REBUILDING THE TROMBONE

BY SLIDE ACTION

Britten Studio – Snape Maltings Saturday, 11 June, 2022

Over the last couple of years Slide Action has come to dedicate its existence to pursuing new sounds and sights for the world of trombone quartet.

‘Rebuilding the Trombone’ is Slide Action’s brand new ‘genre-bending’ show that takes the audience on an hour-long journey, trying to find a new voice for the trombone quartet (with the assistance of live electronics and sensory over-loading lighting design).

We begin by paying homage to the works of great composers before us whom have contributed to the trombone and its repertoire with Purcell’s Music for the Funeral of Queen Mary. The audience are soothed into something of a false sense of security with a traditional arrangement, before electronic mischief begins to add some complications.

We are then transported fully into the present with four brand new works specially commissioned by Slide Action from world-renowned British composers Ryan Latimer, Laura Jurd, Emily Hall and Alex Paxton.

Rather than simply presenting a selection of new music from a variety of composers, ‘Rebuilding the Trombone’ ties together its new works with a series of 3 Interludes composed or arranged by Slide Action’s own members which unify the programme, taking inspiration from the preceding and following works in-between which the interlude itself nestles.

‘…a brilliantly conceived show from start to finish – such a strong brand and identity rarely seen in contemporary classical music.’ Harriet Wybor, General Manager – Royal Philharmonic Society.

Upcoming repeat performances to be announced!

FUNERAL MARCH

SWAMPED C. EXIGUA

INTERLUDE NO. 1

CLOSE PALMS INTERLUDE NO. 3 ESTAMPIE

REVIEW Rory Ingham's Trombone Assembly

BY DAVID HORDEN

There was a buzz of excitement during the warmup at the Dog & Duck, with so many trombone players in one place there will always be a great atmosphere! The line-up was filled with world-class players, with a great spread of age, experience and specialisms, and it was a real credit to Rory for putting on a showcase from a wide range of British jazz trombone players.

The first number, Urban Shout, started with a call and response between Mark Nightingale and the band before launching into a fast-paced tune. The band was swinging hard, the engine room of Ian Thomas on drums and Sam Quintana on bass leading the drive, and Mark's feel and swing is always incredible.

Another Mark Nightingale arrangement came next with a beautiful slow arrangement of Cherokee. All four tenors were in bucket mutes, giving Andy Wood on bass trombone more prominence over a smooth and silky bed of lush harmonies. Sam Quintana took a fantastic solo letting the music do the talking and totally changing the atmosphere from the full throttle opening number. The precision, sound and musicality of Andy Wood is simply outstanding and the sensitivity he displays across the whole range of the bass trombone is something that should be high on the priority list for every bass trombone player.

Following this was another fast swinger, The Eternal Triangle by Sonny Stitt, from one of Rory's favourite albums Sonny Side Up. Daniel Higham took the first solo; I had never heard him play before, the energy and edge to his sound make his lines so exciting. Rory also had a knock and the sound, range and facility he plays with is a pleasure to listen to. I particularly enjoyed the contrast in character between the two solos, and it was fantastic to hear such individual voices from two incredibly talented young players.

Later was one of my favourites, Stardust, and for this feature Andy picked up his tenor. From the first note it was absolute magic, with a tone rivalling the great Urbie Green. Andy's interpretation of the melody was everything you could want, augmenting the tune beautifully whilst playing with a relaxed mastery of the instrument. Astounding playing in any situation, let alone when doubling!

Next Trevor Mires took to the fore with his own composition The Reason. I am not much of a tech head, but he was using effects and an octave doubling pedal that gave the fusion style tune a total contrast from the previous number. I cannot begin to explain how good Trevor is; his technique, dexterity and harmonic lines are reminiscent of Michael Brecker and this tune brought the house down.

T.P. Time by Clark Terry finished the gig, with Ross Stanley on piano stealing the show for me on this tune. The way he extends and inverts a phrase a seemingly endless number of times is mind-boggling. No wonder he is many people's first-call jazz pianist. All of the tenors featured on this tune and the collective improvisation finale, with everyone going full beans had the whole club shouting for an encore.

The encore was an arrangement of Groove from Mark Nightingale's Out of The Box album, with once again the rhythm section, particularly Ian Thomas, driving the groove expertly. The precision and feel Daniel Higham played the head with was a standout for me. It was not an easy task trying to emulate the great Nigel Hitchcock who played alto sax on the record, but the confidence and execution with which Daniel approached this really tricky head was awesome.

Rory was an incredible host for the evening. His relaxed chat between tunes engaged the audience brilliantly and it was clear just how much fun he was having on stage. He put together an incredible band and a brilliant gig, I'm already looking forward to the next one! ◆