a great summer, With best wishes to all,

Christian

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

British Trombone Society www.britishtrombonesociety.org

The British Trombone Society is a Registered Charity. Reg No. 1158011 Honorary Patron: Gordon Campbell Board of Trustees President: Christian Jones president@britishtrombonesociety.org Vice-President: Liam Kirkman vicepresident@britishtrombonesociety.org Past-President: Carol Jarvis pastpresident@britishtrombonesociety.org Chair: Matt Gee chair@britishtrombonesociety.org Vice Chair: Alison Keep alisonkeep@britishtrombonesociety.org Secretary: Geoff Wolmark 01377 202209 1-3 Church Street, Hutton, Driffield, Yorks, YO25 9PR secretary@britishtrombonesociety.org Treasurer: Simon Minshall treasurer@britishtrombonesociety.org Development Officer: Stewart Drummond stewartdrummond@britishtrombonesociety.org staff Membership Manager & Bookkeeper Chris Sowerby 01924 437359 membership@britishtrombonesociety.org 1 Ullswater Road, Dewsbury, WF12 7PH Please submit news and events items for the website and magazine to: Ross Learmonth news@britishtrombonesociety.org Representatives Scotland: Chris Stearn 01360 860220 scotland@britishtrombonesociety.org Wales: Jo Hirst 07729 144690 wales@britishtrombonesociety.org North East & Yorkshire: Peter Chester & David Thornber northeast@britishtrombonesociety.org North West: Kerry Baldwin 07920 022395 northwest@britishtrombonesociety.org East Midlands: Paul Emmett 07974 137693 midlands@britishtrombonesociety.org West Midlands: Martha-Ann Brookes 07966 416198 westmidlands@britishtrombonesociety.org Northern Ireland: Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org South: Matt Lewis 07849 774777 south@britishtrombonesociety.org South West: Pete Smith southwest@britishtrombonesociety.org East Anglia: Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org Wessex: Robb Tooley wessex@britishtrombonesociety.org Brass Band: Vacant brassband@britishtrombonesociety.org Jazz: Jeremy Price jazz@britishtrombonesociety.org Young People: James Howard 07906 392992 youngrep@britishtrombonesociety.org

Event

ews revi s new

Reviews & News review portadown

and solo. We were both amazed by their talent which has inspired us to practise more!! We then formed a massed trombone choir with the other keen trombonists and played some exciting pieces together, our favourite being The Thunderbirds. It was great being able to play alongside other trombonists of a very high standard and we thoroughly enjoyed making music with the unusual ensemble of trombones only. We definitely benefited from the masterclass as a lot was learned and we were truly inspired.

Katie Bloomfield and Lucy Mills recently attended a Trombone Masterclass with Christian Jones and Blair Sinclair, hosted at SELB Music Centre at Bann House in Portadown.

Katie and Lucy had the opportunity to attend this workshop in conjunction with Mr. Will McClean – Brass Tutor with SELB Music and Mr. Stephen Magee – Brass Tutor with WELB Music, both of whom have taught the girls, as part of the Education Authority for Northern Ireland.

Review Ian Bousfield Youth Trombone Workshop – Kirkbymoorside

By Stephen Cairns

Lucy, aged 16, has already achieved Trombone Grade 8 with Distinction and has a wealth of experience as a soloist, ensemble player and as a member of a brass band. Katie, aged 15 is currently working on Grade 8 Trombone and has a wealth of experience through banding and ensemble playing. Katie is also a member of the WELB Senior Youth Orchestra as a violinist.

When asked to comment on the masterclass the girls provided the following information: On arrival we were warmly welcomed

by Christian Jones and Blair Sinclair.

The masterclass began with some warm-up exercises which involved using only the mouthpiece, which we found challenging. We then got the fantastic opportunity to listen to the two professional trombonists playing a duet

By Hannah Stell

On Sunday 8th February 2015, Ian Bousfield held a workshop day and masterclass, expertly organised

by June Emerson Wind Music in Kirkbymoorside, the childhood home of Ian himself. Hannah Stell was in attendance and had this to say: “The workshop, attended by 17 trombonists under the age of 18 and tackled the questions on breathing, technique and other frequently asked questions by trombonists of all ages.

The day consisted of a variety of activities all led by Ian - international trombone megastar who has been at the top of the profession for over a quarter of a century. His career has included playing in two of the acknowledged top-four orchestras in the world,

including most recently, the Vienna Philharmonic Orchestra.

After registration Ian gave a short talk about practice and trombone techniques, including advice on how to achieve productive practice and how best to approach successful performance.

The group then had a question and answer session where questions such as how to approach triple tonguing and breathing were discussed. It was then onto a mass trombone ensemble where we played various trombone choir pieces with focus on how to play and listen as a group. After lunch Ian then gave four lucky trombonists a 20 minute plus masterclass. I was lucky enough to have a masterclass where I selected to play the first movement of Sonatina for Trombone by K. Serocki. Ian helped me with my higher register and explained different tonguing techniques.

The other students who had a masterclass played a variety of trombone repertoire and the advice given by Ian was very constructive and well received by all. I thoroughly enjoyed the day and I would like to thank Rachel and Stewart for their brilliant organisation leading up to and on the day, and also Ian Bousfield for his inspirational and useful teachings.”

national trombone day

Sunday 7th June saw the return of the National Trombone Day, this time held at the Royal Academy of Music. A full review of the day will appear in the next issue of “The Trombonist”.

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Summer 2015 the trombonist

Event

ews revi s new

Reviews & News review bones apart Reviewed by Peter Chester

On Sunday March 29th 2015, North Westmorland Arts provided a sizeable and enthusiastic audience to give Bones Apart a very warm reception on what was in fact a return visit to the Society. For the quartet’s latest recruit, Sarah Williams on bass trombone, replacing Lorna McDonald, who is busy in Bermuda, this was something of a homecoming. She was born in Wigton, in Cumbria, so her family were present at what was a very enjoyable evening.

Helen Vollam, Becky Smith and Jayne Murrill all seemed very much at home as well. The music was linked by the theme, ‘If Music be the Food of Love’ and the programme was inspired by the plays of William Shakespeare.

The history plays, Henry V and Richard III, were prominent and The Agincourt Song from Henry V made a splendid opener whilst the less familiar music from Richard III provided an excellent short suite, given its first airing by the group. Mendelsohn’s A Midsummer Night’s Dream and Tchaikovsky’s Hamlet each provided tasteful suites for the quartet. More contemporary evocations of Shakespearean themes were provided by stunning arrangements including Duke Ellington’s Such Sweet Thunder and John Dankworth’s If Music be the Food of Love.

If there are any BTS members who have never seen Bones Apart live, then they should. They are a superb example of the music trombones can make.

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remembering Danny Longstaff

By Tony Howe (CBSO 2nd trombone, Birmingham Conservatoire tutor) The music world mourns the loss of the former CBSO trombonist Danny Longstaff. He suffered an aneurysm at home and died in hospital on 1st April at the early age of 62.

Danny was a one-off, a huge personality and a great character. He was charming, entertaining, funny, intelligent, generous, thought-provoking, although not one to suffer fools gladly. He was immersed in life, relishing its rich variety and seizing every opportunity.

Before the age of 30 he was at the CBSO, already in his third trombone job. Danny can be heard playing on many recordings of the CBSO, and of the Prince of Wales Brass Ensemble of which he was a founder member.

Danny kept a promise he made himself as a young man and left the CBSO before he reached the age of 50. He was entrepreneurial, and after some earlier ventures he’d opened the “Fiddle and Bone” pub in the late 90s. He branched out into home improvements for a while, as well as being actively involved in the Musicians’ Union, latterly in a full-time capacity as Orchestras Official.

Danny had suffered a significant stroke in 1995, when he was only 43. He was off work at the CBSO for a while as his facial muscles were affected, but quietly and quickly he got on with rehabilitating his playing and returned to performing at the highest level for a few more years.

His attitude to life changed not one jot.

I went on a long round-the-world CBSO tour with him in 1998 and it was a tremendous pleasure – my most fun touring experience, although my 29-year-old self could not match Danny’s

appetite and stamina for post-concert socialising despite my best efforts.

He had a huge number of friends from all walks of life. Although we are left with a sense of great loss, memories and tales of good times with Danny will bring us a smile for many years to come.

best of british

The BTS would like to congratulate Keith McNicoll (Principal bass trombonist of the Royal Opera House, Covent Garden) and BBC Big Band lead trombonist and honorary patron of the BTS, Gordon Campbell, who were both appointed Honorary Associates of the Royal Academy of Music last month.

Keith tells us: “It was a real honour to have been a awarded Honorary Associates of the Royal Academy of Music and a double Honour to receive it alongside two of the greats in the business, Gordon Campbell and Mike Lovatt. To be nominated and recognised in this way is very special and is a reflection on the success of the whole Brass Department led by Mark David and Bob Hughes.”

In similar news, the BTS would also like to extend its congratulations to Adrian Morris (bass trombonist of the Hallé orchestra) who has recently been made a fellow of the Royal Northern College of Music.

Head of Brass at the RNCM, John Miller, says; “Presenting Benny for Fellowship of RNCM is a great privilege.

He is one of the real stalwarts of the music profession, who’s efforts are tireless for all his students, and reflected by his many friends in the world of the orchestra and the brass band alike. The RNCM can’t thank him enough for what he contributes to our musical and personal lives. An exceptional man and artist.”

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hot

PRESS

OFF THE

john gourlay premier

t he ho t offess pr

slidin’ about congratulations The BTS would like to extend its congratulations to Slidin’ About who recently made it to the final of the Royal Overseas League ensemble competition.

Slidin’ About is a brass chamber music group based in Manchester.

Performing around the United Kingdom, they have become well known for their educational work and diverse recital repertoire. Tenor Trombone player Steve Jones said: “Getting to the final of the Royal Overseas League competition was a huge honour for the quartet.

Sunday 15th March saw the world première of John Gourlay’s Ballad, written for West Midlands’ BTS representative Martha Ann Brookes and Kirkcaldy Orchestral Society. John originally wrote a piece called Sir Patrick Spens in 2006 for Martha Ann, and was invited to orchestrate the piece for KOS. It was originally for Wind Band and was performed at West Midlands’ BTS day in Feb. 2014. John was invited to write a companion piece to go with the Sir Patrick Spens piece.

The composer returned to his Scottish Ballad roots and was attracted to the 1388 Battle of Otterbourne between the Scottish Douglas and English Percy families.

Whilst working on the piece, John decided to move away from a programmatic character into the realm of abstract instrumental music. The listener can detect echoes of a battle, the demise of a protagonist, the trumpet call or even the line penned by the poet and writer Sir Walter Scott, “My wound is deep, I fain would sleep”.

Martha Ann tells us: “It was interesting to receive emails from John. I would get a sketch of the piece, practise it, then the next email would be a sketch that was totally different to the previous one! It certainly kept me on my toes and it was exciting to explore the piece and grow into it. The concert was repeated on Tuesday 17th March at my old secondary school, Dunfermline High School. To hear the piece, please search on www.soundcloud.com/john-gourlay-composer/ballad. On the Monday, I was invited to work with 23 young trombonists from the West Fife area, who are coached by husband and wife team Steven and Alison Dowall. I owe so much to the enthusiasm and encouragement from the staff at Fife Music Service all those years ago, and so it was thrilling to see that the teaching is still of the highest quality, and the enthusiasm is still buzzing.

Six brave soloists took part in a masterclass, before all 23 came together for a massed blow. Fife is Flourishing with talent.”

The experience of playing in such a prestigious competition and getting through to the final really meant a lot to all four players.” To read more about the quartet, turn to page 15.

Unlocking the Trombone Code – A special pre-launch promotion for BTS members Ian Bousfield is launching his new book in July: Unlocking the Trombone Code.

Warwick Music are kindly giving BTS members an exclusive 10% discount code to use at Warwickmusic.com to buy the book when it is released at the ITF in Valencia in July.

Ian Bousfield tells us; “In this book, I will show to you the exercises, the methods, and the techniques that I use now and have used to bring me to where I am today.”

Turn to page 13 for your chance to win one of the first copies, and for your exclusive code!

2015 ITA Awards

The International Trombone Association is delighted to announce the winners of the two annual awards bestowed each year on two individuals who have made outstanding and lasting contributions to the world of trombone performance and education.

The ITA Award, presented each year to an individual who has greatly influenced the field of trombone, is awarded this year to Dutch jazz trombonist Bart van Lier. The 2015 Neill Humfeld Award, which recognizes outstanding trombone teaching while honoring the teaching excellence of the late Neill Humfeld, is presented this year to Andrea Conti.

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s tipo fr em op t h t

three of a kind BY Simon Cowen

I’m not quite sure what the collective term is for a group of trombone players. A cacophony, perhaps? A caterwaul?

What ever the term is, there is one thing for sure: the unique difference that separates trombone players from other brass players is their notoriously natural instinct to hunt in packs.

The common tuba player understandably does not have this ‘pack’ mentality and is often seen loitering alone, phone in hand, awaiting yet another Facebook post about a 700 series Besson. Trumpet players don’t like to stray too far from one another, granted. But most of their existence is spent comparing and exchanging mouthpieces, sharing anecdotes with french horn players, and discussing the intricacies of tuning a top A on 3rd valve... or something equally “fascinating”.

As trombonists, we are a different breed entirely. Very simple creatures in our nature. No definite purpose as such, often bored, which can lead to moments of spontaneous mischievousness – or maybe a much needed visit to a local bar for a pre-concert aperitif (a dry sherry and sponge finger). But our most common trait is sticking together through thick and thin and never straying from the herd.

L-R: Simon Cowen, Sim

on Powell, Simon Chapp

ell

So, what happens when a trombone section hits that inevitable point in their existence where one of the pack decides it is time to hang up their tails and concert shoes and wave a tearful goodbye to the other two, who are then left in shock, confused and somewhat helpless? Well, this very dilemma reared its grave head back in 2012 at the Royal Liverpool Philharmonic Orchestra. The very brilliant and highly respected 2nd Trombone player, Blyth Lindsay, decided he’d blown his last Scheherazade and navigated his way through his final Russian Easter Festival.

So the time had come to pass the slide to another. After it was announced, for days you could see two trombonists wandering aimlessly around Liverpool city centre. Sat at bars, with an empty chair at their table, and even on occasion invited other members of the brass section to join them for a bitter shandy or Bristol Cream. So the time came to look for a suitable replacement.

After much discussion in the beautiful surroundings of the Fly in the Loaf Public House, we came to the decision to put out an advert for the position and stipulated that only players who owned their own trombone, who were able to finish a pint of good quality ale in less than ten minutes (the usual time of an orchestral break), and who could tell us the name of the composer who wrote Mozart’s Requiem, only need apply.

Because of this ingenious plan, we ended up with over 100 applicants for the job, and we spent 2 full days as a panel (consisting of two trombone players, one tuba player, and a clarinettist – merely to make the coffee and to provide the biscuits), listening to many fine renditions of Hindemith’s Trombone Sonata and a few short orchestral trombone excerpts.

Continues on page 12.

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Summer 2015 the trombonist

three of a kind continued...

After much slurping and munching, we had found our trialists. And finally, after a record-breaking time of 6 months, we found our new man for the job.

Simon Chappell, current bass trombonist, and myself were delighted to appoint the most established and extremely fine trombone player. What really was the icing on that cake was not that he had the most glorious of sounds (very similar to that of his predecessor), not that he had much less hair than the two of us, but that his name was also Simon and (much like Simon 1, and Simon 3) also resided in the town of Warrington.

What could be simpler for a trombone section? We would never forget each others’ names, we’d be able to have sectional rehearsals in pubs at home as well as at work, and when conductors look up to us bellowing “Simon it really is far too loud!”, we could just stare blankly back at them – each assuming they were talking to one of the other Simon’s.

Now two years have whittled by, and all is back as it should be in the land of Liverpool where Simon Cowen, Simon Powell and Simon Chappell can be seen and often heard in and around the Philharmonic Hall totally inseparable – aside from Bolero week, where you can’t see Powell for dust.

One final matter... I wouldn’t feel quite satisfied to write a piece for this august publication without mentioning a few thoughts about trombone playing.

I’d very much like to say they are my own, but very similar to a magpie, along my way I am always searching for and stealing pearls of wisdom from others.

So here are three of those pearls, which I am most proud of acquiring:

1. “98% of brass playing is about breathing” Having had the privilege of sitting amongst some of the very finest brass musicians in the country, there is one very obvious connection between them all: complete control over their breath.

I once, during a masterclass of his, watched Denis Wick take a breath before demonstrating something on his trombone. He was so relaxed, that his intake of air was monumental. Very much like a yawn (our most efficient breath), whereupon the throat is completely open thus allowing a wealth of air to enter our lungs, which naturally sets us up for blowing.

Unless we practise this, then it will be almost impossible to improve on all other aspects of our playing.

royal liverpool Philh armonic

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2. The Holy Trinity There are three very simple rules to making a good trombonist: 1) Playing with a great sound 2) Playing in tune 3) Playing in time As simple as this may sound, it will take hours, days, months, years, to perfect.

For me, the most efficient time spent in a practise room is on long notes and slow scales, making totally sure you are listening to and concentrating on these three elements.

3. Work hard, play easy

Finally, and there is no evading this one.

Practise! We are now in an age where most things are extremely convenient.

Just at a touch of a button, we can find out anything we want to know. This is all well and good, but it will never take away the fact that whatever it is you strive for in life, only hard work and absolute focus will get you to where you want to be. Unless you realise this, and put it into constant action, then you will forever be on the back foot. We have all heard the phrase “work hard, play hard”.

Well, as a dear friend and mentor once wisely pointed out to me, when applied to brass playing, it makes much more sense to “work hard, play easy”.

CAPTION COMPETITION Come up with a caption for this photo of Roger Argente (left) and Chris Houlding (right) backstage at the Royal Albert Hall.

The person with the best caption wins a signed brand new Ian Bousfield book (which has not even been released yet!)

Email your photo caption to editor@britishtrombonesociety.org Closing date 1st August.

The winner will be notified shortly after 1st August.

Eligible to BTS members only

Photograph cour tesy of Chris Fo wer

As we celebrate 30 years of the BTS, here at the BTS HQ we have sifted through all the old BTS magazines to find a photo for a caption competition.

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summer 2015 the trombonist

ure t a e f

slidin’ about

BY Matt Denney

The Slidin’ About Trombone Quartet is an experienced brass chamber ensemble based in Manchester.

Formed in 2010 by four trombonists at the Royal Northern College of Music, the quartet has gone on to become a valuable asset to the British music scene.

Recently the quartet was a finalist in the Royal Overseas League Competition, and has previously won the Foden’s Quartet Competition. They are working hard to create new repertoire for the ensemble, working on new commissions with composers such as Tom Harrold and Andrew Stevenson, and on arrangements, including some by Andy Scott.

As many young professionals will know, competition in the music industry is huge. There is limited work, and it is becoming increasingly important to find something that makes you stand out from the crowd. Although a trombone quartet is relatively rare, it is one of the more diverse brass ensembles, especially as Slidin’ About are currently able to deploy alto, tenor, bass and contrabass trombones... euphonium... and a stable of 70 pBones!

Slidin’ About are very proud to have a partnership with pBone/ Warwick Music, working as the pBone Ambassador Quartet.

This goes hand in hand with their educational work, as having the facility to take regular and mini pBones to sessions is an outstanding advantage, giving the audience a true ‘hands-on’ experience!

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During studies at the RNCM, the quartet developed a huge passion for educational and outreach work. This was initially sparked by inspiration in college studies and then, after a memorable coaching session with Ian Anstee, the quartet was recommended to audition for the prestigious Live Music Now (LMN) scheme. After a successful audition for that, the quartet began their exciting journey in education. As this was a new direction for the ensemble, it was clear that substantial research and planning would be required, including attendance at other workshops, asking advice, brainstorming sessions and trialing of ideas. A trombone quartet has never been so organized ... the drawing of numerous mind maps is a clear memory, as it often led to a clash of opinions and arguments … quickly resolved after a drink or three!

The first workshop at a Special Educational Needs (SEN) centre in Sheffield is also a clear memory. Filled with apprehension (and Greggs breakfast!) prior to the workshop, all seemed to go to plan, despite the feeling of ‘flying by the seat of your pants’ during the workshop. The audience reaction was quite different to a formal recital in front of a silent audience. Afterwards, members of staff informed us that the workshop had been a great success, and that certain audience members had never reacted so positively.

Experiencing such an audience reaction to a performance is undoubtedly most rewarding and makes everything worthwhile. The quartet went on to have more success with Live Music Now and also in arranging their own workshops. During 2014, they were approached by LMN to pilot a new project and become musicians-in-residence at two pupil referral units on Merseyside. This required a completely different approach to previous sessions, as the primary objective would be to see a progression over a number of sessions and to work individually with specific pupils. Members of the quartet have since held residencies at other venues and these projects have proved to be the most rewarding, as there is nothing better than being able to see improvements over a period of time.

Slidin’ About is now one of the most distinctive brass ensembles in the UK, with a growing reputation and hopes to gain greater success in the near future. They are equally passionate about both educational work and recital performances, so please come and support them at a future event.

Take a look at the quartet’s website to find out more about what they get up to, and don’t hesitate to get in touch: - www.trombonequartet.co.uk

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inspire

by katy jones & peter chester

national youth Orchestra INSPIRATION is something that all musicians know about.

We can each think of occasions when we feel ‘inspired’, by people and experiences that have helped us understand the wonderful gift of music and the joys of whatever instrument we play.

It was an inspired idea that has led to a very exciting development for the National Youth Orchestra of Great Britain. Since its foundation in 1948 the NYO has been at the forefront of musicmaking for young people in this country.

Many NYO players have progressed to careers in music and NYO is rightly regarded as one of the world’s major youth orchestras.

Today’s NYO takes players who have already achieved a very high degree of technical facility on their instruments.

The 160+ musicians come from all over the UK, and from very different backgrounds, but they’re bound together

by their love for classical music, their desire to be challenged, their enthusiasm for inspiring others, and, of course, by all being teenagers. Through extensive orchestral practice focused on listening, orchestral performance rooted in ensemble awareness, and working with fantastic role models, the NYO is a team like no other.

Recently the NYO has been inspired to develop a new initiative, most appropriately called NYO INSPIRE, and the BTS has been very pleased to be part of this.

Nick Thorne, NYO Inspire project manager, takes up the story: “The Inspire Ensembles is a whole new journey for the NYO. It’s an opportunity for NYO musicians to step up and coach other teenage musicians from across the country (Inspire Musicians), overseen by a team of tutors. Inspire Musicians are young people we’ve met at NYO auditions who showed passion and potential but didn’t necessarily have the orchestral experience, knowledge, or local opportunity. Music Education hubs and organisations from across the country have also put musicians onto the programme. Players come with a high grade 6 and above.”

In reality this means exciting courses for young brass players, like that held at Liverpool University in February

2015 when 38 young players, (14 NYO players and 24 Inspire Musicians) worked together. The nine trombonists involved were tutored by Peter Gane, and all players also worked with the other tutors, Beth Randell (French Horn, COE), Ewan Easton (Tuba, Hallé) and John Miller (Head of Brass, RNCM).

Distinguished teacher and founder member of the BTS, Peter Gane, has had a long association with the NYO, and he explained, “We started each day with a comprehensive warm up, followed by the tutors working separately with their own instrumental sections. We then worked together in both small chamber and large brass ensembles.

“On day two, Peter Churchill led a Gospel-based choral session which really complimented our instrumental sessions by working on the identical performance skills of posture, breathing, singing (playing) by ear, excellent articulation, character projection, communicating with both body language and eye contact, building performance skills and developing confidence. A full and thoroughly enjoyable weekend culminated in an outstanding concert highlighting the immense value of this new and exciting “Inspire” inspiration. Bravo the NYO!” Continues on page 18.

17

summer 2015 the trombonist

inspire - national youth orchestra continued...

So what of the student trombonists themselves? Chris Brewster, 2nd trombone in the NYO:

What did you learn on the Inspire course that you’ll always remember?

How to be a role model. It is always great to see other players look up to you.

How was your role different from a ‘normal’ NYO course?

On these courses I had to teach as well as learn. It allows you to branch off into other areas of learning within music.

What is the best thing about usual NYO courses?

Being around 160 other teenagers with the same interests and drive to succeed within music. Also, there is no better way to improve than learning with the best players and the best tutors in Great Britain.

What was your most inspiring moment on the Inspire course?

Because we are given the chance to interact and teach younger musicians of the same instrument, it has inspired me to consider the possibility of teaching in the future.

Is there anything from the course that you have passed on to your friends and colleagues at home?

After all NYO courses, you learn so much about playing in a section, it is great to be able to take that away and apply it to other groups you play in.

Also, with the Inspire projects, I have personal friends who were not in NYO but had the potential to be, so I encouraged them to come to the Brass Inspire project in February. They are now confident in auditioning for next year’s NYO.

Has the Inspire project changed the way you learn or practice?

These Inspire projects reminded me of how I started playing an instrument.

18

It makes me realize how important the basics of playing are, among both beginners and advanced players, so when I am practicing at home I always remember to consolidate the basics.

Do you think there were any potential NYO members amongst the Inspire programme participants?

Yes, certainly! I think that the main reason that this potential exists is because of the Inspire programmes.

It shows Inspire Musicians what NYO is like and when they realize how great it is, it gives them the drive to practise and get in.

Another BTS member, Hannah Stell, attended the course as an Inspire Musician and as her teacher Katy Jones indicated, Hannah is typical of the sort of talented young player that the Inspire programme is designed to help.

“Hannah comes from a traditional background in brass bands, and a year ago would have been quite aghast at the suggestion of even applying for the NYO. The Inspire Scheme is aimed at someone just like Hannah - an extremely talented young player, using an instrument provided by her band (Skelmanthorpe), and doing most of her playing with local music groups.

Being accepted onto the Inspire scheme opened her ears, eyes and mind to the musical possibilities that lie before her.

The enthusiasm with which she has thrown herself into this course, plus the fact that she got to play alongside some of the best young players in the country, has broadened her horizons beyond all her expectations. She has since played joint Principal Trombone with the NYBBGB, and been selected by the NYO for the NYO Inspire Orchestra course to take place at The University of Manchester in June. I can’t imagine how many lessons it would have taken to teach her all she learned from Peter Gane, the other tutors and of course the NYO members on those three days in February, and it was completely free!

You can’t buy those experiences, and whatever profession Hannah chooses in the future she will have learned incredibly useful life skills with regards to leadership and team-building in a short space of time.”

As for Hannah herself, she obviously thoroughly enjoyed it: “The best thing was meeting other people with the same interests, and working with the NYO members.

They were of such a high standard that it pushed you to be better and motivated me to want to improve. It was also amazing to see how passionate they were about classical orchestral music!

One of the bass trombonists is in NYBBGB with me, and another girl I made friends with came from a similar family background. We learned new technical things such as how to use alternate positions more frequently and reliably, and I’ve been practising my “Crab-wise” scales since I got home for “Crab-wise” scales explained see You Tube “NYO trombones 2012 show their skills!!”Another skill that I’m more aware of is listening carefully and watching from within a chamber ensemble – using my own ‘radar’.

The Inspire course gave me a perspective on my playing abilities and has motivated me to want to improve.

I have also realised that I need to improve my aural and theory skills to improve as a musician, not just my trombone skills. We did singing, improvising and interval practice as well over the 3 days, and so I learned lots!”

“I learned lots!” just about sums up what is a wonderful new development, especially at a time when musical education is under pressure from so many different directions. It is also good to know that the BTS is very much part of it.

If this sounds like fun then go to the NYO website - nyo.org.uk and apply now for the next NYO Inspire Day (26 July) and for next year’s orchestra NYO 2016!

19

summer 2015 the trombonist

by JANE SALMON

the lion king is

celebrating 15 years The Lion King, Disney’s award-winning musical, is now in its 16th year in London and, as of September 2014, has achieved the most successful box office total of any work in any media in entertainment history.

The stage adaption of Disney’s 1994 animated film opened on Broadway in November 1997. Following this encouraging start, the show made its debut in London on October 19th 1999 and has been running ever since in the West End’s Lyceum Theatre, a venue previously popular for rock concerts and television broadcasts in the 1960s and 70s.

The production features an expansion of the film score, which had music and lyrics by Elton John and Tim Rice, with additional material from Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer. Director Julie Taymor led the stage adaptation of the show and made Broadway history by becoming the first woman to win the Tony Award for ‘Best Director of a Musical’.

During February 2012, Disney Theatrical Group announced that The Lion King would embark on its first UK tour, launching from Bristol Hippodrome in October of the same year and finishing in 2015. In addition to the record-breaking productions in London and New York, The Lion King can 20

currently been seen in Hamburg, Madrid, Tokyo, Brisbane, Basel and on tours of North American and Japan. The Lion King is only the second show in history to generate five productions worldwide running 10 or more years.

The London Musicians

From the beginning of the London run, Tracy Holloway and John Higginbotham have held the trombone chairs in the orchestra, Tracy playing tenor, and John, bass, doubling tuba.

They kindly agreed to share some of their vast experience with me.

How was the show developed during the Broadway to London transfer? Tracy: As this was the second production, the

formula was in place by the time we got to our first rehearsal.

However, the Broadway orchestra has three horns and two trombones, we have one horn and two trombones. There was re-scoring to be done by David Metzger; this was done in such a way that it is a trombone part and not 3rd trumpet, 2nd horn and a trombone part altogether, which can be a lip buster, but that has been the case on previous shows I’ve done.

How has the show changed? Do you still use the music? Tracy: Since the start

there have been mainly number cuts and, with different supervisors, changes in articulation and phrasing and so on, which is always a mind-blower when you know the pad from memory.

Neither of us have used the music in 14 years - some of the deps even know it from memory! It’s good concentration for the mind to add these changes.

What’s it been like to work with each other for the last 15 years?

John: It’s actually been longer than that. We both did the musical Martin Guerre for two years from 1996-98, had 18 months off, then got The Lion King. We have a very good working relationship; if one of us comes in and needs to quietly get on and do the show, the other knows to leave well alone. At other times we may chat from beginning to end!

Tracy: Yes, as John said, we’ve been working together since 1996 with a small gap when we both did other things, but I still ended up depping for John on one of his projects at the National Theatre. What makes it work is that John is a beautiful, solid, great player and we fit well as a section and like he said, we can talk for England or not at all and this is no problem.

John: Also, it mustn’t be forgotten that we only do a percentage of shows together. We both have a long list of deps, and find ourselves playing the show with lots of different people.

Tracy: I am fortunate to work outside The Lion King a lot, which brings all of our amazing deps into the fold, helping The Lion King to keep up the amazing standard and positive atmosphere. I think we would both like to take this opportunity to thank our amazing deps that have kept us sane for all these years. It’s always hard depping on a show as you can be in a lot then not for a while and then be expected to play as the chair holder. The deps are all amazing players who usually have just one sit-in and a copy of the pad for preparation.

They do a lot of homework, and they do it so well. They are the unsung heroes of the West End and ensembles in general.

What’s it like in the pit? John: There’s a very good atmosphere in the pit, which is unusual for a West End show running for this length of time. I put this down to the flexibility in taking time off, and not being answerable to a contractor (other than Disney) on the day-to-day business of the pit.

How were you originally fixed?

Tracy: It’s a great atmosphere in the pit and we all get on.

I think this is because of how we were contracted in the first place, as key players were asked who they wanted to work with. In my case John was put forward for the gig to our then Musical Director Colin Welford, who then asked John who he would like to work with which, happily, was me. Disney is our contractor so there is a great friendship base and banter in the band and because we have freedom to do other work the standard is kept high.

I’ve enjoyed the life of a freelance musician but the security of The Lion King is second to none and Disney Theatrical are great to work for! It is great in a show, if you have the mind set, as it can be also used as great practice to be consistent in performance. The show is a great workout in all styles of music and it works the range for us both.

Can any comparisons be drawn between work in the West End and work in an orchestral seat? John: Two

things that spring to mind are that we work fewer hours for more money, and we are always in the same place.

Tracy: As with any job there is repetition but the plus side for a show is that you are in one place, as is an opera orchestra, which is great for the family, for both of us. We have both done our fair share of touring and had fabulous times but it’s lovely to be at home and have breaks without the trombone.

I love my job but I also love my life and for the last 25 years I have been fortunate. The last 15 years on The Lion King has been great fun, with a great bunch of pals.

Many thanks to those who have contributed towards this celebratory piece.

John and Tracy

‘the Lion King is only the second show in history to generate five productions worldwide running 10 or more years’.

What else do you do? How has it been in this seat? John: I’ve been in the BBC Big

Band for 20 years and had my fair share of other freelance work. This seat though has been brilliant for financial security.

My children have grown up with The Lion King!

Tracy: My playing life has been so varied for the last 25 years.

It has included the Don Lusher Big Band, Orchestras, Opera and Royal National Theatre, where I have worked on War Horse and many other productions, including Peter Gabriel’s New Blood, as well as works at The Globe, and film sessions, just to name a few. You get the idea of how varied my life is.

21

Martha Ann Brookes BTS Midlands Representative

TROMBONISTS

ISLAND DIScS

Albrechtsberger: Alto Trombone Concerto, played by Branimir Slokar, with the Südwestdeutsches Kammerorchester Pforzheim, under the direction of Peter Angerer, who also wrote a very interesting piece for Branimar for Alto Trombone and strings.

I have very much admired his playing for many years. He keeps it simple, and plays so musically too.

I have heard his quartet play live too, and much admired the musicianship of the group. (Ref. no. Claves D 707).

Ralph Sauer: Telemann Fantasy no.5. Of course, not originally written for the trombone, but why not play good music?

He plays the piece with great panache and style.

(Ref. no. Crystal Records series stereo S 384).

Brahms ‘Although I love the yself unable to Symphonies, I find m my favourite…’ choose which one is Although I love the Brahms Symphonies, I find myself unable to choose which one is my favourite. So, I am going to go with Schicksalslied - Song of Destiny, with the San Francisco Symphony Orchestra, conducted by Herbert Blomstedt.

It’s perfectly formed.

Staying with Brahms, I enjoy his Piano Quartet arranged for orchestra by Shostakovich.

I have an illegal copy put on to a cassette from years go by, with no details of the orchestra, but although I like the piece in its original form, it is nice to be able to play an orchestral transcription of it.

Mozart: Requiem. On my 18th birthday, my roommate gave me a cassette (yes, I’m that old!) of the Weiner Philharmoniker and Herbert Von Karajan. This was my first introduction to the power of this wonderful piece, and I am fortunate to have played it many times over the years.

(Ref. no. Deutsche Grammophon 4).

Being married to a bassoonist has given me an insight to the wonderful wealth of wind repertoire.

The first is Vivaldi’s Bassoon Concerto in F, RV 485 played by Klaus Thunemann, with I Musici.

He manages to make it sound so effortless, much to my husband’s annoyance (and admiration).

(Ref. no. Philips 416 355-2).

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Staying with wind instruments, the Krommer Partitas come a very close second, but the overall winner has to be Dvorak’s Wind Serenade op.144, played by Sabine Meyer and the Bläserensemble. They give a really playful performance that would always cheer you up on a desert island. (EMI Classics 7243 5 55512 2 1).

‘ Being married to a bassoon ist has given me an insight to the wonderful wealth of wind rep ertoire…’

Over the past 4 years, I have had the joy and privilege to record the four symphonies of Hans Gál with Orchestra of the Swan. Like virtually everyone else, I hadn’t heard of this composer, and when I started to record the symphonies, my thoughts were, “Why haven’t I heard of him?” Hans Gál was born just outside of Vienna and fled to Britain when Hitler rose to power. His writing for the orchestra is very powerful and quite distinct. It is great that American conductor Kenneth Woods has taken up his cause and started opening up the possibility of allowing a bigger audience for his music, which includes our recording of Robert Schumann’s Symphony no.

3, another favourite of mine that I can sneak in! (Ref.no. AVIE AV2230).

g risin s star

Rising stars: Merin Lleu How old were you when you started playing the trombone, and why did you choose it?

I had always wanted to play a brass instrument and when I was 8 years old I had my first lesson in school with Mr. Paul Hughes.

I decided on the trombone because my older sister started to play the trombone at the same time, so it was almost a competition between us!

Who are your teachers?

I had my lessons in school (Ysgol Tryfan) with Mr. Paul Hughes. Although he is a cornet player, he managed to get me to a very high standard on the trombone. He was a brilliant and inspiring teacher.

At 15, I was very fortunate to be awarded a bursary to study at the Junior RNCM. There I am taught by Christian Jones.

What music do you like to play and listen to?

I enjoy playing and listening to all kinds of music.

I recently played Bolero by Maurice Ravel and Mahler’s 1st Symphony with the North Wales Youth Orchestra. I thoroughly enjoyed playing these works and I also listen to lots of big band pieces and many brass bands too.

What make of instrument to you play?

A Conn 88HO .

Would you like a career in music?

My ambition is to become a professional musician.

I have enjoyed all aspects of playing the trombone and I am keeping all options open as to which path to take with trombone playing.

What are your other hobbies?

In my spare time I like to keep fairly healthy; I live on the side of a mountain that I enjoy running up, and above a lake in which I enjoy swimming in the summer.

I am a strong swimmer - last summer I won a swimming race across the Menai Straights.

Other than that I play trombone!

23

licks & cadences By Jeremy Price

jazz by jeremy

Common advice in jazz education is to learn things in all keys. Imagine in a lesson, when the penny finally drops, and then the advice comes “now do it in all keys”.

This may be daunting enough, but add to that the fact that for trombonists, what works easily enough in one key may involve incredibly athletic slide shifts in another just a semi-tone away.

In this article I’d like to discuss what the merits are of playing in all keys and how you should interpret this advice as a trombonist.

Jazz trombonists definitely need dexterity in all keys. The following can be recommended as rudimentary improvisatory work-outs: 1. Take the three basic sonorities of major, minor and dominant and take them round the cycle (C,F,Bb,Eb, etc).

Modally you can think of this as taking ionian, then dorian, then mixolydian round each point on the cycle as a 4-bar pedal point. Starting with dominants first is a good idea, so you get used to hearing cadential movement.

2. Blues in all keys. Just the simple chord structure of the three dominants will do. Make sure you can negotiate tonic to subdominant and back again in every key. Blues in C, F and Bb will be familiar no doubt, but make sure you give time to unusual keys. Over time you’ll be surprised at finding really comfortable slide combinations in what you may at first perceive to be difficult keys. Blues in F# and Db have lots of nice things to play using Bb (A#) in 5th position instead of 1st, for instance.

3. Turnarounds of I-VI-II-V or II-V-I-VI occur so often in standard repertoire that practicing them in all keys on their own will pay dividends very quickly. Note that VI-II in both instances is another V-I cadence but in a different key to the tonic.

4. Last eight bars of Stella by Starlight is a chain of minor II-V7’s. This in all keys is really helpful as a minor cadence work out.

5. The II-V-I cadence can be practiced in a sequence where the I major becomes the new II minor, just as in How High the Moon. This gets back to the original key after six modulations, so you need to practice two ‘systems’ for this.

The above five points constitute chapter 1 of most jazz musicians’ practice regime. As suggested, you can take these as improvisatory work-outs, so instrumentally you can go with what feels ‘ergonomic’ and reachable on the trombone. Use your ear and intuition as much as chord and scale knowledge.

However, you can also use any of the above to transpose specific melodic statements - ‘licks’ - throughout the keys. This is a different territory of practice and a neuro-scientist would probably be able to prove to you that it involves a different area of brain activity. This latter type of practice always feels much harder work and less creative. It also forces you to address instrumental challenges. It is worth pursuing because paradoxically it will also lead you out of habitual playing.

We all have a tendency to fall back on shapes and patterns on the instrument that we feel comfortable with so ‘licks in all keys’ is a way to force yourself to map more slide shifts and combinations than you currently have. Once the lick is learned, you don’t have to play it verbatim, but can use it as a resource to manipulate and modify. Licks are particularly useful for ear training.

You can make unusual intervallic structures or new sonorities more familiar by polishing up licks based on them.

This way you expand your sonic horizons and open up your ears. To conclude this section, if a lick is mightily impractical on the trombone in a certain key, I confess that I don’t beat myself up about it, but take it with a pinch of salt.

There’s so much to do that hammering away at a ridiculous slide shift probably isn’t the best use of time. But we all have our own thresholds of patience.

You decide whether to tough it out.

Licks in all keys Standards, the great numbers we all should know, played in all keys, is also very often advocated. There may be professional reasons for this, like the scenario of working with a singer who insists on singing Body and Soul in E. Fair enough. This could happen, but the real reason for me is again one of ear training. Take any standard you know well, and try to play it by ear in any key.

It’s such a fast learning curve it will be well worth it. Your intuition and key dexterity improves instantly.

On the scene, jazz musicians tend to play standards in only one traditional key that most people know it in. Some standards are known in two keys because of famous recordings but in general, There Will Never be Another You will be in Eb and I’ll Remember April will be in G. So, in a jam session situation, don’t worry that you might get found out by some monstrous transposition.

25

summer 2015 the trombonist

by Roger Argente

Michael, thanks for taking part in this interview, can you tell us a bit about your background?

Orchestra I joined the North Netherlands Symphony studying at (NNO), based in Groningen, in 1980 after McElhone. the Royal College of Music under Gerry London the of e scen I grew up in the rich musical gh all throu way my Borough of Redbridge, working time this ng Duri the orchestras and Redbridge Brass. age the From I received lessons from John Ridgeon.

Jazz h Yout of sixteen I spent two years in the National I was 21, aged Orchestra (NYJO). Whilst still at college, next to Derek lucky enough to dep with the LPO sitting James and Colin Busby. ?

How did you come to join the NNO in the rt adve an Fresh from college, aged 22, I saw ester” and Orch German classical music magazine “Das ingen for turned up one cold February morning in Gron the job on the the audition. I was delighted to be offered I am still spot. I of course accepted and 34 years later there. out in Any memorable events that stand stand out that er care your career ? Events in my André as such have been working with conductors iev and Gerg ry Previn, Simon Rattle, Neeme Järvi, Vale air Cors and Gennady Rozhdestvensky. Recording Le r Previn, Symphonie Fantastique with the RPO unde w Orchestra along with playing with the Concertgebou . ories mem t grea ngst in Amsterdam are amo l” Can you give us an idea of a “norma same, the ever are s week at work ? No two week ing start s but we often have four or five rehearsal to eight on a Monday or Tuesday followed by three erts performances. A typical season has 120 conc and 20th embracing all genres; classical, romantic al concerts. ation educ and rs sove century repertoire, cros t of poin A . year per off s We have around nine week there estra orch the d joine I interest about funding; when y Sadl .

75% nd arou was 97% state funding, now it’s in job the government is still making cuts, resulting

26

Michael Eversden

the few bass losses and orchestras merging. I am one of and my tion trombonists still to have a full-time posi successor will certainly be part-time. any Do you teach at a music college and ? ers play ng you g advise for buddin (Prins Claus I teach at the Groningen College of Music tise. prac and n liste Conservatorium). My Advice:

Who are your trombone hero’s? , George Roberts, Frank Mathison, Denis Wick erts’ J.J.Johnson I have always loved George Rob some amazing wonderful sound and more recently heard sfield. German live recitals by Nitzan Haroz and Ian Bou zil Brass Brass are an incredible ensemble, as are Mno stamina. ble lieva unbe with who are amazingly whacky on the ing play bone There is also some fine bass trom iam Will of Scottish National Orchestra’s recording Walton’s First Symphony. to ?

What music do you like listening genres, but stic styli rent diffe of e I enjoy the challeng In the car it is almost never listen to music for pleasure. usually BBC Radio 4. . One Name two inspirations. One musical erts Rob non-musical ? Musical: George Non-musical: Rick Stein ?

What does the future hold for you until NNO the in be to ct expe Professionally I retirement at the age of 67. away from How do you relax and enjoy life whole and half ly music ? I enjoy running, main trombone. bass for ng marathons and I do some composi cipated parti y Cooking is definitely a hobby and I briefl in Dutch Masterchef.

The Bass Bone Files : TOP SECRET

Bass Bone Files

en, Ane Travaille

What is your view of the diverse nature of the music business today ? The school of trombone playing in The Netherlands has grown incredibly over the last twenty-five years, producing some very fine players. In the present climate auditions are few and far between, attracting huge interest and as a result standards have risen. The NNO has emerged from being a small ‘town’ orchestra to one of the best orchestras in the country.

For all those Boneheads out there that just need to know, what type of bass trombon e and mouthpiece do you use ? I’m a Conn freak owning many great Elkharts. I have two 62H’s, one of which has Hagmann valves, also a 72H and a 73H. The orchestra bought a set of Throja (Berlin) trombones in 2013, which are used for German repertoire. I starte d on a Conn in my youth and have since tried Bach, Edwards and a new Conn, but returned to vintage Conn s for their wonderful warm and rich sound with superb carrying power. Mouthpiece: Vincent Bach 1¼G Your pet hates? Most BMW drivers for their aggressive driving style.

Favourite composers ? Mozart, Mahler, Prokofiev, Walton, Puccini, Roussel, Wagner, John Williams.

The Bass Bone Files : TOP SECRET

L to R: David Tyler, Durk Lautenbach, Michael Eversd

Meeting musicians from a bygone era ?

Musically I would like to meet trombone sections of the nineteenth and early twentieth centuries. It would be great to hear the sound of English, German and American trombones from that era, comparing their sound and how they coped with new compositions.

How do you keep your chops in shape, do you follow any type of routine ? The full-ti me orchestral job keeps me in shape. I always do a good warm-up before every rehearsal. When I do play at home Bach Partitas and Cello Suites are usually on the menu.

Do you have a website? www.basstrombone.eu On my website you will also find a list of the 43 (!) solo bass trombone recordings in my private CD collection.

Any new CD releases we can mention?

I released a solo CD at the end of 2014. “Out of Bounds”, chamber music for bass trombone, accompanied by brass quartet, string quartet and wind quintet, including duets with percussion, flute and violin. Most of the music has never previously been recorded and there are works by Nelson Riddle, Patric k McCarty, Frigyes Hidas, Anne McGinty, Chris Stearn and others.

Turn to page 31 for a review of Michael’s solo CD

27

28

how to part multitracktwo

by Christopher Bill

In the last issue of The Trombonist, I wrote about how you can record yourself and why you should or maybe should not. This time I’m all about breaking open my creative process.

I’ve arranged trombone quartets of classical pieces, jazz tunes, folk songs, classic rock, funk, show tunes, and of course mainstream pop. I love taking songs that are already popular and turning them into something that we trombonists can enjoy. Just because a song is meaningless in today’s sensationalized culture of music, that doesn’t mean we can’t repurpose it and make something useful out of it!

I start by learning the song on piano, and with most pop songs it doesn’t take too long to figure it out by ear. I’m sure this has a lot to do with my classical studies (SUNY Purchase Conservatory of Music) but with well over 200 arrangements, this step is no longer very time consuming. I write down the melody precisely how it is sung and extract any interesting ideas I hear in the original recording. If inspiration hits, I flow with it, otherwise I just keep writing. As Chuck Close once said, “Inspiration is for amateurs, the rest of us just show up and get to work.”

(I was shown this comment by amazing trombonist and teacher Alex Iles.)

This is the best representation of my process. I work, and I work, and I work, and eventually I come out with something I don’t hate. I then practise any tricky sections of my creation, film some decent takes, edit them together, and the arrangement is out the door.

I’ve been creating a new arrangement every week, and each December every day since 2012, so I don’t have much time to look back and reflect on my work. I’m always looking forward, which seems like a healthy place to be. Taking a step back, many people are intrigued by my recording methods. The majority of the time I’m recording four separate parts of a quartet and layering them together afterwards. Some common questions are, “How do you stay in time?” and “Do you start over if you miss a note?”

I’ll typically record to a drum track I create with Ableton Live music program, or a click track if there’s no percussion.

To keep in tune with myself, I’ll record the bass part first, then the others, depending on importance. If I screw up to the point of no re-turn I will start over, but more often I’ll just re-record the audio for that passage and keep the video from the mistake. It seems to be more seamless and a much better experience for the viewer, and the listener(!)

Finally, the emergence of my livelooping abilities: in the spring of 2013 I recorded a looped version of Coldplay’s Viva La Vida. I originally arranged the beginning as a quartet and realized that the chords and bass line never changed. I refused to actually play the backgrounds over and over for four and a half minutes, so I decided to use the help of Ableton to have whatever I play continue repeating until I told the software to do otherwise. It was an unfamiliar style of arranging for me, but seemed practical for the song.

The following year my looped version of Happy by Pharrell Williams went viral. All of a sudden non-trombonists everywhere were watching my video and I realized I would soon have to perform for live audiences. I invested in an Electro-Harmonix 45000 looping station. This powerful hardware can loop more intuitively than Ableton, and I don’t need to rely on a computer.

My very first performance with it, though don’t tell them, was at Birdland in New York City. The past year of performing has been a roller coaster and so much fun, but my heart is still with the trombonists of the world who love playing quartets just as much as I do. The technology and notoriety is and should always be second to the music, and the deeper connections we make through performance.

View Christopher’s YouTube videos by scanning the QR code

Christopher Bill

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summer 2015 the trombonist

TROMBONISTS HANDBOOK Top tips from travelling trombonists.

City/Town: cardiff introduction:

Places to park:

Cardiff is the capital and largest city in Wales and the tenth largest in the UK. In 2011, the unitary authority area had an estimated population of 345,100 and the city was ranked sixth in the world in National Geographic’s alternative tourist destinations.

MC: Pierhead Street Multi Storey Car Park - open 24 hours.

Customers can pre-pay for parking at a reduced rate of £3.60 through the ticket office.

Gig venues: St David’s Hall (sdh) The Hayes, Cardiff, CF10 1AH Millenium Centre (Hoddinot Hall & Theatre) (MC) Bute Place, Cardiff Bay, CF10 5AL

SDH: The St David’s shopping centre car park - open 24

hours. Parking rates for this car park from 5:00pm onwards is a fixed £4.00 fee.

NT: Nearby free on-street parking around City Hall Monday Saturday after 6.00pm and Sunday after 5.00pm.

Restaurants: MC: Lots of restaurants within easy walking distance in the Bay area: Eg: Wagamama’s, Gourmet Burger Kitchen, Moksh Indian Cuisine.

SDH & NT: Lots to choose from in the centre of the city.

We recommend venturing off the main roads to find good food at cheap prices.

Good pubs: New Theatre (NT) Park Place, Cardiff, CF10 3LN

MC: The Packet, 95 Bute Street, Cardiff, South Glamorgan

CF10 5AB. BTS Beer recommendations: Brains SA Food served 12:00-17:00

SDH & NT:

The City Arms, 10-12 Quay Street, Cardiff, South Glamorgan CF10 1EA. BTS Beer recommendations: Welsh beers: Brains SA and Dark.

Little known fact:

Caerdyf, as it was originally known, has its origins in postRoman Brythonic words meaning “the fort of the Taff”.

The fort probably refers to that established by the Romans.

Caer is Welsh for fort and -dyf is in effect a form of Taf (Taff), the river which flows by Cardiff Castle.

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reviews Zoltan Kiss mouthpiece

Reviewed by Tony Boorer

Selections Håkan Björkman Trombone; Mats Jansson, Piano Reviewed by Amos Miller

This, the second recital disc from Håkan Björkman, Principal Trombone of the Swedish Radio Symphony Orchestra and Chamber Orchestra of Europe, contains some of the most musically and technically accomplished playing I have ever heard.

2014 saw the release of the Lätzsch Custom Brass Zoltan Kiss Edition mouthpieces. Two years in the making, this collaboration with Hans Mook was Zoltan’s “greatest pleasure” since developing the Kissbone in 2007.

The mouthpiece was designed with the desire to support the virtuosic nature of Zoltan’s work with Mnozil Brass, but also to allow him the versatility to continue his solo work, his chamber music and his symphonic career as well.

You can tell that the mouthpiece was not primarily designed with orchestral playing at the forefront of its abilities.

It has a warm tone, which is easy to centre throughout the range, and the size of the rim, around a Bach 4 size, really helps with flexibility. It brings together brass and ebony and the result of this is a wonderful, rich, warm tone, especially at the lower dynamics, although it does have a tendency to lose a portion of this warmth at volume.

All in all, this mouthpiece is a beautiful work of art and it works incredibly well for the versatile player.

The disc opens and closes with arias from Korngold’s Die Tote Stadt, in Björkman’s own transcription, playing off the vocal score(!). This is breathtakingly beautiful music, played with sublime control and expression. In between, we have an electrifying rendition of Schumann’s Fantasiestücke, with such flexible and sensitive playing, demanding the attention of the listener, to the extent that it is genuinely hard to believe that it is not originally a trombone piece. Léon Stekke’s Variations was a new discovery for this reviewer, and a pleasant one, although I did suspect that it could sound a touch lugubrious in less virtuosic hands.

Christian Lindberg’s alto trombone arrangement of Mozart’s Ah! Vous dirai-je Maman is dispatched with such aplomb that it almost sounds easy enough for mortals to play, and I enjoyed the onomatopoeic description of the type of articulation he used in the rapid passages.

The CD notes, by the way, are written by Björkman and are entertaining and personable.

ews i v e r

Sulek’s Warhorse is magnificently rendered and enjoyable, despite its ubiquity, as is Frank Martin’s wonderful Ballade. Praise is also due to the fabulous pianist Mats Jansson for playing the orchestral reduction as if it were well written!

The final two pieces are the first movement of Schubert’s Arpeggione Sonata, again in Lindberg’s arrangement; I have to confess to preferring Björkman’s version, where even the moments of the most un-idiomatic virtuosity seem to float past in a blur of elegance. Then there’s Debussy’s La plus que Lente, which reduced me to tears, of pleasure I must say, on first hearing.

This is an exceptional disc and I look forward to hearing this genuine genius of trombone having more stuff written specially for him (come on composers!).

For me, it is worth buying for the Korngold arias alone, which contain some of the most vocally beautiful trombone playing it is possible to imagine.

Out of Bounds Michael Eversden Reviewed by Simon Minshall

Michael Eversden is someone who has a passion for solo bass trombone music, with a personal collection amassing over 40 albums! It’s this passion that has driven the current Bass Trombonist of the North Netherlands Symphony Orchestra to produce his own solo cd.

Including works rarely recorded, such as the McCarty Sonata, the album features music composed specifically for the bass trombone. It is refreshing to hear accompaniment from string quartet, wind quintet and percussion. All the works are played with a beautiful sound and tone colour by Michael, and this album would make a fine addition to the ever growing number of bass trombone recordings.

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Photography courtesy of Betina Skovbro

G&T summer 2015 the trombonist

by Matthew Gee & Mark Templeton

There are some things that make Britain great at this time of year; sipping your favourite tipple in the garden, listening to the cricket on the radio and trying to barbecue in the rain.

Another is the BBC Proms, the biggest music festival in the world. Matt and I have gone over the Proms schedule and picked out the pieces that we think will raise the heart rate of all trombonists, whatever their background.

We’re going to do things a little differently this issue. I’m focusing on the international side of the festival and Matt will introduce you to our UK orchestras. Here goes…..

18th August 19.30, West-Eastern Divan Orchestra Daniel Barenboim conducts Tchaikovsky Symphony no. 4.

This exciting youth orchestra based in Seville consists of musicians from countries in the Middle East of Egyptian, Iranian, Israeli, Jordanian, Lebanese, Palestinian, Syrian and Spanish origin.

Tchaik 4 is great fun for the trombones and to hear a good youth orchestra going for it will be electric.

22nd August 18.30, Boston Symphony Orchestra Andris Nelsons conducts Mahler Symphony no. 6. CBSO fans will no doubt be interested to hear how their old chief is doing with his new orchestra.

In Mahler’s 6th , the section playing has to be tight, full but not shouty. At the end of the finale there is a beautifully delicate soli passage to listen out for.

STAR PICK 28th August 19.30, Chamber Orchestra of Europe. Bernard Haitink conducts Schubert Symphony no.9 in C. 32

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

This is such a great piece to play and listen to. From a menacing melody in the 1st through a lovely frolic in the scherzo to a mighty rising sequence in the finale, this piece is a riot of colour. I’d expect the section downsize their equipment for some extra pizazz.

30th August 19.30, San Fransisco Symphony. Michael Tilson Thomas conducts Mahler Symphony No.1.

Not the biggest of blows but this symphony is filled with beauty and emotion. On a geeky level, I think this might be the first symphony that requires mutes.

7th September 19.30, St Petersberg Philharmonic. Temirkarnov conducts Rimsky-Korsakov Scheherazade.

When any Russian orchestra plays Russian repertoire, you know you’re in for a fun night. There’s a cheeky little fanfare solo in the second part, which can be interpreted in many ways, and the 1st part contains an innocuous descending three-note chromatic line that is really nice to float over the band. Some tricky double and triple tonguing keeps things interesting too.

Those are my highlights from our overseas chums. Time to find out what our guys have got in store for you.

Over to you Matt…..

Thanks Mark, it has been almost impossible to pick five programmes from the whole season, but here goes: 7th August 22.15, John Wilson Orchestra. This year Frank Sinatra is the focus of this late night Prom.

As you’ll know from a recent edition of The Trombonist, this band has a stonking trombone section, with some of the most stylish playing you will come across.

Unmissable.

17th August 19.30, BBC Symphony Orchestra. Finish conductor Osmo

Vänskä journeys through three of Sibelius’ finest symphonies, numbers 5, 6 and 7. Rarely played together, follow Sibelius’ compositional process and pay particular attention to his Sixth Symphony - a masterpiece.

19th August 19.30, Royal Philharmonic Orchestra. Composers’ final symphonies are often dark, reflective works, and none more so than Shostakovich’s 15th, which swims in musical memories. Some great trombone writing throughout and with Charles Dutoit at the helm it is sure to be exciting.

24th August 19.30, Philharmonia Orchestra. After a year-long absence the orchestra returns under principal conductor Esa-Pekka Salonen to perform Bartók’s Miraculous Mandarin.

Awesome music, in which the trombones are the bad guys - enough said.

1st September 19.30, Orchestra of the Age of Enlightenment. Marin Alsop conducts Brahms’ First Symphony and his Academic Festival Overture.

Performed on period instruments, this will be a sound world far removed from the modern orchestra and definitely worth experiencing.

That rounds up our special Proms edition. Some truly world-class orchestras, playing in a world-class venue in the world’s greatest music festival.

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

MT

MG

t’s a h w on

what’s on

27 & 28 June 2 015

17 june 21:45

Old Dirty Bra sstards Good Wood, Chi chester www.olddirtybras stards.co.uk

Bad Ass Brass Room Royal Albert Hall Elgar www.badassbrass.co.uk

1-4 July 2015 Dublin Brass Week Trombone Faculty includes Christian Jones, Ian Bousfield and Dávur Juul Magnussen www.dublinbrassweek.com

7-11 July 2015

3 July 2015 rasstards Old Dirty B London lues Kitchen, Shoreditch B k rasstards.co.u www.olddirtyb

International Tr ombone Festival Valencia, Spain www.itfvalencia2015 .com

7 July 2015

8 July 2015 19:30

rds Old Dirty Brassa hen, London Camden Blues Kitc tards.co.uk www.olddirtybrass

London Brass Gower Festival, Gowerton Comprehensive School, Swansea www.gowerfestival.org/programme.html

9-12 July 2015 Wigan Jazz Festival www.wiganjazzclub.co.uk

2-23 July 2015 Guildhall Advanced Trombone course www.gsmd.ac.uk/youth_adult_learni ng/ music_summer_schools/

5-7 August 2015 Royal Conservatoire of Scotland Brass Summer School Trombone professor: Ian Bousfield www.rcs.ac.uk/shortcourses/brass/

31 July - 9 August 2015 Manchester Jazz Festival www.manchesterjazz.com

8 August 2015 21:30 Bad Ass Brass Matt & Phred’s Jazz Club, Manches ter www.badassbrass.co.uk

22 August 2015 Govan Citadel Salvation Army Band Hosting the Black Dyke quartet www.salvationarmy.org.uk/go van

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

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summer 2015 the trombonist

fast talk...

What’s your name?

Simon Powell.

What’s your current job?

2nd Trombone in the Royal Liverpool Philharmonic Orchestra What model of trombone(s) do you play?

Conn 88H .

What mouthpiece(s) do you play on?

Denis Wick 5AL or 5ABL. How old were you when you started playing?

I was 10. My Primary School had run out of Trumpets and all they had left was a Trombone.

Where has been your most favourite place to perform?

The Sage in Gateshead. The sound is so incredibly clear, which enables you to hear every section of the orchestra very well.

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

We’ve got Mahler’s Second Symphony coming up so I’m looking forward to playing the chorale and we’re tackling Strauss’ Alpine Symphony in the autumn which should be fun.

We’ve played Strauss’ Ein Heldenleben,

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

Focus on your breathing.

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

Difficult to say, but the RLPO played some great concerts in Japan recently, with some electric performances of the Firebird and Rite of Spring in the same programme. I was also fortunate enough to be part of the Hallé’s production of Götterdämerung a few years back, which was very tiring but exciting.

What was the last record you bought?

An album called FunKey Rhymes for my two-year old daughter. Very catchy arrangements of nursery rhymes!

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

Make a nice sound, be polite and never be late.

What was your first pro gig and when?

It was with Manchester Camerata at Manchester Cathedral playing 2nd Trombone in Brahms’ Requiem. I was studying at Manchester University at the time and quite intimidated.

34

Simon Powell

60cond seterview in

Mozart’s Requiem and RimskyKorsakov’s Russian Easter Overture since I joined the RLPO, so hopefully I can have a bit of a rest for a while!

What’s your favourite colour?

Purple.

What’s your favourite food?

Easy one …... curry.

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

I’m half Singaporian on my mum’s side of the family.