The Trombonist - Winter 2016

winter 2016 ÂŁ5.00

the

trombonist

More tales from Notecraker Bass Bone Files speaks to Dave Stewart Gear, Concert and CD Reviews

Made in Britain

20 years of Rath Trombones

WIN

A sig ned CD f r o Car m ol j arv is

contents Regulars 6

Presidents Column

A christmas message to you all

7-9

News & Event Reviews

What’s been going on in the trombone world

28

President’s Problems Got a problem and need help?

Your problem’s answered

32

G&T

Matt and Mark’s highlights for the next 3 months

21-22

Old Notecracker He’s back!

25

The Mouthpiece Journey

A look into the beginning of the world famous Denis Wick mouthpieces

30

gear reviews

Things to spend your Christmas money on.

profiles 10

BTS Annual Awards

34

Four people voted for by you. Read about their work.

Dates to keep your diary busy

15

what’s on

resources 12-14

jazz by jeremy

Jeremy gives you a tutorial on a Rob Egerton transcription 4

the nco

The importance of the National Children’s Orchestra

26-27

The Bass Bone Files

Roger Argente profiles Dave Stewart

features 11

Dutch Bass Trombone Open

Read all about the most successful Bass Trombone festival in the world

16-18

Happy Birthday Rath Jane Salmon takes a look at the last 20 years of Michael Rath Trombones

23-24

New music from ABRSM

Read all about the new syllabus from the ABRSM

31

Reviews

Read all about the latest concert from the Royal Academy of Music Trombones

32

CD Reviews

Take a look at new releases for your listening library

Welcome to the winter ISSUE

OF THE BTS magazine Another trombone year comes to a close and another edition of ‘The Trombonist.’

We hope that you Christmas preparations are underway and that the trombone is being featured somehow…

Congratulations to the winner of our magazine competition; Dan West. Well done and enjoy your new mutes. Dan’s winning entry was accompanied by this text; “I wanted to share with you a picture of what has – for 30 years – been the loudest instrument in the pit of Phantom of the Opera in London’s West End: the bass trombone mute! As you can see, it is difficult to distinguish this object from your average asteroid or even the surface of the Moon. It often attempts to escape from the pit during poignant silences on stage. Though I dearly respect its loyal servitude through 15,000+ shows over the years I wonder if it may be time I do myself and my deputies a favour and source us a shiny new straight mute from somewhere.”

Turn to page 19 for this edition’s competition and your chance to win a signed CD from Carol Jarvis. As always, any suggestions for content or features are welcome and feel free to email us at editor@britishtrombonesociety.org Best wishes, and a Merry Christmas to you all Ross & Simon

The Trombonist Magazine

Editors: Ross Learmonth & Simon Minshall editor@britishtrombonesociety.org Sub-Editor: Peter Chester Alison Keep Publishing and Distribution: HMCA Reviews Editor: Jane Salmon news@britishtrombonesociety.org Advertising: Jane Salmon advertising@britishtrombonesociety.org Design: Sian Nowley sian@hmca.co.uk

Contributors in this issue: Peter Chester

Roger Argente

Alison Keep

Liam Kirkman

David Thornber

Ross Learmonth

Jeremy Price

Ross Brennan

Denis Wick

Ed Hilton

Jane Salmon

Adam Crighton

Barney Medland

Robb Tooley

Adrian Taylor

Matt Gee

Robert Priestley

Mark Templeton

page 11

page 16-18

page 30

page 32

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winter 2016 the trombonist

president’s column Dear Readers, Ho, ho, holy-maloney! Its Christmas already!

Goodness knows how that came about so quickly. If I’ve made it this far then I must have survived the annual London trombone Christmas drinks.

It’s been a busy time here at BTS Towers of late. What with the recent BTS/WMG/ Music Gurus series of pBone Stripes videos now online (www.musicgurus.com) and not forgetting the epic task of recording all of the ABRSM exam syllabus repertoire (grades 1-5).

As ever, your input is welcomed and encouraged else the magazine team will resort to something ridiculous like putting a spaceship on the front cover. That’s it for now, I’ve some mince pies to bake and some mistletoe to hang ;-) Have a wonderful Christmas!

Liam

BTS Officers & Staff Magazine Contact List

British Trombone Society www.britishtrombonesociety.org

contact list President: Liam Kirkman president@britishtrombonesociety.org Vice-President: Dávur Juul Magnussen vicepresident@britishtrombonesociety.org Immediate Past-President: Christian Jones pastpresident@britishtrombonesociety.org Chair: Matthew Gee chair@britishtrombonesociety.org Vice Chair: Rosemary Abram rosemaryabram@britishtrombonesociety.org Treasurer: Christian Jones treasurer@britishtrombonesociety.org Secretary: Alison Keep Darcy Gate, Kelvedon Road, Tolleshunt D’Arcy Essex, CM9 8EL. Tel: 07976 881893 secretary@britishtrombonesociety.org Committee: Nick Hudson nickhudson@britishtrombonesociety.org Simon Minshall simonminshall@britishtrombonesociety.org Becca Pope beccapope@britishtrombonesociety.org Adrian Taylor adriantaylor@britishtrombonesociety.org

From next month all BTS members will be able to stream, free of charge, all of the pieces performed by either Dávur Juul Magnussen, Nick Hudson or myself from www.britishtrombonesociety.org/resources/ abrsm-trombone-syllabus. We very much hope this new addition to the website will prove to be a popular and valuable resource to students and teachers alike.

Administrator: Chris Sowerby 1 Ullswater Road, Dewsbury West Yorkshire, WF12 7PH Tel: +44 (0)1924 437359 administrator@britishtrombonesociety.org Membership Enquiries: membership@britishtrombonesociety.org Please submit news and events items for the website to: Jane Salmon news@britishtrombonesociety.org Advertising: Jane Salmon advertising@britishtrombonesociety.org

A huge welcome back to the fold goes to Nick Hudson (former Foden’s solo trombone and international soloist) who is already getting his hands dirty helping with organising a Midlands event, recording exam pieces and helping judge the Don Lusher Award.

Representatives Scotland: Simon Johnson 07973 861623 scotland@britishtrombonesociety.org Wales: Jo Hirst 07729 144690 wales@britishtrombonesociety.org North East: Peter Chester & David Thornber northeast@britishtrombonesociety.org

Congratulations are in order for our annual award winners:

North West: Kerry Baldwin 07920 022395 northwest@britishtrombonesociety.org

Player of the year - Elliot Mason Teacher of the year - Alan Hutt Student of the year - Jonny Hollick (RCM) Outstanding Contribution - Michael Rath Sheila Tracy Award - Maisie Ringham Wiggins

Midlands: Martha-Ann Brookes 07966 416198 midlands@britishtrombonesociety.org

Once again a fantastic time was had by all at Oundle School in November (see full report next issue) and Christmas certainly came early for two talented competition winners.

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

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

Wessex: Robb Tooley 07713 093193 wessex@britishtrombonesociety.org Yorkshire: Jonathan Beatty 07966 214362 jbeatty70@icloud.com

Olli Martin was the Don Lusher Award winner and he took home an XO 1632 LT Fedchock model trombone.

Kyle MacCorquodale was the Bob Hughes Award winner and will be having a Wiseman carbon-fibre case made especially for his instrument.

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Brass Band: Ryan Watkins 07801 955297 brassband@britishtrombonesociety.org Jazz: Jeremy Price 07850 685784 jazz@britishtrombonesociety.org Young People: Vacant youngrep@britishtrombonesociety.org

president@britishtrombonesociety.org

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

event news

ews reviviews pre

reviews & previews review Wessex Day

Reviewed by Robb Tooley

On October 2nd over thirty trombonists gathered for the Wessex Regional Trombone Day. Thanks to the generosity and support of Soundstorm (the music hub for Bournemouth and Poole) and the Freestyle Music Centre, this was a completely free event for local trombone players. The morning began with a group warm-up led by freelance bass trombonist James Buckle.

James, who is based in London but hails from Swanage in Dorset, did a fantastic job of deconstructing his own warm-up. He demonstrated exactly what each exercise is targeting and how to best approach them. Once we were all suitably supple James and I took some questions from the group about technique and we tried out some more advanced exercises.

Whilst the main group did this John Randall, newly appointed head of brass for Dorset music service, ran a session introducing some local children to the trombone. He’d clearly done an incredible job because when we returned after a coffee break the kids performed a pretty spectacular Bb scale over one octave. It was inspiring to see how much can be achieved by quality teaching in just a few focused minutes, and great to have a session like this run alongside a more traditional BTS day.

The day continued with some trombone choir music supplied and led by Kevin Morgan of the Bournemouth Symphony Orchestra. We rehearsed three pieces ranging from a deceptively tricky Sarabande by Handel to a rather more

obviously challenging arrangement of the overture from Mozart’s Magic Flute.

With the professional players scattered around the group to advise and assist we got a really pleasing sound very quickly.

It is always a pleasure to play in a large trombone group and this has to be one of the highlights of any BTS event.

After lunch, the section of the BSO were joined by the BSO’s own tuba, Andrew Cresci, and the principal euphonium of Verwood Concert Brass, Ian Harris. James Buckle stepped in to replace the BSO’s Kevin Smith, who picked up his baton to lead us through some excerpts from Holst’s Planets Suite. This is a great piece for the low brass, and we demonstrated some of the more involved sections before unleashing the whole room on them.

This isn’t a piece that will often crop up in local orchestras so it was good to give everyone a go at it. It was a great sound!

With Mars - the Bringer of War still ringing in our ears we took a quick break before rounding off the day by performing the trombone choir pieces we’d rehearsed earlier. Just to keep the pressure on, the pros added in a couple of their own performances, namely Locus Iste by Bruckner, and Robert Hughes’ lovely quintet arrangement of Fly me to the Moon. This brought to a close a very successful day of trombone music-making.

Thanks to everyone who attended, as well as Kevin Morgan, Kevin Smith, James Buckle, John Randall, Andrew Cresci and Ian Harris for their invaluable contributions. And of course - a big thank you to Soundstorm and Freestyle Music Centre.

BTS National Day 2017 in Glasgow

Our team in Glasgow has recently allied itself with the Royal Conservatoire of Scotland and the BBC Scottish Symphony Orchestra and this stellar trinity is lining up a huge event for the

22nd-25th of June 2017. Preparations have been ongoing for a long time but we can now confirm the following:

Guest Artists & Events Christian Lindberg The Ian Bousfield Tenor Trombone Competition Jörgen van Rijen The BTS Quartet Competition Mnozil Brass The BTS Intercollegiate Trombone Choir Competition And they are not done yet! More events for the days are in the pipeline, so please reserve these days in your calendars now, and keep an open ear as more information on artists, events and competition details will be announced shortly.

Oundle & BTS Annual General Meeting

Due to magazine editorial and printing deadlines we are not able to include a review of the Oundle day. The day features the final of the Don Lusher Award and Bob Hughes Competition.

Do look for this in the Spring edition, out April 15th 2017.

BTS day midlands

Sunday 19th March 2017 Venue: Warwick School, Myton Road, Warwick, CV346PP, registration 10am Day to include; Mass playing, Jazz improvisation classes, what to look for when buying a trombone off the internet as well as new trombone music on the Associated Board syllabus and a look into the work of sackbut and Alto trombone.

For further details, available from February 2017 please contact Martha Ann Brookes 07966416198 or mabrookes67@btinternet.com 7

news

and reviews

London Representative Needed

The British Trombone Society needs you! We have a position open for a London representative, a very important role that involves the running of events in the region. For more information and to express your interest in the role, please contact Chris Sowerby – administrator@britishtrombonesociety.org

Rory Ingham joins the Rath family

Hall, Leeds 02, Band on the Wall, Abbey Road Studios, Bridgewater Hall, and most recently the Royal Albert Hall where he was a featured soloist.

He currently holds a chair in the National Youth Jazz Orchestra.

Rory is proud to be endorsed by Michael Rath Trombones.

Trombone success at Foden’s Solo Contest

Dave Stewart and the Bbcco

Isobel Daws

Congratulations to all the trombone players who took part in Foden’s Solo Competition on 29th October 2016.

Over 100 players took part from all over the UK, Europe and as far as Cyprus and China.

Rory Ingham

At 19, Rory Ingham has just become Rath’s youngest artist. Rory is a jazz trombone player, composer and arranger based in London and currently studying at the Royal Academy of Music.

He has played with internationallyacclaimed musicians such as Elliot Mason, Vincent Gardener, Dennis Rollins, Rick Taylor, Soweto Kinch, Newton Faulkner, Liane Carroll, and Dave Liebman.

In 2014, Rory set up the award-winning band ‘Jam Experiment’ that have played at many high-profile British jazz festivals.

He has performed at many prestigious venues and festivals across the UK including Ronnie Scott’s, 606 Club, the Vortex, Spice of Life, London Jazz Festival, Royal Festival Hall, Barbican 8

of: Jacques Mauger (FranceSwitzerland), Gustav Hona (Hungary), Vincent Lepape (Italy), Nicolas Moutier(France) and Jamie Williams (Germany-USA). Special guests : Qu4tre A4, Lito Fontana and Spanish Brass The competition is open to tenor trombone players of all nationalities, born on or after January 1, 1987. www.trombone-alsace.com

The prize for ‘Most Oustanding Trombone Player’ went to Adam Warburton with Isobel Daws winning the ‘16-21 Air Varie’ class and coming third in the Open Air Varie. Well done also to Gemma Riley who won the ‘17-19 Slow melody class’.

Sponsored by Besson, this competition continues to thrive year on year.

If you would like details of the 2017 competition or to download an entry form, please visit www.fodensband.co.uk.

alsace international trombone competition

We are pleased to advise that the first International Trombone Competition of Alsace will be held from 11th to 14th May 2017 in Kingersheim, France.

First prize: € 5,000 Second prize: € 2,500 Third prize: € 1,500 Public prize: € 1,000 The jury will be composed

The BTS would like to wish Dave Stewart many congratulations on his appointment of Principal Bass Trombone of the BBC Concert Orchestra. Dave is professor of bass trombone at both the Guildhall School of Music and Drama and Royal College of Music and is also a founding member of London Brass.

He has previously held positions in the London Philharmonic Orchestra and Academy of St Martin-in-the-Field as well as being an incredibly active freelancer, performing on numerous film recordings and sessions including Harry Potter and Lord of the Rings.

Read more about Dave in this edition’s ‘Bass Bone Files’.

Dave Stewart

hot

PRESS

OFF THE

Passing of Zig Kanstul

Singapore Low Brass Festival

Zigmant ‘Zig’ Kanstul, founder of Kanstul Musical Instruments, Inc, sadly passed away on 1st November this year.

16th-18th November 2016

Born in 1929, Zig began working at the Olds Musical Instrument factory after his service in the army, becoming head of manufacturing at the company.

He started his own company, Kanstul, and produced some of the very best instruments that are played around the globe. Zig’s master craftsmanship and innovative bass instruments have been, and will remain a great influence to numerous musicians.

Many will remember Zig for his approachable manner at many International Trombone Festivals.

The Big Shake-Up Album Release Formerly known as Bad Ass Brass, The Big Shake-Up have just released their new album.

The ensemble are fast becoming recognised as one of the most innovative and exciting ensembles on the UK Jazz scene. The new album showcases three unique compositions from Russell Bennett, a young composer who works closely with the band. “Over the years we’ve been lucky to work with some wonderful arrangers and composers,” explains Jon Stokes, the band’s trombone player.

Find out more here: The Big Shake-Up: www.bigshakeup.co.uk/ Callum Au is one of the UK’s finest arrangers and his setting of God Bless the Child is the perfect vehicle for the stunning vocals of Sharleen Linton who guests on the album. Also included is a New Orleans influenced piece by British jazz legend, Dave O’Higgins.

“We like this tune so much we even named the band after it! We hope that this collection of compositions and arrangements shows off the band to its full potential,” concludes Stokes.

The Singapore Low Brass Festival is a ticketed event over 3 days. The SLBF is by far the biggest gathering for low brass musicians in the region. The festival opens on 16th November 16th and runs until November 18th, at Nanyang Academy of Fine Arts. The SLBF 2016 is jointly organized and presented by Music Elements, The Band World and Music Gear Singapore.

This festival features world renowned trombone, euphonium and tuba icons such as Brett Baker, Jörgen van Rijen, Matyas Veer, Gary Curtin, Adam and Øystein Baadsvik and the low brass musicians from the Singapore Symphony Orchestra. Participants will also enjoy performances by the Black Dyke Youth Quartet from UK, freelance musicians from the Singapore Trombone Society and music college students.

SLBF 2016 is an international platform for all artistes and participants to exchange ideas, network, boost creativity and continuity for this unique art form. Every single module in the festival is set to educate, enrich, engage, entertain and provide the best low brass experience anyone can get.

Facebook: www.facebook.com/ sglowbrass Official Social Media Hashtag: #sglowbrass

British Trombonist’s to feature in Singapore The talented young players of the Black Dyke Junior and Youth Trombone Quartets are off on a trip of a musical lifetime this week.

Hannah Stell, Gemma Riley, Carl Ashworth, Ian Ashworth, Josh Barber, Lloyd Brown, Joseph Heartfield and Adam Warburton will fly to Singapore to feature in the prestigious Singapore Low Brass Festival at the Nanyang Academy of Fine Arts.

t he ho t offess pr

More articles!

For those of you who haven’t discovered it yet, we are delighted to have now added an article section to our own website. This already features a fantastic piece about John Kenny and his work with ancient instruments, plus an introduction to Torbjorn Hultmark’s soprano trombone project. There is an item about the RNCM’s visit to this year’s International Trombone Festival in New York as well as a piece about the Guildhall Trombone’s visit to Canada too.

There is a lot more to discover and plenty in the pipeline that we look forward to sharing with you all.

Please visit www.britishtrombonesociety.org/ articles.

Remember, as a member of the Society, you are eligible for various discounts too! We have partnered up with a list of organisations, all happy to offer you great deals. Visit our website for more information.

You can find us on Twitter (www.twitter.com/ britishtrombone) and Facebook (www.facebook. com/britishtrombone) where we share all of these updates with you all.

Maisie passes It is with great sadness that we report that Maisie Ringham Wiggins passed away on Saturday, 3rd December.

Maisie was a life-long Salvationist and former principal trombone of the Hallé Orchestra under Sir John Barbirolli from 1945-55. Maisie began studying the trombone at age 10, her father being her first teacher.

She was an inspiration to many.

Ever modest, Maisie accepted the Sheila Tracy Award at this year’s Annual General Meeting “on behalf of all female trombonists everywhere.”

Maisie was a true legend in her field, and inspired many through her teaching.

We have lost a light, and the angels have gained a great trombonist. R.I.P. Maisie.

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winter 2016 the trombonist

2016 annual awards The BTS is pleased to announce the winners of the 2016 annual awards.

These were presented at the recent AGM in Oundle.

Player of the Year: Elliot Mason.

Originally born in Norwich has become one of the leading lights in the trombone world. Winner of the 1994 Frank Rosolino Award, he went on to win the Slide Hampton Award in recognition of outstanding performance abilities from Berklee.

After studying in at Berklee, Elliot moved to New York City. Since 2007 he has been a member of the Jazz at the Lincoln Centre Orchestra, directed by Wynton Marsalis. He also co-leads the Mason Brother Quintet with his brother Brad.

Teacher of the Year: Alan Hutt.

Alan has taught some of the finest trombonists of current times from his post as teacher at Wells Cathedral School.

An Associate of the Royal Academy of Music for services to, and achievement in the field of music, Alan was also the director of the Kent Youth Wind Orchestra. As a player he freelanced with all the major symphony orchestras 10 10

in the UK and at the age of 21 joined the Royal Philharmonic Orchestra.

In 1974 he accepted a position in the Royal Opera House, Covent Garden with the Opera House Orchestra before leaving in 1984.

Student of the Year: Jonny Hollick.

Currently a student at the Royal College of Music, Jonny is a member of the well respected Kensington Brass and an active member of the college brass department. Amos Miller said: “Jonny is a fantastic young player, almost completely self taught (via YouTube etc!) until his acceptance at the Royal College of Music for the undergraduate programme. He has studied with Lindsay Shilling and Byron Fulcher and has developed into an exceptional trombonist, with a rare gift for melodic playing. Now in his 2nd year of postgraduate study at the RCM, he is already working with orchestras such as the Philharmonia and City of London Sinfonia.”

Outstanding Contribution: Michael Rath.

Many readers will be familiar with Mick’s work as an instrument maker. Mick has always been a huge supporter of the BTS and his instrument are not only played here in the UK but around the world. Rath Trombones celebrates 20 years in business this year, and you

can read more about this in the feature article in this magazine.

Sheila Tracy Award: Maisie Ringham Wiggins MBE.

Maisie was principal trombone of the Hallé Orchestra for 10 years under Sir John Barbirolli, during which time female brass players were relatively unheard of. We featured Maisie in the summer edition of ‘The Trombonist’ in 2014 in celebration of her 90th birthday.

ion Sect tlight Spo

Beyond the Certified in Holland

By Peter Chester with help from Alison Keep and David Thornber

When friends learned we were to attend a gathering of 50+ bass trombones, the not uncommon, yet unimaginative comment was, “you must be mad”.

Well, it is now official ….. we’ve been to such a gathering and yes, we’ve survived, been certified, and distinctly proud of it ….. and very much looking forward to the next.

The bass trombone is of course an instrument for the cognoscenti, so a gathering of bass trombone players will be somewhat specialist. To be fair to anything associated with the Dutch Bass Trombone Open “no tenor trombones will be permitted, harmed or damaged in any way during this event”. That was certainly true and quite honestly, such instruments were rarely talked about, such is the focus that can be found when enthusiasts gather in one place.

15 countries, 50+ individuals, 4 worldclass teachers – why talk about anything else but the bass trombone?

The Dutch Bass Trombone Open is the creation of two indefatigable Dutchmen, Marcel Schot and Bert Damsma.

September 16th-18th saw the sixth edition of their biennial homage to the bass trombone. They’re often a little manic, but always helpful and friendly, well-organised and concerned that everyone was having a good time - we did! It was soon clear that this unique event had its regulars but what was lovely for newcomers was to be treated as if we had known them forever.

We were lodged in the excellent facilities of Akoesticum, the Dutch National Centre for Music, Dance and Theatre, just outside Ede, near Arnhem. The buildings were actually an exemplary use of a redundant army barracks – functional and clean, wholesome food, a late bar, efficient and friendly staff, including a bass trombone player – can’t be that bad! It was clearly well used by all sorts of musical groups and certainly seen as a means of strengthening the Arts. Why can’t Britain have one??

So what do 50+ bass trombone players do for 48 hours, apart from eat, sleep,

be pleased to note that Rath’s were the most popular instrument there, which was very pleasing, as Rath’s had quietly been the major sponsor of the event.

So what did we learn?

James Markey

It is impossible to catalogue everything, but we could start with basics - both morning warm-ups, with Ben and James, and a masterly session Ben gave, reminded us of that old necessity, efficient and relaxed breathing. What is always interesting is the different sound that individual players can produce, but the basics are the same. Remember, breathing starts with an ‘ah’ not on ‘oh’.

And then there were the smooth sounds, the absence of edge, the presence of warmth – Massimo’s wonderful improvisation all over the instrument.

Massimo Pirone

Massed blow

make new friends – Derrick Parker seems to know everyone already!

Over the weekend we packed in: 1 recital session from the teachers, 2 morning warm-ups, 5 massed blows preparing concert pieces, 2 masterclasses, 9 talks/presentations, 1 photoshoot, 1 yoga session (yes – look at it on Youtube!), 1 concert to pull it all together and listen again to the teachers!

Oh yes, the teachers – quite a selection, as ever for DBTO events. The stalwart regular is of course Ben Van Dyk, who has worked with Marcel and Bert from the start. This year he was joined by James Markey of the Boston Symphony Orchestra, Massimo Pirone, the great jazz player from Italy, and UK’s own Simon Minshall, adding the extra weight of his Rath contrabass as much as anything! By the way, flag-flyers might

And then there were the high notes – yes, it is possible to play Siegfried’s horn call, at actual register, on the bass trombone – James did!

This feat came, appropriately enough, after what for many was the most novel presentation of the weekend, from Simon. Putting the ‘best bits’ of trombone parts of Wagner’s Ring Cycle onto a large screen, then telling the story of the four operas, from a somewhat Mancunian perspective, with 50 bass trombones playing those best bits as needed, was certainly a novel way of coming to understand Wagner’s magnum opus. Not to be forgotten for some time…….

Playing together is always fun and some good music was made, even at 11 o’clock at night. Arrangements of Jurassic Park and Game of Thrones found their place alongside a tribute to George Roberts, a DBTO original from Massimo, and another from Bill Reichenbach called Getting Medieval.

We all had plenty to do. It is just possible that the earth really did shake when 4 contrabasses and a selection of bass trombones play pedal Cs together...

Just so you all can catch up with this madness, look at the DBTO website (info@dbto.nl) and Facebook page to see what you missed.

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winter 2016 the trombonist

jazz by jeremy

Bye Bye Blackbird Kai Winding and Jimmy Knepper Continuing the transcription series for this section, this issue features two for the price of one with both Kai Winding and Jimmy Knepper taking solos on the same track, Bye Bye Blackbird, from the album “The Incredible Kai Winding Trombones.”

Again the recording is found very easily on Youtube. Thanks to Rob Egerton for the excellent transcriptions and for choosing these two pillars of jazz trombone to be represented here, side by side.

And two totemic pillars of jazz trombone they certainly are; both completely impossible to ignore to any aspiring jazz trombonist. Kai Winding was Danish, (b.1922 d.1983) and moved to the US when aged 12.

He played in many Big Bands including Stan Kenton and Benny Goodman and is probably best known amongst jazz musicians for his output with JJ Johnson in the famous “Jay and Kai” Quintet.

Jimmy Knepper (b.1927 d.2003) has his place secured in jazz history for his association with bassist and composer Charles Mingus, that is for his characterful and innovative approach to the trombone as sideman on many very important Mingus records, but also as copyist and almost a producer like figure for some of Mingus’ projects. Sadly, as Mingus was quite psychotic, Knepper is also known for being the victim of a Mingus punch that knocked out one of his incisors, forcing him to take a few years out of his playing career.

Mingus got a suspended sentence for this assault, and as revenge for Knepper 12

pressing charges, sent him a package of heroin in the post and made an anonymous phone call to the police in an attempt to frame Knepper for drug dealing. If you are ever upset with your band leader, think on this story!

Quite unbelievably, in later years Knepper went back to record with Mingus so presumably had the heart to forgive him.

Bye Bye Blackbird is a popular standard and often used jam session tune. It is deceptively hard as it is so diatonic so needs an understanding of subtle harmonic movement to play properly.

Our two protagonists take due care of the soft modulations and serve us up beautifully clear one chorus solos.

Here they play it in Ab, but most rhythm sections will expect to play it in F if you ever decide to have a go yourself.

It’s well known because of the Miles and Coltrane versions of which there are many.

The first solo is Kai’s and sounds to me like he has a harmon mute in with the tube removed. To open the solo he plays some very nice Ab shapes that all fit well on the slide, and note the repeated presentation of Eb to F in different octaves. Bar 6 past the double bar, he catches an important D natural that marks the B diminished chord at this point. This is the first hint of a departure to a movement to chord two and forms part of the Embraceable You turn around that characterizes this part of the tune. In the second 8 bars of the form, he quotes the Cole Porter classic It’s De Lovely which not only gets a wry smile but is also a good example of quoting a theme in a solo without it being incongruous.

Use this device cautiously. It can be ever so corny but not here. Second half of the chorus moves into higher register and more flowing lines which works well to give a sense of development. Last 8 bars sees a good “climb down”as it were, and note the harmonic detail addressed with the A

natural on chord VI (F7) on the 4th bar.

A very smooth descending thirds pattern arrives satisfyingly on the colorful major 7th at the end.

After the piano solo comes Jimmy Knepper, in cup mute or perhaps solo tone mute. This solo is a real gem and is classic Knepper for the mellifluous floppy way that it sits right under the slide. But for all it’s ease and flow of execution there is beautiful design in the melody, so absolutely no arbitrary trombonisms but deliberate attention to lyricism first and foremost. Bar nine is a beautiful vocal hola that perhaps Billie Holiday would come out with, and all the subsequent lines are full of prosodic little echoes of previously played motifs.

This is angelic improvising.

Thank you Jimmy Knepper!

For more Knepper, check out the Mingus recordings obviously but also a quintet album with baritone saxophonist Pepper Adams, alliteratively entitled “Pepper Knepper.”

Jeremy Price

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crossword competition The popular Christmas crossword is back!

This proved a success last year so we have brought you another puzzle for you to enjoy by the toasty fire with a glass of something nice. Courtesy of Ankle Poise. The prize is a signed copy of Carol Jarvis’ album Smile. Good luck!

Deadline is February 1st 2017.

Email your answers to editor@ britishtrombonesociety.org Across

Down

1a

Military leader gives a thumbs-up back for an Irish playwright (1’5)

2d Practise is what gets you to this NY Hall! (8)

5a

Hot alien ruined G&S operetta (8)

9a

Loud communist mixes rice for a Polish composer (8)

4d Sixties rock band overturned cart

with young women (9)

10a Diet or change newspaper boss (6) 11a Such a scene at the end of the opera! (5-3) 12a Uncover United Nations live mix (6) 13a Ears need crazy love song (8) 15a Liverpool pop groups loses the french rhythm (4) 17a Composition spilled soup (4) 19a Two donkeys at home for hitman (8) 20a Close around fifty stringed instruments (6) 21a Scottish lad follows twelfth greek,

literally plays an instrument (8) 22a Playwright back on time for children’s author (6) 23a Malicious woman cast off sin (3-5) 24a Variation on a rich myth with a steady pulse (8) 25a Dances awkwardly on stage without energy (6)

3d Appointment in Kent road is most relaxed (8)

5d Musical incident involved background

tunes (10,5) 6d An old poet going at walking pace (7) 7d After drink Edward rose and did sums (6,2) 8d Swallow up inside corn provides

aural protection (8) 14d Molars and foam combine to provide

piano cover (4,5) 15d Credit bunker shot he’s played (8) 16d Fish? Certainly, back in Wales (8) 17d Noon encores ruined film projection (2,6) 18d Fully in agreement to take in gas,

but lose America with one mind (3,5) 19d Get rid of conservative princess from

diabolic quiet (7) 15

winter 2016 the trombonist

Rath turns 20

by Jane Salmon

The iconic capital letter ‘R’ has become a symbol of great craftsmanship among the trombone world thanks to Michael Rath; the man behind Britain’s only trombone manufacturer.

Michael’s journey began at his childhood home in Windsor, in the garden shed that he and his father built together. It was here that he developed his skills, built his tools and began his career repairing instruments on a freelance basis. After leaving school, Michael served an apprenticeship for 10 years with the Paxman French Horn Company, where he further established himself as a fine instrument repairer.

In 1990 he moved North and set up shop in Bradford where his highly skilled repairs and coincidental network of trombone playing friends quickly earned him a reputation as a specialist in trombones.

An invitation then followed from a friend and leading British artist, Mark Nightingale who asked Michael when he was going to make his own trombones. After many designs and a lot of trial and error, the first ever Rath went into production in 1996 and Mark Nightingale became the first ever customer of Rath trombones.

Word quickly spread and tenor trombones went in to steady production.

Michael, with fellow technicians Andy Hutchinson and Adrian Davison began to develop the full trombone line up that is so popular today; the small bore jazz models, symphonic instruments, bass, contrabass and alto models. Sadly, in 16

2006 the company lost Adrian Davison, their highly respected slide specialist, in a motorcycle accident.

Today, the Rath shop and factory is proudly based in Honley, Huddersfield and is home to a small team of technicians that Michael has built up and mostly trained himself. Rath’s excellent reputation is now represented across the world, and in 2015 their success was highlighted when the site was selected for a royal visit by Princess Anne.

piece Soul Tubes. A sterling line up that echoed the high quality of his own work. The British Trombone Society are delighted to have heard from so many musicians who are all keen to pass on their congratulations and thanks to Mick and his team at Michael Rath Trombones.

“I first got to know Michael Rath around 1994 whilst a student at Leeds College of Music and became aware of his intention and relationship with Mark Nightingale in developing the R1.

From day one, the company has existed to offer players bespoke instruments as well as providing top quality repairs and customisation. Once a tuba player himself, Michael has a wonderful understanding of the needs of a musician, each artist’s individuality plus the technical understanding to make everything work. He is a true specialist.

Upon graduating in 1997 I part exchanged my trusty Bach 16LTM to start my professional career with a hand made R1 Rath Trombone! At that time there was only a small handful of trombonists playing them so there was always a lot of interest in the instrument whilst I was working in the USA and Europe.

This year marks the 20th anniversary of the company and the Rath story continues to develop. The line of instruments now includes popular student models, developed in partnership with John Packer and Rath’s entire range of instruments continues to be sought after worldwide. To celebrate this 20-year milestone, an Anniversary edition is in production and is set for release later this year as an addition to the Pro Series.

Twenty years on, continuing a busy playing schedule and now a lecturer at Leeds College of Music I still continue to have a great relationship with Michael. I now play on his latest addition models, the R12 and R3F. Throughout the past twenty years I have seen his profile go global, and rightly so, his integrity and passion in producing a consistently high quality trombone has never changed.” - Kevin Holbrough

In August, Michael held his own celebrations, which included an evening of entertainment from various Rath artists including Dennis Rollins’ and his Velocity trio and the fantastic five-

“I’ve had my R4 for over 5 years now.

Still feels like new and still blows like a dream. Best trombone I have ever played.” - Kevin Morgan, Bournemouth Symphony Orchestra

“I got my Rath after a few years of fruitless searching for a new instrument. The standard mass produced instruments were ok, but I wanted to find something a bit more interesting.

Hunting for a great vintage trombone was frustrating - the examples for sale weren’t living up to the hype and were probably being sold for a reason. I decided to give Rath a try and after a couple of hours of trying different setups I settled on an R4F that I’m still really happy with five years later. It’s beautifully made, works flawlessly and, most importantly, helps me play the way I want to. I still look forward to playing it every time I get it out of the case!

Thanks to Mick and his team for making my instrument, and congratulations on 20 years in the business!” - Robb Tooley, 2nd trombone Bournemouth Symphony Orchestra ‘I am fortunate enough to be supported by this very generous man. He truly is a master craftsmen and to be able to visit him and chat about designs and developments over a pint or few is fantastic. My contrabass trombone in particular is one of the finest instruments I have ever played. Thank you Mick! And Nicola-they come as a pair!’ – Simon Minshall “I have only had my Rath R4 and R10 for around 6 months but I can say with confidence that they are the best trombones I’ve ever owned.

Having blown a few of my friend’s and colleague’s Rath trombones, I was never totally convinced. It wasn’t until I made the trip to Mick’s up in Holmfirth that I realised what all the fuss is about.

Experimenting with all the different bits was fun and witnessing the level of care and craftsmanship from the whole team was amazing. Each trombone is different and very personal, many of those same Rath playing colleagues don’t particularly like mine. They prefer their own. It’s always a pleasure visiting Mick and the Team, I feel like my trombones will be forever in safe hands (apart from mine).” – Jon Stokes “I bought my first Rath 20 years ago, when Mick had not long been making Rath Trombones. That R1 has now toured the world several times with me, playing with artists from Sting to Amy Winehouse, from Queen to Ellie Goulding, and from MUSE to Rod Stewart. I now own a whole family of Rath trombones to cover all my classical

On the day I visited, Ian was trying out a couple of sackbuts that Mick had custom made for him. I was blown away (excuse the pun!) by the fact that Mick had handmade these instruments himself, and was busy taking measurements and discussing with Ian how he could alter them to make them just what Ian wanted. Instead of trying out the 2nd hand trombones I had originally gone there to look at, I knew I had to have a Rath. work as well as my jazz, pop and session work, and with Mick and his team’s incredible skills at hand, I have them all custom made and tailored to my own needs. I think it’s wrong that there’s been a tradition in the UK for British orchestra trombone sections to play a certain American make of trombone, but I’m so glad that those traditions are slowly dying out, and now there are a few complete Rath trombone sections taking over! For me, I think the British sound should be produced on a British trombone, and I feel that Mick has perfected that down to a tee.

Congratulations on an amazing twenty years, Mick! x” – Carol Jarvis “Congratulations to Mick and the team on their 20th anniversary! It’s great to see a British instrument maker not just holding it’s own in the world market, but being a market leader. Not a week seems to go by without hearing of another prominent international player who’s decided to play a Rath, and with good reason.

I remember first going up to see Mick in 2001, at the behest of Ian Davies (former Opera North Bass Trombonist) to whom I will be eternally grateful for many reasons!

Ian’s playing career was curtailed at one time due to dystonia in his left arm, which meant he couldn’t hold the trombone for any length of time as his arm would shake. Mick and Ian devised and built a system, whereby the trombone clipped onto a harness and didn’t have to be held up with the left arm. Meaning Ian could go back to playing for a living. This made quite an impression on me as a young lad at music college.

I heard through Ian that Mick had a couple of second hand, part exchange trombones. I was looking for an instrument so decided to visit the workshop.

I ordered an R9 Bass Trombone that day, and have since added another R9 Bass Trombone and an R90 Contra Bass Trombone to the collection, along with my favourite, a trombone custom made for me..

A few years ago, faced with a run of Rossini’s ‘La Cenorentola’, I was trying to find a large bore valve trombone.

Having had no luck in my search I mentioned the problem to Mick, who’s reply was ‘Ok, I’ll make you one, when do you need it?’. Thanks Mick, keep up the great work.” – Lyndon Meredith “I first met Mick at the regional ITA conference in New Orleans. He was kind enough to take a look at the instrument I was playing which has a fault and asked me to pop to the factory and try one of his models when back in the UK, since then I have been hooked. Mick is a fantastic manufacturer and repairer of instruments. His reputation for excellence is worldwide. I am fortunate that as well as being an ambassador for the company I can call Mick a good friend and supporter of the various projects that I get involved with as a performer and educationalist.” – Brett Baker “Mick’s approach to any suggestions I make regarding changes/updates to instruments, particularly on the R4, have always been met with the same positive “if you think it’s worth trying, I will make it work somehow, give me a few weeks to design it and make it” reply. Nothing is impossible. If it could work, it’s worth looking into. What I always notice, is that he isn’t the only one that cares about his product. I have had numerous phone calls and face to face chats with several of the team in the manufacturing side of Rath Trombones, and they have all shown the same care

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rath turns 20 continued...

AUTUMN 2014 the trombonist

and willingness to make their instruments as best they can, inspired by Mick (and Nicola!). It really is a team effort, focussing on quality, bespoke design, and personal satisfaction, that makes Rath such a success story. Mick is always good company, and really enjoys the appreciation he deserves from trombone players globally!” Roger Cutts “I’ve known Mick since about 1991 when he was working from underneath the woodwind shop on Bradford. I was introduced to him by Chris Houlding and Ian Davies of Opera North. From the start Mick was always very friendly, professional and treated me with respect. Naturally his workmanship on any repairs I needed doing was first class and over the years he has helped me a great deal.

As I work in theatres a fair bit my trombone gets bombarded with dust.

When combined with the ‘hard water’ in my breath the Trombone’s get gunked up all too often. Mick has a magic ‘witches brew’ in which he gives my hooter a bath and it always comes back as good

as new! I asked him the recipe once and tried it myself. Never again! My hooter ended up smelling like an old burnt out train set for a couple of weeks.

The last few years I’ve been playing on Mick’s Trombones as a Rath artist.

I love the way the bass trombone plays and I love the sound that I get on it.

In fact Mick looks after our whole section at WNO and I know Roger Cutts is extremely happy with the tenor trombones too. Mick is a delight to work with and I would like to take this opportunity to publicly thank him for all he has done for me personally over the years and for the continuing, outstanding support he gives our section at the Opera.” Alan Swain Principal Bass Trombone.

Welsh National Opera.

“I love playing Mick’s trombones, and it’s a real privilege to be a Rath artist.

His hard work and dedication shows in the quality of his instruments, and his success is truly deserved. Thanks Mick!” - Dave Whitehouse “In my opinion, Rath are the best. I’ve had my Rath R10 trombone for 3 years

now. It’s perfect. I always feel a great a warmth when visiting Mick and the team at the Rath factory; they have an unparalleled passion for making top notch bespoke trombones. Whatever you want, they’ll have it. If you don’t know what you want, they’ll point you in the right direction. I am very proud to be endorsed by Michael Rath Trombones!”

- Rory Ingham Rath R90 Contrabass

‘the rehearsals were tough but the gigs were tougher.’

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winter 2016 the trombonist

nco

by Barney Medland

The National Children’s Orchestra has been delighting and surprising audiences since the 1970s. Over the last few decades it has grown into one of the country’s pre-eminent cultural organizations for young people.

The Orchestra was founded in 1978 by the late Vivienne Price MBE. Price set out to create an ensemble that nurtured young talent and gave younger players a foundation in orchestral performance.

Every year, hundreds of children aged 7-14, spread over six age-banded orchestras, benefit from Price’s legacy.

The National Children’s Orchestra accepts the most promising young players in the country in each of its respective age groups. The activities of the NCO revolve around the residential courses that take place over the Easter and summer breaks, while a further six regional orchestras provide members the opportunity to meet and rehearse over the rest of the year. The Training Orchestra, for the youngest children, is a strings only affair, but thereafter the courses bring together full symphonic forces to play serious and challenging orchestral pieces. For most children who do NCO it will be the first opportunity they have had to play in a proper, fullsized orchestra.

Of course, a great deal of the finest music written for the trombone is to be found in the orchestra. Therefore, young trombonists can benefit even more than most from the rare opportunity to play some of this great music as it’s meant to be played. In the Under 10 and 11 orchestras, expect concert programmes to comprise mostly shorter pieces and orchestral suites. However, by the time the children reach the Under 13 or Main Orchestra, they are playing serious, sometimes extraordinarily ambitious, full-length bona fide masterworks.

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From children aged just 13 and 14, the standard of playing can be remarkable. Recent concerts have included Prokofiev’s Fifth Symphony and an astonishing performance of Rimsky-Korsakov’s Scheherazade.

These really are impressive pieces for the talented young trombonists to get their teeth into, and they surely provide an unbeatable introduction to orchestral playing.

It is not just the repertoire that is played in these concerts that makes the performances such fantastic experiences for the young players. The concerts of the NCO’s more senior orchestras are performed in the finest concert halls Britain has to offer. I vividly remember the first time I had the chance to play in a proper concert hall: St David’s Hall in Cardiff, a decade ago, while I was a member of the NCO. I remember walking on to the stage for the start of the pre-concert rehearsal and staring wide-eyed at thousands of red seats, bank upon bank, stretching into the distance. Recently, the Under 13 Orchestra performed on stage with Wynton Marsalis and Nicola Benedetti.

To a musically talented child, a performance in a world class concert hall, sometimes with a world class musician, can be the watershed event that inspires the child to take their music making to the next level. The number NCO Alumni found at conservatoires and in the profession is testament to this.

Expect a steep learning curve: the rehearsal schedule for the courses is intense and will push a young trombonist’s stamina. One of the most valuable opportunities the players will have over the course of the week is to learn with a distinguished and experienced section tutor, drawn from the top ranks of the music profession.

I caught up with lower brass tutor David Whitson, and asked him about some of his experiences with the NCO: “I have been tutoring for NCO for almost half of the years since its inception nearly 40 years ago.

The experience I have had throughout those years has been one of amazement at what those children lucky enough to have gained a place have been able to achieve. From the years before I joined the team, I have felt that the impetus started by [the orchestra’s founder] Vivienne Price has been so enthusiastically carried forward to the present day and, I am sure, beyond.

“I had the pleasure of helping Vivienne with her trombone playing from time to time, Vivienne was a violinist, and I enjoyed seeing the sparkle in her eye when she joined in occasionally with the trombone section I was coaching. Her enthusiasm was greatly enjoyed by the young students as well!

“There have been so many occasions I can look back upon when the lower brass sections have totally surprised me, when such young trombonists and tubists can make a very difficult work sound so professional and easily controlled on the big stage, at either the Royal Festival Hall or Symphony Hall in Birmingham. Then, moving on in years, they have joined me on stage at those venues as professionals.”

I’ll leave the last word to the BTS team, some of whom had their first big introduction to orchestral playing through the NCO: “Our time with NCO gave us a wonderful start in the musical world - the experience and encouragement from the whole organisation is brilliant - thank you NCO!”

old r e k c a r c e t o n Fionnuala Mac Giolla Bhrighde: Vile Bodies: a critical consideration of the morals and personal hygiene of the19th century pit musician.

(Skibbereen University Press.

Hardcover, 3 vols 1069pp £549: BTS members receive 3% discount on presentation of membership card at the publisher’s offices in Skibbereen).

Professor Mac Giolla Bhrighde’s work is magisterial, especially her chapter on backstage water closets in the years immediately preceding Napoleon’s retreat from Moscow: her investigation of the uses to which Cioffi’s celebrated top hat were put has surely settled the matter once and for all. In this, as in so many other important areas, Vile Bodies is sure to remain the standard academic text for years to come.

She is the first modern historian to acknowledge the importance of the Futtocks, a dynasty of trombone players tales of whose unruly lives pervade the history of English music like a seam of pink satin in a sober Savile Row suit.

They are first mentioned by Samuel Pepys: a redacted section of his diary asserts that the Great Fire of London was started by one Rowland Futtock, whose brass instrument workshop was next door to the bakery in Pudding Lane. The conflagration was sparked when alchemical experiments to create a Perfect Embouchure Lotion went awry.

There is some evidence for the premiere of Dido and Aeneas having been disrupted by a Futtock infiltrating the chorus and making inappropriate noises during When I Am Laid In Earth.

This may explain Purcell’s excision of the extensive trombone parts immediately after the premiere. At any rate, it is certain that Ulysses Futtock

and his sons George and Adelbert were among the six trombonists who played in the 1794 performance of Messiah which was attended by Joseph Haydn. Haydn is said to have burst into tears during the Hallelujah Chorus and cried “he is the master of us all”, but according to the diary of Winifred Frimley, his outburst was prompted by an act of sabotage by one the younger Futtocks who, displeased by the obbligato in The Trumpet Shall Sound, laid out the trumpeter with a skilful right hook and played the solo on the trombone. Alas, his sightreading was poor and in the opinion the Dowager Countess of Eastbourne, who was present, “Futtock had drink taken”.

Haydn’s contemporary and friend Johan Georg Albrechtsberger, on hearing of the incident, resolved to abandon the Jew’s harp concertos for which he is justly celebrated and embark upon solos for trombone. However, his one attempt did not meet with approval from the Viennese public: the soloist, Lothar Naujocks, was defenestrated at Schönbrunn and Albrechtsberger forswore the trombone permanently.

In 1809 riots broke out in the New Covent Garden Theatre over an increase in ticket prices. They persisted for sixty-five days and prizefighters had to be brought in, allegedly to protect the orchestra, though an anonymous correspondent in the Harmonicon for November 23rd 1809 asserts that they were employed to protect rioters from, “the ministrations of two trombone players who, thinking less of music of the spheres than of the spears entered the fray with enthusiasm and proceeded to disable more than a dozen of the insolent rioters”.

The pugilistic predilections of Futtock’s sons are all the more surprising since Ulysses himself was a man of physical insignificance, weak eyed and hollow chested; the timorous bespectacled figure in Cruikshank’s celebrated

caricature of Mendoza attacking the rioters is thought to be Futtock père himself. According to a letter in the Philharmonic Society archive in the British Library, many people were disconcerted by the purple-faced strenousness of the older Futtock’s performances, the more so since however apoplectically he might labour, he remained inaudible even when he was the only musician playing.

His progeny may have been mad, bad and dangerous to know, but it was the older Futtock’s musical deficiencies that caught the imagination of the highest in the land. An early draft of Childe Harold’s Pilgrimage adduces a first hand account of one of his performances.

It is a powerful quatrain and most literary scholars are at a loss to explain why Lord Byron should have rejected it in favour of the prating about gondolas that made it into the final version: I sat in Clapham in the concert hall A Futtock and a chorus on each hand Strained to hear the mighty trombone bawl But he was quite engulfèd by the band...

One December night, a cobblestone hurled from the gallery struck Adelbert on the head. For days he lay close to death (his father tried to rouse him by playing the trombone at his bedside, a stratagem that, not surprisingly, met with little success) and when eventually he awoke it was clear that an alteration had occurred in his character.

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old notecracker continued...

John Ebers, lessee of the King’s Theatre in London’s Haymarket (then the home of the Royal Italian Opera) records the dismissal in 1811 of a trombone player in “a state of sartorial disarray such as to render the graveyard scene both risible and indecent” and at the Cambridge Musical Festival the following year, a performance of Cherubini’s Anacreon was brought to a scandalous halt when the second trombone left the stage halfway through, to reappear on the platform shortly afterwards naked “save for a cap of unusual design and festooned with ribbons”.

By now Adelbert was a celebrated trombone soloist able to command as much as twenty guineas a performance, so his bizarre behaviour was up to a point tolerated. He was a great seducer, rumoured to have importuned Jane Austen (whether he did so with success is a secret that both parties took to the grave) and he cut a swathe through the fashionable society at Bath without conforming to anything resembling a dress code: at his concerts, arrangements of Chinese screens, ornamental tents and, on one occasion, a cohort of lusty

22

yeomen armed with embroidered tablecloths were employed in the service of modesty and for as long as his acolytes remained vigilant, Futtock’s income - if not his reputation - was secure.

It was at Bath that nemesis came in 1814. It was customary then for musicians of lowly birth to be separated from their aristocratic audience by a silken cord stretched across a doorway.

Adelbert performed Carl Maria von Weber’s other trombone solo, the lost Gumpoldskirchen Variations in “a Chinese robe of ingenious design” and, during the piano cadenza stepped out of his costume and performed what a review of the concert called “a succession of gymnastic and terpsichorean feats with the silken cord that, for reasons of decorum we decline to describe”. He was run out of town, his career ruined and the last record we have of him in England is an account of a musician dismissed from Wombwell’s Touring Menagerie for “disagreeable conduct and frightening the camel”.

He subsequently emigrated to Samoa and worked as a teacher. It is to be

hoped that his later years were tranquil; certainly he found a place where his habitual nakedness was likely to pass unnoticed. In 1889, Robert Louis Stevenson was shown one of the surviving scrimshaw trombones that Futtock fashioned for his classes. Stevenson records that “the designs on the bell were stimulating but the tone resembled the bleating of a distressed goat”.

Whether this was due to the instrument’s design or the Samoan player’s unorthodox technique is something we shall never know: both were carried away as war booty shortly afterwards and never seen again.

f trombone o y t s a n y d ‘...a s of whose e l ta s r e y a l p rvade the e p s e iv l ly u unr nglish music history of E f pink satin in like a seam o e Row suit. a sober Savil

New music for trombone from ABRSM

by Adrian Taylor and Robert Priestley

With refreshed ABRSM repertoire lists now available for Trombone, syllabus selectors Adrian Taylor and Robert Priestley provide a guide to some of the wonderful music on offer.

Selecting pieces and studies for the syllabus can be a complex task.

Particularly in the early grades, they need to fit within the correct range of notes, within time limits and be in appropriate keys. In addition, notes in 7th position are impossible to reach for most young children so pieces for Grades 1 to 3 are restricted to the first six positions. Once we delivered our long list of pieces, an external moderator checked and commented on all our suggestions before final syllabus choices were made. The 2017 syllabus contains pieces from current lists together with new choices, some only published in the last few years. Going through hundreds of pieces has put us in the fortunate position of finding music we would otherwise not have come across.

Here we’ve looked at newly added books and pieces, although repertoire carried over from the current syllabus remains highly recommended! New to the syllabus are some early-grade pieces that are also set on the syllabuses for other brass instruments, allowing more effective group teaching of mixed instruments when working towards an exam. There’s also plenty of choice for treble-clef readers as well as solos from the brass band repertoire, and we have maximised the use of books set across Lists A and B, and across a number of grades.

PIECES: LISTS A & B Shining Brass (ABRSM)

New on the Trombone syllabus are ABRSM’s Shining Brass books, which already appear on syllabuses for other brass instruments. With one book providing pieces for Lists A, B and C at Grades 1 to 3 and a second book for Grades 4 and 5, this is an ideal way to buy music for lower-grade exams.

You can buy the piano accompaniment books separately, but the brass books themselves come with a CD to practise with at home. And with Shining Brass pieces also set for other brass syllabuses, group teaching of mixedbrass instruments becomes more practical and efficient.

Tons of Tunes from the Classics (Curnow Music)

For earlier grades we also like Tons of Tunes from the Classics and have chosen pieces from it for Grades 1 to 3.

The book features 32 well-known pieces and comes with orchestrated backing tracks on a CD, making it excellent for use in school concerts. It also has a large stave size making it easy to read and is available for other wind and brass instruments so children on different instruments can play together.

Trombonists with short arms will appreciate that Bizet’s Farandole (Grade 2) and both Grade 3 pieces (Beethoven and Mouret) don’t have notes that go beyond 5th position, allowing for performances with a fighting chance of good intonation for these players!

Cornish Pastiche (Spartan Press)

Cornwall is a rich source of great folk tunes and Cornish Pastiche from west-country based Mark Tanner has

pieces set for Grades 1 to 4 in List A. Some, such as I Love My Love (Grade 3), will be familiar but others will be delightful discoveries.

Nordic Sketchbook (Warwick Music)

Edward Watson’s Nordic Sketchbook provided a wonderful collection of original compositions for Grades 1 to 3. Trolls (Grade 1) will appeal to many young players and has the benefit of not going beyond 5th position – trolls have short arms too!

Ultimate Movie Instrumental Solos for Trombone (Alfred)

Those who enjoy the music of John Williams will very much like this book, from which Hedwig’s Theme, Raiders March and The Imperial March (Darth Vader’s Theme) have been chosen for Grades 4 and 5. The book comes with a CD with printable PDF accompaniments, MP3s featuring performances and accompaniment tracks. The trombone edition is compatible with versions for flute, clarinet, alto and tenor saxophone, trumpet and French horn giving great opportunities for group music making.

Across the Pond 02 (Brass Wind)

Another new book that appears across a number of grades (4 to 7) is Across the Pond 02 arranged by Jim McMillen.

As the title suggests, it features wellknown numbers from the USA that we are sure players will enjoy. Highlights include the popular Hit the Road Jack (Grade 5), with glissandi and scoops, and a nicely challenging arrangement of Copland’s Hoe-Down (Grade 7).

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New music for trombone from ABRSM continued...

Get a Handel on It and Savoir Faire (Brass Wind)

Get a Handel on It for Grades 5 to 8 is a new book of Christopher Mowat arrangements and a welcome addition to his popular Bach books. The pieces make ideal concert pieces and each comes with performance advice. Ombra mai fu (Grade 6) works particularly well on the trombone, especially for players with a beautiful, controlled sound.

At Grade 8, Adagio and Allegro is lovely to play, with its aria-like introduction and, as Christopher Mowat describes it, the ‘agile, light on its feet and rather cheeky’ Allegro.

Also new to the syllabus is an earlier Christopher Mowat book, Savoir Faire.

Again, this comes with helpful advice and provides wonderful arrangements of French repertoire for Grades 4 to 7.

FOCUS ON STUDIES: LIST C

The new syllabus features some excellent new study books specifically written for the trombone. There are also a number of general brass books composed primarily with valve instruments in mind. From these we have made careful selections to provide studies which suit trombone players and avoid potential problems with slurring and the awkwardness of moving the slide quickly between near and far positions.

JazzFX for Trombone (Brass Wind)

List C pieces in a jazz style have been a mainstay of the syllabus for some years and we were excited to find this new book by trombonist Dave Gale. JazzFX will be especially useful to teachers who work with groups of young trombonists.

Set for Grades 2 to 4, with a choice of two studies at each grade, the book includes 15 tunes in a variety of styles that can be played as solos, but also with the CD and as duets or trios. From the very playable The Ending’s Well (Grade 2) to the gentle ballad Prairie Contrary (Grade 4), this is a book that has already found a place in our teaching bags.

Dance to the Beat of the World and Music Makes the World Go Around (Con Moto)

We particularly liked two new Jock McKenzie books – Dance to the Beat

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of the World (Grades 1 to 3) and Music Makes the World Go Around (Grades 4 and 5). They contain original pieces in styles native to countries across the world. Pop (Grade 1) is a good option for those struggling with higher notes as it only goes up to a concert G. Other favourites are Funk (Grade 3) and Takai (Grade 5). All these studies need a good sense of rhythm and beat.

Hear Today and Bone Tomorrow (Brass Wind)

An exciting new trombone-specific study book is Derek Bourgeois’s Hear Today and Bone Tomorrow for Grades 5 to 8 and beyond. As always, Derek’s studies are tuneful but challenging and very enjoyable to play. Studies set for Grades 5 and 6 use alternative positions to enable natural slurs, with tongued legato not arriving until Grade 7. Tenor clef features in all the set studies (in the bass clef edition). The book will be a popular choice for students who are serious about becoming good trombonists.

Reel Technique for Trombone (Warwick Music)

The syllabus moderator described this as ‘one of the loveliest discoveries of the new syllabus – such a classic entertainment piece with real trombone pedigree.’

Bringing things up-to-date, Jiggs Whigham is a big name in the jazz trombone world today. His Suite for Trombone is, as he puts it, ‘challenging but accessible’. We have set the bossa nova-style Hills for Grade 7. With the fourth and fifth movements, a slow ballad and a fast blues, set for Grade 8, this suite is a valuable resource for higher-level players.

Also at Grade 8 we have a piece by the prolific French composer Claude Arrieu, who died in 1990. Her Introduction, Scherzo et Choral is a delightful and very playable four-minute piece that would also work well in recitals.

Another discovery for Grade 8 List A was Pièce Concertante by the 19thcentury Samuel-Alexander Rousseau.

Described by Alan Hutt as “a real corker and ready to give the Guilmant a run for its money”, this expressive piece again deserves to find its way into recital programmes.

Many young trombonists enjoy fast slide movement, whizzing around the instrument and learning to be very accurate. For them, as well as lovers of folk music, Reel Technique by trombonist Bob Quick fits the bill.

We have chosen a List C piece for each of Grades 4 to 6 from the 32 traditional tunes in this very enjoyable book.

Featuring playable jumps and runs, Marathon Polka for Grade 6 will be a favourite with energetic players.

Finally, for Grade 8 List B we have the exuberant Shout! by Rob Wiffin.

This challenging latin-style piece is so good – it’s a must for advanced players interested in jazz-style music!

OTHER PIECES: GRADES 5 TO 8

Robert Priestley is a trombonist and teacher with experience as a brass teacher, conductor and manager in a number of UK Music Services.

Not all pieces come from large anthologies and we were very pleased to set Jean-François Michel’s Galop (Grade 5) as an example of a modern piece specifically written for trombone.

The complete work includes three movements: Preludio, Siciliana & Galop. The Preludio and Siciliana are not overly difficult, although a little above Grade 5, so you could work on the whole piece for a solo concert.

As hinted at here, we have tried to feature music written or arranged by trombonists. Arthur Pryor was a famous trombone virtuoso, bandleader and soloist with the Sousa Band. New to Grade 6 is his Cakewalk Contest.

It has been our privilege to select repertoire for the new Trombone syllabus. We hope you enjoy looking through it and discovering new pieces.

We also hope that this article helps you to make successful and rewarding choices with your students.

Adrian Taylor is a trombonist and a brass teacher and conductor for Services for Music Education, the music service for Birmingham. He is also a composer and arranger.

The new ABRSM Trombone syllabus is valid from January 2017. Find out more at www.abrsm.org/trombone.

The article first appeared in the September 2016 issue of Libretto, the ABRSM magazine, and is printed with permission from ABRSM (www.abrsm.org).

part one

The mouthpiece journey… by dennis wick

Having started the symphonic trombone revolution in London with my colleagues in the LSO back in 1958, I was using a small bass trombone mouthpiece, the Vincent Bach 4G. This made a magnificent loud sound, but had two weaknesses. One was the need to be able to play a reliable high D – I remember describing this feat as being like getting a ‘double top’ in darts, i.e. possible, but not inevitable!

The other weakness was a tendency towards anonymity (horn, euphonium, harmonium?) in soft playing. This set me on the path of trying to find a better mouthpiece.

Having made certain there was nothing from any manufacturer that would do what I wanted, I began the tedious and slow process of trying to design my own. I found an old Salvation Army euphonium mouthpiece at their Judd Street emporium when we had been rehearsing in St Pancras Town Hall in 1967, and it formed the basis of my first mouthpiece, designed for my own use. The all-important cup of this mouthpiece was a 19th Century design, but the rim however was completely unusable and I felt that the cup should be a little deeper. Otherwise competent repairmen could never copy a mouthpiece rim accurately enough, so I worked out a way to solve the problem.

Any engineer can copy a thread, so I took one of the least successful 4G mouthpieces, had the rim cut off and the inside threaded, then worked the same system on the old Salvation Army euphonium mouthpiece.

shop, I asked his advice. He looked closely at the mouthpiece – “Uno momento!” – and vanished into the back of the shop. He emerged two minutes later brandishing the mouthpiece from which he had taken a sliver of metal from the bottom of the cup. I tried it; the result was sensational! The problem was solved! I had a mouthpiece with no bad notes, a rich full loud sound and a real trombone quality in soft playing.

Back again after the tour, I managed to work out the perfect projection of the mouthpiece from the trombone.

This crucial, very important, measurement was arrived at by a simple process of wrapping cigarette paper around the top of the shank.

I remembered that Tony Thorpe, from whom we had parted company in 1963, had mentioned a mouthpiece engineer, Bill Cox, who had a workshop at Broxbourne in Hertfordshire. I duly paid Mr Cox a visit, what turned out to be the first of many that I was to spend in his tumbledown workshop, with two rattling lathes, a pillar drill, a “slow-but-sure” stove and shelves of miscellaneous equipment. I proffered my prototype; he looked at it suspiciously: “I thought you said it was for a trombone! A bit big, isn’t it?”

“That’s the size I want,” I said; he asked “how many?”. I thought quickly; there had been several trombone players in the London orchestras who had said ‘when you get it right, can I have one?’.

“Could you make me fifteen – twenty?”

Old Bill shook his head; “expensive,” he said. “Well, twenty-five?” “If I’m going to make twenty-five, I couldn’t guarantee that they would be all the same; it would be just as cheap to make a former-tool and produce a hundred.”

Fired by my own enthusiasm, I said “OK, make me 100!” Then I thought ‘what have I done?! Who will want a mouthpiece that is designed for me to use in my orchestra, in our concert hall?’

Bill said, “First of all, I’ll have to make a prototype.”

I duly returned a few days later to try it; from the outside it looked like any other mouthpiece, but inside had the special qualities that I was seeking. It worked perfectly.

Then Bill had another idea; “What about the outside?” he said. I had never thought about the exterior design, and must have looked nonplussed.

He grabbed the mouthpiece, put it into his lathe and with a few deft strokes, made the concave outer shape that has become so familiar.

I could now screw the modern rim onto the ancient mouthpiece cup, with the additional advantage that I could vary the cup depth; with some Plasticine to fill the gap, I was able to experiment with the cup depth. This was almost perfect, and I asked many colleagues to help me with testing. We all agreed that a final touch was needed, so on our next visit to New York City, when we paid our regular visit to Bob Gardinelli’s 25

winter 2016 the trombonist

by Roger Argente

Thank you for taking the time to tell the BTS about yourself and your life as a musician. background? er Hugh I started at 13, taught by the local bandmast left was that all was bone trom the Brennan; luckily I later s year of le coup A ol. scho at in the cupboard and land Scot joined the National Youth Brass Band of h Yout onal Nati then became a founder member of the h Yout onal Nati Orchestra of Scotland in 1979. The unter with Orchestra of GB followed and my first enco l and dhal Guil the at lled Peter Gane. In 1981, I enro ip, a larsh Scho ic Mus O l/LS Shel whilst there won the n. essio great launch into the prof Where do you work? pt six years I’ve been freelance for my whole career exce the yed enjo ys with the LPO (1999-2005). I’ve alwa Jones p Phili the d joine I variety that freelancing offers. of ber mem a me beca then Brass Ensemble in 1984 and d joine I .

1986 in nt eme retir p’s London Brass on Phili the same year. the Academy of St. Martin in the Fields in Where do you live?

- commuter I live just north of London in Harpenden belt with a villagey feel.

Stand out moments? time playing Bruckner with Haitink and the LPO; first cy Quin e; eney Gold d Bon s offbeat Es for Jame Mitchell Joni with ms albu ad; Gsta in Jones’ concerts that was and Stevie Wonder; tours with the genius John Eliot Kenny Wheeler; Monteverdi Vespers with Queen in the for Gardiner; London Brass performing Pope at the and ’s the Millennium Service at St. Paul music the rded reco we n Westminster Cathedral. Whe all the on es smil the et forg r for Thunderbirds, I’ll neve d, 3, chor 4, d, chor “5, did we n whe brass players’ faces we go!” chord, 2, chord, 1, chord, Thunderbirds are n. agai were all kids A normal week? writing Every week is different, so the week I’m Strange for Dr. to ks dtrac soun this I’m recording the

Every week is different…

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Michael Giacchino, Fantastic Beasts for James Newton Howard and a couple of shows of Wicked.

Dave Stewart Most weeks have a mixture of sessions, show deps, teaching ys fun, and the occasional concert. Touring is alwa tin’s, and Mar St. of emy Acad the s, with London Bras a half weeks in most recently a very enjoyable three and Aix en Provence with the Philharmonia.

Doubling instruments? in recent years I play a lot of contrabass on sessions and others, The I’ve used it on the soundtracks for, among ficent, a few Hunger Games series, Jason Bourne, Mali Game, James Bonds, Robocop, Inception, Ender’s , Dark gers Wrath of the Titans, Prometheus, The Aven - Black Duty of Knight Rises, Frankenweenie and Call from sly, mou enor s Ops 4. Stylistically the writing varie a to r choi bone trom sitting on the bottom of a massive es. scen e battl the g much more percussive role durin ling tuba I’ve held a number of West End chairs doub /tenor bass to ed shift but the fashion seems to have ing, most play nt ume instr d now. I still do a bit of perio ghtenment Enli of Age the of estra recently with the Orch and the English Concert.

Teaching? l. I love I teach at the Royal College and the Guildhal all are ents stud the and this part of my working life ent loym emp any to key is y atilit great to work with. Vers to e aspir d coul you n whe days the hopes now; gone are ely. become a symphonic trombonist exclusiv e as many rienc expe to need ents stud , Whilst studying become different styles as they can cope with and proficient on all appropriate doubles.

Trombone heroes? . As a teacher Ray Premru is my greatest trombone hero t he said he was inspirational not so much from wha on my ence influ t grea ther Ano ed. but what he play (ex-BBC playing (and my golf) was Kenny Hamilton on player sessi Big Band). Ken was a great big band and nal ome phen whose bright sound, precise tongue and on. secti a of m low register sounded great on the botto

The Bass Bone Files : TOP SECRET

Bass Bone Files

The Bass Bone Files : TOP SECRET

London Brass

I play a lot of contrabass on sessions…

Inspirations?

The two main inspirations in my life, family aside, were Peter Gane and my secondary school music teacher, Alastair Chisholm. Peter for his boundless energy and enthusiasm for all things musical (and non-musical!) and lots of laughing on the golf course. Alastair introduced me to a whole new musical world I knew nothing about and, later, a little bit about gin and tonic.

The future?

First and foremost, joining the BBC Concert Orchestra - a great bunch of musicians - and enjoying their divers e and challenging repertoire. Finishing off a wonderful Stravinsky series and an American tour with the Philharmonia, a live performance of Amadeus with the Academy of St. Martin’s, a German Christmas tour with London Brass and a new year starting at the Guildhall and College.

Relaxing?

I enjoy unwinding with my family, cooking, dining out and catching up on TV drama. Brought up on the Ayrshire coast, I miss the sights and sounds of the sea and hence my ultimate relaxation is walking along the beach in Aldeburgh. I’d love to find time for golf again .

Diversification?

The music business has changed so much over my 30+ years involvement. When I started there were very few specialist freelance bass trombonists and there was a lot of work about. The session scene was thriving and there were so many fixers all doing pretty well where as nowadays there are only 4 or 5 with regular work.

The West End was not as well paid or sought after as it is now. In fact there was a gentlemen’s agreement in place that if you were taking off a show to work elsewhere, you paid your deputy 25% extra; that gives you an idea of the level of remuneration. The early music scene was flourishing and my diary was kept quite full just being Steve Saunders’ dep! There were lots of “blow” bands in pubs most nights of the week - great for the chops. Everything has shrunk these

days and playing opportunities across all genres have diminished but there are so many more really good players out there competing for a much smaller slice of a disappearing pie!

I think the younger generation is much better at creati ng their own projects and generating an income stream.

We just waited for the phone to ring.

Instruments and mouthpieces?

Edwards bass with a Schilke 58, King 4B tenor with a Wick 4AL. Contra is a very old Alexander, not pretty but I like the sound, with a Rath CB1 mouthpiece.

Besson euphonium and tuba.

Back in time?

I would like to ask Haydn whether the tricky bits in The Creation were a copying mistake.

Keeping your chops in shape?

Always Remington warm-up, passed on from Remington through Ray. For general maintenance; Bordogni, Blazevich, Lafosse, Pederson and my favourite, Mark Nightingale’s Undertones.

Website? www.londonbrass.net Playlist?

Kenny Wheeler, Kayak: Beautiful brass quartet writin g here, for flugel, horn, valve trombone and tuba. Lond on Trombone Quartet, Some of our best friends: I love the variety on this album, and getting to work with three chums - Richard Edwards, Pete Beachill and Mark Nightingale.

Jack Sharpe Big Band, Roarin’ (Live at Ronnie’s): Recorded over two or three nights and full of raw energy. Also features the immense talents of two friend s sadly no longer with us - Andy Mackintosh and Derek Watkins. John Surman’s Brass Project: Great writing; it’s a big band with only one sax. And anything by London Brass, of course.

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winter 2016 the trombonist

President’s Problems

Dear President, I have recently moved to London from up North and was hoping to establish myself in the “Big Smoke”. Last week I had the opportunity to ‘sit-in’ in a West End show but the two hired trombone players welcomed me with rather peculiar handshakes. The first presented his LEFT hand forward but twisted so that the little finger was on top. Is this some kind of secret society greeting I should know about ? The second player, whilst presenting a more orthodox right handed offering, proceeded to squeeze my hand with such ferocity he actually broke two of my fingers ! Also, in the teatime break, we went for an Indian meal where they both ordered practically everything off the menu. When the bill for the three of us arrived it was nearly £400 and it was suggested we split it three ways….. despite me only having a popadom. Is this normal behaviour and should I consider retreating back to Wigan ?

Dear Stanley,

I’m sorry to hear of your hand and can only suggest you cultivate your own “wet fish” limp wristed offering to deter the handshake abusers. Regarding the “… I only had a popadom” defence an alternative strategy is to not be outdone. If the bill is to be split then get your moneys worth. Order enough food to feed a commune. Okay, you might need to forgo the rent this month but soon enough you’ll not have anyone wanting to dine with you and you can then happily spend the rest of your career eating at Greggs.

Stanley Glasscock Dear President

I’ve recently embarked upon the bold step of recording the entire ABRSM repertoire. Despite being a professional trombonist for more than twenty years, I’ve been practicing a particular grade 4 piece for more than three weeks now and am still nowhere near proficient.

Help !

Robert Slowbotham

Dear Robert

If it were me, I would adopt a three stage solution. Firstly, contact the composer and suggest they might like to simplify the piece appropriate to the grade. Next, phone the publishers and exaggerate your importance in the world of trombones offering to produce some helpful edits so that they might reprint the book. Finally, guessing that you’re a dab hand at audio editing, embrace the idea of recording as many small phrases as is necessary and piece it all together afterwards.

Whatever you do though, don’t go telling everybody!

Dear President, I have recently completed my first term at music college where my new 28

teacher has completely changed my embouchure. I have been advised against using my tongue at all and been sentenced to the rest of the year practicing Andre Lafosse book one exercises with breath attack only and a practice mute.

I am not happy to proceed with this and having been completely discouraged from pursuing an orchestral career and am considering a future either in jazz or early music. What are your suggestions ?

Les Mote

Dear Les,

I feel your pain (or at least your abdominal cramps).

Perhaps your teacher was taught along similar lines and is unable to break the cycle. In this day and age, many professionals have embraced music on both sides of the fence and blow their raspberries down a tube in jazz, renaissance and even symphony orchestras.

A word of caution regarding your attire however. Your average jazzers’ ill fitting suit and tea cosy “jazz hat” is easily available from most charity shops but you’ll struggle to get shoes with bells on anywhere and there are only a small number of online retailers supplying tights for “the larger sizes”. Be careful who you give your email address to...

winter 2016 the trombonist

gear Reviews Neotech Grip

by Ross Learmouth

There are now a number of aids to assist players in managing the weight of their instruments. These range from simple hand grips to devices that sit on the chair between your legs or attach to a harness to take all of the weight away. The Neotech Trombone Grip lies in the group of hand grips.

First of all, let us deal with the technical side of things.

Straight out of the packaging, the Neotech wrist support comes with a choice of three wraps to attach onto the slide, and the hand grip itself. Assembly could not be simpler – you choose the wrap most suitable for your trombone, attach it and screw it together (don’t worry no screws go into your trombone!) and then the hand grip simply clips onto the wrap and off you go!

It also comes with several pads for inside the wrap to make sure it is as secure as possible! The hand grip can be adjusted forwards and backwards as well as rotated in order to help you find the perfect position for balance and support. The grip comprises of a neoprene strap which can be adjusted to the size of your hand which, while the wrap is a permanent fixture to the trombone for as long as you wish to use the grip, the grip itself easily clips on and off and can be stored in the case.

Having used this product for the best part of two years due to injury, I can safely say that it is an excellent help for anyone struggling with the weight of their instrument! The simplicity of attaching it to the trombone and the eighteen adjustable positions makes this one of the most versatile grips on the market. The strap is incredibly comfortable and after a few weeks of use, you’ll wonder why you ever played without one!

The final thing I’ll say is don’t play with the Velcro strapping on the neoprene too much as you’ll find it becomes less sticky eventually and you may need to replace the strap. But given that the whole thing costs under £30, it’s not going to bankrupt anyone needing to replace it! The Neotech Trombone Grip is available from many sellers including Amazon.

Stork Bass Trombone Mouthpieces

by Ross Brennan

I recently changed mouthpiece after playing on the same one for about eleven years. When trying different ones out, I was surprised at the array of results such a small piece of metal could make to what comes out the end of the bell and couldn’t believe I hadn’t “experimented” with different ones sooner.

I was pleased to be asked to do this comparison as I had never tried a Stork mouthpiece and was curious as to what they would be like. The two I was given to look at were the Stork Light 1.5 and the Stork Heavy 1.5.

The low register of the Light felt comfortable and the sound was fairly warm. It had less resistance than the Heavy, which felt somewhat tight and stuffy and although its tone was warmer, articulations were less responsive.

Moving up to the middle register, the Heavy lacked resonance in comparison to the Light and definitely sounded duller.

I was surprised by this as I thought this would be the other way round and that the extra material on the Heavy would assist in providing a more resonant sound.

This was the case in upper register, however, and the Heavy made a brighter and more focussed sound than the Light, which tended to feel a tad tight. It was a little disappointing that this didn’t match the rich tone in the mid and low registers.

For extreme dynamics (I made sure the neighbours were out!), the Light performed better than the Heavy. The Light could take much more air in loud dynamics, whereas the Heavy felt like it had a cap on it preventing you from going any further.

The response of the Light was also more direct, and this was true for quiet dynamics as well. It was easier to play quiet on the Light and controlling the sound at this level felt more secure than it did on the Heavy, which required more effort to achieve the same result.

Both mouthpieces felt comfortable to play on, but for me, the Light mouthpiece was superior to the Heavy and would be my pick of the two.

I recently changed mouthpiece after playing on the same one for about eleven 30

Stork Mouthpieces have been serving the brass world over for nearly 30 years. Find out more here: www.storkcustom.com

reviews concert: Royal Academy of Music Trombone Choir Salvation Army Regent Hall, Friday 7th October 2016, 12.30pm Reviewd by Ed Hilton

The Salvation Army’s Friday Lunchtime free concert series at Regent Hall continued on the 7th October, with the Trombone Choir of the Royal Academy of Music, led by Gordon Campbell in a concert of popular jazz standards and charts from the iconic Tutti’s Trombones album.

Regent Hall was renovated last year, making the acoustics more forgiving and warming the sound. The well attended audience’s ears were plunged straight into the acoustic feast with Blueberry Hill, where punchy and fat sounds of the bass trombones provided a suitable backdrop for the laidback yet lyrical tenor voices. This year’s trombone department at the RAM is very much strength in numbers, twenty-two to be precise! In order to take advantage of the new acoustics on offer, following the opening number the choir split into two smaller groups.

Jazz trombonists Joel Knee, Ollie Martin and Chris Saunders took centre stage for the following numbers, the latter treating the listeners to his beautifully earthy rendition of A Closer Walk with Thee. A special mention in this chart should also go to Quinn Parker – originally trained on the classical course, he certainly showed off his jazz side with a powerful solo line in the latter half of the piece.

Next up was Alex Kelly on the bass trombone with the theme from Pink Panther. I loved his approach to this. Smooth and silky tones with the appropriate amount of cheekiness.

The two choirs then joined together

once more for a thoroughly raucous (in a good way!) 12th Street Rag, bringing the fabulous concert to a close.

Gordon Campbell expertly led this tremendously talented group of players and rhythm section, and as ever he was so comfortable addressing the audience with anecdotes of recording sessions past and present. A thoroughly enjoyable and entertaining concert, and encouraging to see just how strong the trombone department is at the Academy.

CD: BRETT BAKER “Now & Then” Reviewd by Peter Chester

Brett Baker needs no introduction to the BTS. As a former BTS President and one of the leading players of his generation, Brett has done more than most to publicise the trombone, to consolidate its capabilities and expand its repertoire. It is no accident that he is also one of the most recorded players of our time, and although this reviewer is not familiar with all his output, this double CD recorded in 2015 would serve as an excellent introduction to both Brett and the trombone repertoire.

Many of the voices of the instrument are here, divided, as the title suggests, into those of an earlier era and those that are more contemporary. The famous classical 18th century Concerto for Alto Trombone by Albrechtsberger, is given in Michael Clack’s transposed edition (complete with appropriate fortepiano?) alongside Ellerby’s Trombone Sonata

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of 2012 and Hyldgaard’s Rhapsodia Borealis of 2001, both highly entertaining and demanding recent additions to the concert repertoire.

Music by Blasavich, Grafe and Rota completes the more formal concerto items on the CDs. There is a contrasting breadth of genre, encompassing, for example, the showy concert items associated with the American tradition, such as The Patriot and the Columbia Polka.

Brett has always been a master of such pieces and the performance of a new set of variations on The Carnival of Venice, by Simon Kerwin, is as entertaining as it is mesmerising in execution. Brett’s playing throughout, of course, is impeccable, but alongside the dazzle frequently on show, the beautiful singing tone evident in gentler numbers such as Novello’s We’ll Gather Lilacs, and Fernie’s Home has much to commend it.

Brett is not alone on this admirable collection. Pianists John Wilson, Benjamin Frith and Ruth Webb between them accompany the solo items, the latter also performing on the enigmatic Duet Scene of the River Plate, by Peter Meechan. Brett is joined for this quirkily attractive duet by Christopher Houlding (another ex-BTS president!).

His colleagues from the Black Dyke Trombone Quartet, Paul Woodward, Gary Reed and Adrian Hirst, also join him to present a selection of lighter numbers, with Swing Low Sweet Chariot being particularly effective, although for this reviewer the simple dignity and gloriously warm sound they produce in the hymn Dear Lord and Father and in Bruckner’s Locus iste is sublime. Piazolla’s Liber Tango makes an impressive appearance, performed by the Black Dyke Youth Trombone Quartet. Individual players were not identified but they can be proud of the contribution they have made to this highly commendable compilation.

Double CD available from Brett Baker’s World of the Trombone; ref WR16-12. £15.95 31

winter 2016 the trombonist

reviews The Food Of Love CD by Adam Woolf

Reviewd by Adam Crighton

Monteverdi’s Zefiro torna e di soavi accenti provides an energetic and dancing opening to Adam Woolf’s new solo CD, The Food of Love. The madrigal is based on a sonnet that is an ode to Zephyr, the west-wind that brings the spring, and it’s many opportunities for romance.

This, therefore, is a suitable introduction for a CD that has a programme based upon the theme of love, lust and devotion.

Adam has teamed up with a group of equally world-class musicians to create this album, one of the most noted of which is the tenor, Charles Daniels. Throughout the album there are several works originally for two voices and the combination of Voice and Sackbut, along with clever arrangements of the text, provide stunning performances of these works, making it hard sometimes to distinguish which tracks are the vocal duos and which are for Voice and obligato instrument!

The variety of tonal colour and technical ability on this CD are vast. Adam flawlessly goes from flying all over the instrument with complicated ornaments and a bright clear sound, to a beautifully soft and gentle sound, playing gorgeous slow melodies with much feeling and warmth.

The Food of Love is a doubtless must-have for anybody interested in the sackbut and in early music. Because of the wide range of musical and performance styles I feel it can be enjoyed and appreciated by everyone, from keen sackbut players, to folk with only a slight interest, and even people who don’t think that sackbut is for them. I would recommend it to all wholeheartedly.

Lo Soñado Ximo Vicedo Reviewd by Robb Tooley

Lo Soñado, or In Dreams is the first solo CD by the Spanish Trombonist Ximo Vicedo. He is the principal trombone with the OSRTVE Madrid (the radio and TV orchestra). Despite it being a debut CD he has taken the bold step of commissioning all of the works on the disc from Spanish composers. It pays off too - while Ximo’s fabulous playing would have been wellshowcased had he recorded well-known trombone repertoire or arrangements, the fact that this disc is also a collection of high quality new trombone music is of distinct added value.

Along with several works for trombone and piano there are two pieces for brass quintet and trombone soloist, and one for 32

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trombone choir and soloist. Of the trombone and piano works my favourite was Òneiros, a beautiful and atmospheric piece that really makes the most of the two instruments separate characters. Castalla’s dream for quintet and soloist is lovely, quirky music that I think would be great fun to rehearse and perform. The final number on the disc is the Suite No. 2 in Bb and pairs soloist with trombone choir.

For me it brought to mind the music of Chris Hazell.

Throughout the disc Ximo’s playing is wonderful and he exhibits a beautiful singing tone and effortless high register that allows his natural musicianship to shine through.

The recorded sound is very good, and the standard of the accompaniment is consistently high throughout, supplied by pianist Pepe Gallego, the Spanish Brass quintet Luur Metalls and the Friends Trombone Choir, directed by Daniel Perpiñan.

This is a great disc to add to your collection, whether it’s just for the enjoyment of listening or indeed if you’d like some ideas for new repertoire.

Photography courtesy of Betina Skovbro

G&T

by Matthew Gee & Mark Templeton

Put away the Eggnog and the mulled wine.

The only thing you need to warm your musical cockles is a little G&T this winter.

We’ve looked through the schedules of Britain’s fine orchestras and found some shiny gems for you to check out. Hope you find something you like.

Symphony Hall, Birmingham Some of Bruckner’s symphonies are like marmite. Others, like the Fourth are regarded as romantic orchestral writing at it’s best. Bruckner revised this symphony at least twice. The original was very long, had quintuplets all over the place and had a completely different scherzo.

Another version sees the trombones being cut from some of the best bits.

However Andris Nelsons is a sensible chap and I’m sure the CBSO will play the version which sees the trombones at their best; rich chorales, regal melodies and a rambunctious ending. Hear the CBSO perform Bruckner 4 on the 12th January.

St David’s Hall Cardiff and Brangwyn Hall Swansea The BBC National Orchestra of Wales will be playing Mahler 6 in Cardiff on the 20th January and Swansea on the 21st. Mahler is quoted as writing to a

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

fellow composer “My Sixth seems to be yet another hard nut, one that our critics’ feeble little teeth cannot crack.’ It isn’t as instantly appealing as some of Mahler’s works but listen out for the trombone section playing a beautiful contrapuntal feature towards the end.

Cambridge Corn Exchange and Royal Festival Hall London The Philharmonia will be playing my favourite work by Tchaikovsky, Symphony no. 6, in Cambridge on the 4th March and in London on the 5th. As well as the raw energy of the first movement and a rip-roaring march in the 3rd, the trombones finish the symphony with a heartbreaking chorale which reminds us that Tchaikovsky’s music, although often sounding light and jolly, often hides deep sadness and frustration underneath.

Royal Festival Hall London Batten down the hatches the Royal Philharmonic Orchestra will be playing Shostakovich 7 on the 27th of February in London. This symphony describes the siege of Leningrad in all it’s horror.

Shostakovich calls up reinforcements in the shape of a second brass section playing onstage or behind the main orchestra. Expect a suitably exhilarating ride when the RPO guys open up.

Glasgow Royal Concert Hall Ravel’s Daphnis & Chloe suites are not your typical boisterous trombone pieces but to quote Dávur Juul Magnussen “They do require some acrobatic playing from the trombone section, as well as extreme finesse from the whole brass section”. Hear the RSNO perform Daphnis & Chloe Suites 1 and 2 on the 4th February in Glasgow.

Glasgow City Halls Here is my Star Pick and it is a real curve ball. Eric Wolfgang Korngold wrote

one Symphony towards the end of an illustrious career writing for Hollywood movies. But before leaving Austria, he was acknowledged as a musical genius.

His film scores were operas without words in the style he created before being lured to tinsel town. The trombones, and the brass in general are at the forefront of this rich soundscape. I promise, in this symphony, you will hear where so many of today’s film composers got their inspiration from. Hear the BBC Scottish Symphony Orchestra with Jon Wilson play Korngold’s Symphony in F# major at 2pm on 16th March in Glasgow.

Bridgewater Hall Manchester and Victoria Hall Hanley.

The Hallé will be treating us to Stravinsky’s Firebird on 22nd 23rd of March in Manchester and on the 24th in Hanley. As well as finding it to be one of Stravinsky’s most exciting ballet scores, Katy Jones said I should also mention some silly sliding, a few trills and a great finale. There’s no better way to finish a G&T than with what everyone wants to hear from the trombone; a bit of sillines.

Until next time.

Always listen responsibly.

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

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winter 2016 the trombonist

what’s on 6 7.30pm 2nd December 201 e ConsorT English Trombon t CD d launch of their debu Christmas Concert an s ing Church, 609, Redd Hall Green Methodist ingham, B28 8TE Lane, Hall Green,Birm

16th December 2016 7.30pm

20th December 2016

Septura Christmas Concert and launch of their Christmas CD St John the Baptist Church, Church Green, Burford, OX18 4RY

Alison Balsom Wigmore Hall, 36 Wigmore Street, London, W1U 2BP

15th January 2017 11:30

18th February 201 7

Total Brass Rook Lane Chapel, Bath Street, Frome, BA11 1DN

17:00

Celebration of Br ass in Memory of Philip Jones St John’s Smith Squa re, Smith Square, Westminster, London , SW1P 3HA

21st February 2017 7:30pm

3rd March 2017 13:0 0 Royal Academy of Mu sic Symphonic Bras s Regent’s Hall, 275 Oxfor d Street, London, W1C 2D J

15th March 2017 19:00 Royal Academy of Music Symphonic Brass with Mike Lovatt Duke’s Hall, Royal Academy of Music, Marylebone Road, London, NW1 5HT

er Moore Alison Balsom with Pet eet, Wigmore Hall, 36 Wigmore Str London, W1U 2BP

19th March 2017 1 0am BTS Day Midlands 10am Registration, 10 :30 start Warwick School, Myto n Road, Warwick, CV34 6PP

2nd April 2017 15:00 Gordon Campbell Big Band The Hawth Theatre, Hawth Avenue, Crawley, RH10 6YZ 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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