autumn 2014 £5.00
the
trombonist An Englishman in New York “Elliot Mason can sing a melody out from the trombone; it’s like a human voice the way he plays it” - Wynton Marsalis Ray Award Wordsworth’s to The winningtribute Total Brass Humphrey Lyttleton Dick Tyack at his Peter Moorelooks winsback the LSO job time in the profession The Symphonic of 90 Maisie Ringham Brass MBE turns London’s recent trip to Tromso Buying British - Roger Cutts The John Wilson Orchestra and the section of WNO Trombone Section
WIN
A facet mute
contents Regulars 6
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Photography courtesy of: Sofija Knezevic
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Talking Foreign
FAST TALk
An invitation for nominations for the annual BTS awards.
Donal Bannister shares his knowledge and experiences of vintage trombones.
A minute with new BTS VicePresident, Liam Kirkman.
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Presidents Column
News, Event Reviews & Previews What went on at Tiddly Troms, and a look at the upcoming Wessex and East Anglia events.
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Jazz by Jeremy Adding Blues and Rhythm Changes to your jazz vocabulary.
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What’s On Up and coming ‘not-to-be-missed’ events for your diary.
Resources 11 composer Focus A look at Andy Scott’s new trombone concerto “Molecular Cocktail Party”. 4
G&T Matt and Mark’s highlights for the next three months.
profiles 12
features 18
Centre Showcase Tom Dunnett speaks about one of his trombone heroes - Elliot Mason
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Rising Star
Looking Back
Meet the Autumn issue’s Star of the Future, Meggie Murphy
Thoughts and Memories by Dick Tyack.
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Spotlight
Symphonic Brass of London
Roger Cutts (Principal Trombone Welsh National Opera) talks about Rath Trombones.
Keep up-to-date with the versatile classy ensemble.
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The Bass Bone Files
Roger Argente profiles the new International Trombone Association Vice President, Ben van Dijk.
Reviews
Ben Van Dijk-World Concerto Flexibility for Trombone-Anders Larson The Sound of Jay & Kai Cover photography courtesy of: Lawrence Sumulong
Welcome to the autumn ISSUE OF THE BTS magazine Welcome to the Autumn edition of The Trombonist. We hope you all had a lovely summer and you’re now back to your Lafosse and Schlossberg! We are pleased to announce that the winner of our 1929 G Bass Trombone competition is Chris Hampson, with his correct answer to “Who was the last orchestral G bass trombonist in the UK?”. The answer was indeed Frank Mills. Well done Chris! As the magazine competition is proving very popular, we have yet another amazing prize to give away - this time it’s a hand crafted wooden cup mute that will be custom built to fit your trombone. Turn to page 8 for more information... Yes, it’s time to get your creative hats on again! With best wishes, Carol & Simon drop us a line: editor@britishtrombonesociety.org
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The Trombonist Magazine Editors: Carol Jarvis & Simon Minshall editor@britishtrombonesociety.org Sub-Editor: Peter Chester Publishing and Distribution: HMCA Reviews Editor: Ross Learmonth reviews@britishtrombonesociety.org Advertising: Wesley Tatton advertising@britishtrombonesociety.org Design: Sian Nowley sian@hmca.co.uk The Trombonist is published quarterly Any views expressed in ‘The Trombonist’ are those of the individual contributors and do not necessarily represent the views of the British Trombone Society.
Contributors in this issue: Roger Argente Donal Bannister Roger Cutts Owen Dawson Tom Dunnett Shaun Farrington Matt Gee Christian Jones
Liam Kirkman Adrian Morris Jeremy Price Jon Stokes Mark Templeton Dick Tyack Ray Wordsworth
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autumn 2014 the trombonist
president’s column I am delighted to announce that the British Trombone Society is now a registered charity! This new status bestows on us a huge number of opportunities, such as the gift aid of donations and membership subscriptions (especially our new lifetime membership rate of £250). Numerous doors have opened to us overnight, as many organisations (e.g. offering fundraising advice) will work only with charities.
On behalf of the BTS I would like to thank everyone involved with the complicated application process, but especially our Membership Manager Chris Sowerby and BTS Secretary Geoff Wolmark. They have spent many hours on this sometimes thankless task and handed us a legacy of charitable status; official confirmation, if it was ever needed, of our value to wider society in the U.K. Having worked tirelessly on our behalf since 2005, Geoff has given plenty of warning that he intends to step down at the autumn 2015 AGM. We will naturally pay tribute to him when the time comes, but for now must find a successor. Working as part of a team, the BTS Secretary helps to keep everything running smoothly, from minuting the Committee telephone conferences, to greeting delegates at trombone days. Please see the BTS website for a full job description and guidance on this unpaid and challenging, yet rewarding role. Those interested should contact myself directly via email (president@britishtrombonesociety.org). Our other big announcement is the appointment of Liam Kirkman to the role of Vice President (you can learn a little more about Liam on page 34). The Committee and I are delighted to welcome Liam into the fold! In other news, Derrick Parker is stepping down as the BTS librarian and will be replaced by Geoff Wolmark (secretary@britishtrombonesociety.org). Our huge thanks to Derrick for looking after our substantial collection of trombone ensemble music, available at all times for members to browse on the website. I hope to see some of you at our AGM and trombone day at Oundle on 5th October. As always, more events are in the pipeline, but the Committee and I cannot always spread ourselves nationally. Please get in touch with your regional representative (who has taken on the role aiming to hold at least one event per year in their patch) with any feedback or requests specific to your area. With best wishes to all,
Christian
president@britishtrombonesociety.org Christian Jones BTS on Facebook @CJones_BTS on Twitter
BTS NEEDS A new SECRETARY!
British Trombone Society www.britishtrombonesociety.org The British Trombone Society is a Registered Charity. Reg No. 1158011 Honorary Patron: Gordon Campbell Board of Trustees President: Christian Jones president@britishtrombonesociety.org Vice-President: Liam Kirkman vicepresident@britishtrombonesociety.org Past-President: Carol Jarvis pastpresident@britishtrombonesociety.org Chair: Matt Gee chair@britishtrombonesociety.org Vice Chair: Alison Keep alisonkeep@britishtrombonesociety.org Secretary: Geoff Wolmark 01377 202209 1-3 Church Street, Hutton, Driffield, Yorks, YO25 9PR secretary@britishtrombonesociety.org Treasurer: Simon Minshall treasurer@britishtrombonesociety.org Development Officer: Stewart Drummond stewartdrummond@britishtrombonesociety.org staff Membership Manager & Bookkeeper Chris Sowerby 01924 437359 membership@britishtrombonesociety.org 1 Ullswater Road, Dewsbury, WF12 7PH Webmaster: Edward Solomon 07903 152148 webmaster@britishtrombonesociety.org Please submit news and events items for the website to: Ross Learmonth news@britishtrombonesociety.org Representatives Scotland: Chris Stearn 01360 860220 scotland@britishtrombonesociety.org Wales: Jo Hirst 07729 144690 wales@britishtrombonesociety.org North East & Yorkshire: Simon Mansfield 01484 602401 northeast@britishtrombonesociety.org North West: Kerry Baldwin 07920 022395 northwest@britishtrombonesociety.org East Midlands: Paul Emmett 07974 137693 midlands@britishtrombonesociety.org West Midlands: Martha-Ann Brookes 07966 416198 westmidlands@britishtrombonesociety.org Northern Ireland: Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org South: Matt Lewis 07849 774777 south@britishtrombonesociety.org South West: Pete Smith southwest@britishtrombonesociety.org
After ten years of sterling influential service to the BTS, the indefatigable Geoff Wolmark has informed us he is to hang up his slide next year. Geoff’s steady hand has steered us through the website transformation, the magazine revamps and achieved Charitable Status.
East Anglia: Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org
Could you be the new secretary? The President and committee would be delighted to hear from members interested in taking on this crucial, unpaid role. Geoff will be happy to discuss the role with interested candidates.
Brass Band: Paul Woodward 01924 823840 brassband@britishtrombonesociety.org
A full list of key tasks and more information is available on the BTS web site www.britishtrombonesociety.org Applications to the President.
Young People: James Howard 07906 392992 youngrep@britishtrombonesociety.org
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Wessex: Bruce Harding 01202 880814 wessex@britishtrombonesociety.org
Jazz: Jeremy Price jazz@britishtrombonesociety.org
event news
ews reviviews pre
reviews & previews competitions will also be taking place, and two lucky winners will be walking away with brand new Michael Rath trombones! Come along and support our next generation of trombone playing stars. Exact timetable TBC. For more information please email secretary@britishtrombonesociety.org
review JUNIOR TROMBONE DAY 22nd JUNE The most successful Junior ‘Tiddly’ Troms Day yet, took place back in June. BTS regional representative Jo Hirst was again the fantastic host, holding the exciting day at Usk Primary School. Hannah (aged 10), had this to Say about the day: “The trombone day was awesome. At the start we warmed up with the president of the Monmouthshire Music Academy and a famous trombonist Gareth Roberts. We then practised all afternoon with the Chepstow Microjazz band (who are great!) - we learned three pieces: The Muppet Show theme, Soul Bossa Nova and You’ve Got a Friend in Me. It was a brilliant day I learned loads! Thanks Jo Hirst my teacher who organised it all (she is the best!). I can’t wait to do it again next year!” Thanks to Jo Hirst, Gareth Roberts and Chepstow Matters Magazine. Want to join in next year? Watch this space for more details!
PReview WESSEX TROMBONE DAY 21st SEPTEMBER This Year the British Trombone Society Wessex Trombone day will again be held in the village hall in Pimperne, just 3 miles East of Blandford (DT11 8UZ).
Registration is at 09:30 and we are very fortunate once again to have the Bournemouth Symphony Orchestra Trombone section to take us through the day – all three of them - Kevin Morgan, Robb Tooley and Kevin Smith, who is also the M.D of Verwood Band who will also be there. Expect lots of playing, technical tips and demonstrations. Open to all levels; beginner to ‘pro’. Bring a music stand, packed lunch and your Trombone – drinks available for a small charge. Any musical purchases you need – mutes, slide lube etc, etc will be available from Colin Driver during the morning session. Call Bruce Harding on 01202 880814 or e-mail bruceandinge@btinternet.com to help us cater for numbers.
PReview BTS AGM & EAST ANGLIA DAY 5TH OCTOBER Ben Bouzan will again be hosting the BTS East Anglia Trombone Day, at Oundle School (Peterborough PE8 4EE), where the BTS AGM will also be held. The day kicks off at 9:30am and special guest Ray Wordsworth (the late Humphrey Lyttleton’s trombonist) will be running an improvisation workshop that is not to be missed! Be sure to bring your trombone along. The finals of the prestigious Bob Hughes Bass Trombone competition and Don Lusher Jazz Trombone
See page 16 for Ray Wordsworth’s stories as Humph’s trombonist.
The list of BTS member benefits is ever-growing! Along with our cur
rent exclusive member discounts including mu sical instrument insurance, trombone repairs & servicing, discounts on sheet music and publications, discoun ts on instruments, trombone accessories , web design and social media packages, photo-shoot discounts, mortgage advice, insurance policie s and custom made hearing protect ion, there are now even more discoun ts for BTS members: Benefit plans with HMCA include Medical Plans, Travel Insurance, Vehicle Breakdown, Personal Acc ident, Dental, Income Protection, etc. Tailshop.com are offering an exc lusive discount for BTS members on form al dress concert wear including tail s, trousers, jackets, and cummerbun ds. And the BTS have also teamed up with well-known publication s including the Brass Herald, Gramophone Magazine and Jazzwi se magazine who are all offering BT S members an exclusive discount on subscriptions. For more information on all thes e exclusive discounts, and for you r discount codes, visit the member log-in section of the BTS website Enjoy all your exclusive discoun ts! 7
competition
time
WIN A facet mute
Win a Facet Mute!
You could win a beautifully custom made, hand crafted wooden cup mute made by Facet Mutes.
Worth over ÂŁ70, these mutes are endorsed by the likes of Jim Pugh and Michael Dease. Just simply email editor@britishtrombonesociety.org with a photo of your current cup mute, in an amusing setting. Get creative! Closing date 1st November. The winner will be notified shortly after 1st November. Eligible to BTS members only
Facet Mutes, for brass players, are handcrafted entirely from natural hardwoods. and blend old world craftsmanship with today’s precision technology. Facet Mutes (US Patent - Number 8,269,087), are unique in design, and their aesthetically pleasing appearance.
Facet Mutes are wonderfully responsive and in tune in every register. The listener is immediately drawn to the sound that is being produced and delivers a sound model that is capable of setting a new musical standard within the music world. The individual hardwoods used to produce Facet Mutes provide a timbre that is capable of matching the personality of the player and his/her equipment of choice.
Contact: Bruce Lee, Sales Director, Facet Mutes, Corp., 651 Topeka Way - Suite 100, Castle Rock, Colorado 80109. email: brucelee@facetmutes.com www.facetmutes.com
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hot
PRESS
OFF THE
first brit to win Josh Cirtina
The BTS would like to extend its congratulations to Josh Cirtina who has won the 2014 George Roberts Bass Trombone Competition – the first Brit to ever win this prestigious competition! Held in Rochester, New York, the competition is open to bass trombonists under the age of 18 and forms part of the International Trombone Festival. Josh Cirtina is currently a 1st year student at the RNCM. He started playing at the age of 10 in Cheltenham Silver Band, under the watchful eyes of John and Cyndy Button. Due to family relocations he then progressed to the West Mercia Police Band, Morecambe Band and had two great years with Blackburn and Darwen, before happily accepting an offer to join the Fairey Band in December 2013. He has been taught by James Garlick (ex-Brighouse and freelance), and now Adrian Morris (Hallé Orchestra). Josh told the BTS: “Winning the ITA George Roberts competition was a huge privilege and an experience that I will never forget. Being the first British bass trombone player to ever receive the award means a great deal to me and I’d like to thank all those that supported me, especially my teacher, Adrian Morris.”
a sad loss
t he ho t off press
In 1967 he was appointed the Principal Trombone of the Hallé Orchestra – a position he held for seven years. His time in Manchester also saw him help to establish the ground breaking brass band musicianship courses at Salford College of Technology.
Conservatoire and Dartington International Summer School. She has also given classes at Trinity College of Music, The Royal Academy of Music and St Mary’s Music School, Edinburgh, and she co-directs the Huntly Summer School.
simon minshall becomes rath artist
The BTS would like to wish Emily every success in her new position.
We are pleased to announce that BTS Treasurer Simon Minshall has been announced as a Rath Bass and Contrabass trombone artist. He joins a long list of distinguished artists including the BTS’s very own Carol Jarvis. Simon Minsall photographed by John Stirzaker
Michael Rath says ‘We are very proud to have young talented musicians supporting the Rath trombone brand and it is with great pleasure we welcome Simon Minshall to our team of artists’
new professor of sackbut, emily white
brett baker new position
It has been announced that BTS past President, Brett Baker, has taken up a permanent full time position at the University of Salford in the Directorate of Music and Performance. Brett says: “It is a Brett Baker dream come true to take up a permanent post as Programme Leader for BA music in the Directorate of Music & Performance at the University of Salford, working with trombonists Duncan Winfield and Robin Dewhurst.”
trombone section night out Recently there was a rare meeting of generations of the Royal Liverpool Philharmonic trombone section. The reunion took place in Liverpool and fun was had by all!
The BTS wish to congratulate Emily White who has been appointed as Professor of Sackbut at the Guildhall School of Music and Drama.
Emily studied sackbut at the Royal Academy of Music with Sue Addison and since then has become a member of the English Cornett and Sackbut Ensemble. As well as her work with David’s early musical training came this ensemble, Emily plays with the through the Salvation Army, where he Orchestra of the Age of Enlightenment, eventually became the solo trombonist with The Sixteen, Gabrieli Consort and the the Chalk Farm Band. He was awarded a Academy of Ancient Music. scholarship to study at Guildhall School Other teaching engagements have of Music where he studied with Denis Wick and Frank Wright. included teaching sackbut at Birmingham The BTS were deeply saddened to learn of the death of David Loukes, the respected conductor, player and educationalist, who passed away on July 3rd 2014.
L-R: Blyth Lindsay, Simon Powell, Simon Cowen, Simon Chappell, John Langford, Eric Jennings.
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jazz by jeremy
Blues & Rhythm Changes By Jeremy Price
The last jazz article I wrote for the BTS was called “Learn Some Tunes!” where I suggested core repertoire that jazz musicians are expected to know. I hope you’ve enjoyed making a start to your tunes notebook and are accumulating a modest list of tunes you can play from memory with any rhythm section. Top of the list were Blues and Rhythm Changes tunes, so I thought I’d use this article to give a little more detail on how to approach improvising on Blues and Rhythm Changes. It is often said that blues is the essence of jazz - a music that is simultaneously happy and sad, optimistic and melancholy. It can actually take many forms, with the earliest vocal and guitar versions being very loose in structure, and more contemporary re-workings deconstructing the basic format, but for our purposes we need to look at its most common 12 bar form. The “12 bar” is broken down into three four bar sections. The first four bar section establishes the tonic (chord 1), the second lot of four bars establishes the sub dominant (chord 4) and the last lot of four bars establishes the dominant (chord 5). This twelve bar form completes a chorus and from here is repeated over and over until everyone has had their fill. So to play on a blues, you need to make it clear that you are outlining this basic structure of tonic, 10
sub-dominant, dominant. There are many variations that are practiced, with added turnarounds and substitutions, deliberately late and early cadences, but essentially it still all boils down to the I-IV-V journey over the twelve bars. With just a blues scale and simple chord tones, you can go a long way and still play a very engaging solo. This is probably why playing blues can really help get your sound together and you can use it to gain experience in the art of playing while actually listening to the rhythm section. You can go a long way just using your ear before you have to get down to dissecting the harmony and getting more analytical, so it’s a great route in for the novice. The term “Rhythm Changes” is an abbreviated way of saying, “The chord changes as found in Gershwin’s I Got Rhythm.” It is as simple as that, so don’t worry that it involves some tricky rhythmic shifts that the band throw at you while you’re soloing. (Although they may do anyway!) To add to the confusion, the Gershwin tune actually has an extra two bars added onto the last A section (“who could ask for anything more, who could ask for anything more”), which is hardly ever played in jazz unless agreed, so perhaps it’s an unhelpful shorthand after all. All you need to know is that “Rhythm Changes” is a 32 bar form, AABA, with 8 bars on each section. The A sections
LET’S JAZZ IT UP!
are explorations of the home key as a tonal centre. The bridge (the B section) starts on a dominant a major third away from the home key and goes round V-I cadences until you return to the home key. For example the bridge of Rhythm Changes in the key of Bb would start on D7, then move to G7, C7, F7 which leads back to Bb at the top of the last A section. I’ve said that the A sections are an exploration of the home key. I’ve left it as open as this is because there are no fixed and agreed chord changes to play. The whole point is, that it’s fun to explore all the different ways you can address the home key, with lots of opportunity to play crafty substitutions and expansions off the basic format. Most commonly, jazz musicians will play turnarounds in the home key, I-VI-II-V and III-VI-II-V, modulate to the subdominant at around bar 6, and play a good deal of blues and out stuff. Its traditionally a throwing down the gauntlet type of moment at a jam session where the premise is more “what have you got on Rhythm Changes?” more than “lets play I Got Rhythm.”
To round off, I’d just like to leave you with noting that both Blues and Rhythm Changes epitomize something specific to jazz; that there is no fixed or correct way of dealing with the music. They are both invitations to say what you have to say on a certain subject rather than read from a script.
composer spotlight
SKILLS FOCUS
BY Shaun Farrington
Pioneering new repertoire for trombone is hard to find, but in this feature we learn about the saxophonist and composer Andy Scott and his new trombone concerto, ‘Molecular Cocktail Party’, written for John Barber, Principal Trombone of the Foden’s Brass Band. Andy Scott’s background began in the world of classical saxophone at age 12, whilst at the same time being involved in big bands. At age 15 he started experimenting with groups of his own, creating his own arrangements and transcribing charts from recordings. He attended the RNCM, where he was a founding member of the ‘Apollo Saxophone Quartet’ which came about by virtue of there being four saxophonist’s in the same year!
A: When I began composing the piece I wanted to do something different. I didn’t want a typical three movement, fast-slow-fast approach. The spirit of the work is that each performance will be very different, depending upon not only the soloist, but also the interaction with the band.
S: Andy, what was it like for a saxophonist to write a concerto for a trombonist, how did you approach this? A: For me it’s about knowing the soloist and indeed the group that you’re writing for. I have a great association with Foden’s, since being appointed as composer in residence in 2008 and during this time I’ve got to know the players and learned where the boundaries are in terms of the technicalities of brass instruments when composing this concerto, and indeed other works that I’ve composed for brass band. S: What was it like writing for a particular player such as John? A: ‘I wanted to draw upon John’s great level of versatility, in particular his ability to improvise. John is not only a superb trombonist, but also an excellent pianist, and I wanted to include this in an unconventional slow third movement. I certainly didn’t want the composition to play it safe! I was aware of taking a risk in terms of the format of
writing a concerto that relies so much on improvised content, but I liked the idea that each performance was going to have a different outcome. Above all, it was very important to have that level of trust in the soloist, due to the large element of improvisation. I am in fact planning on publishing a fully written/ notated solo trombone part, in addition to the original solo part.’ S: One question I did ask myself was, ‘How can a classically trained ensemble interact with a soloist that at times is asked to improvise?’ For example, the second movement features passages of integration between the soloists and band, with certain band members taking their cue from the soloist. Responsibility of pitch is given to the players; whilst rhythm is notated.
What makes compositions like this possible is events such as the RNCM Festival of Brass and also having a band like Foden’s, who are open minded about new works which take risks, in terms of what may be considered the norm. When you’re free of restrictions, I believe that’s where musically we can move forward into new territory. The premeditated gamble with ‘Molecular Cocktail Party’ is having a level of trust in the soloist and ensemble. Andy’s extensive list of compositions can be found at: www.astute-music.com And for more information about Andy please go to: www.andyscott.org.uk
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etcher Dick and John Fl tional Na n rli Be in a) (Tub 59 19 ra est Youth Orch
some thoughts & memories BY Dick Tyack
You could write a small book about how and why musicians took up their instrument and how the instrument affected their personality, choice of teacher, parental influence, etc. Well, in my case, it was sheer chance. Aged twelve, in a new school, with a battered old ‘G’ bass trombone parked on the windowsill, I was somehow ‘volunteered’ to play it.
This ancient trombone had no case, so I devised a system of cycling to school with its two halves strapped across the handlebars, a method that worked quite well until striking a patch of black ice one Winter’s morning. The various bits of trombone were soldered back together, and my father at last ordered a case from Boosey and Hawkes, sent by special delivery to Derby station. Having joined the local band, I was entitled to use a somewhat better G trombone, to wear a uniform, and to perform The Dam Busters March, our party piece, in the mid-1950’s. The next lucky break, at the age of fourteen, was to join the National Youth 12
Orchestra, upon playing as an audition piece The Joker, by Harold Moss, laboriously transcribed, with all its glissandi, from F major down into D! The solo repertoire for Bass Trombone is now huge, but back then it was nonexistent. You had to arrange or transpose pieces, and hope that someone would listen with apparent enjoyment.
Many people have criticized the N.Y.O. as an elitist outfit, favouring privileged children. Well, to some extent, this was and is still true, but, speaking from the viewpoint of a mid-Derbyshire Grammar school boy in the 1950’s, it was a Godsend. During my school career, I never had a trombone teacher, having only been taught the basic notes and slide positions by a local amateur. Travelling to Manchester or Birmingham for lessons was out of the question, the County youth orchestra was then a very ramshackle affair, and so the N.Y.O. experience for me was invaluable, both musically and socially. Besides exploring lots of mainstream orchestral repertoire, I made many very long-term
friends, and learned quickly how to be a cool and canny traveller – that essential component of any musician’s life. The climax has to be the tour of Russia in 1961. Two of the other trombone players in the section at that time were John Iveson and Colin Sheen. We visited Berlin, a mere two weeks or so after the hated Berlin Wall had appeared and then we flew to Moscow, at the invitation of the very government which had sponsored the Wall.
In the late 1950’s, the world of the bass trombone was undergoing an upheaval in Britain, with the gradual transfer from the ‘G’ to the B flat-F instrument. America and most of Europe had always used the B flat/F as the 3rd trombone, and their composers had generally had this instrument in mind. In Britain, several notable players bravely made this change --- Frank Mathison, Gerry McElhone, Dai Trotman, and Terrry Nagle (of the Hallé, and a bit later, my teacher, of much-loved memory) I, as a humble teenage student, did the same.
This trend, which of course led to all trombonists playing on a B flat instrument, also led, at least in our 1960’s Manchester world, to a free interchange of ‘chairs’. Terry Nagle moved from 3rd to 1st in Barbirolli’s Hallé orchestra, still playing on a Conn 72H bass trombone, while Nev Roberts joined up on bass, playing a light-weight King 3B. Meanwhile I, as a student at the R.M.C.M, was playing 1st or bass, as required. I report all this, not to prove a point, but maybe to suggest that anything is possible. We all need to feel at home in the whole range of the instrument, and I’ve always been glad of the sometime experience of playing higher parts. My next piece of good luck came with an invitation to join the LSO in their 1964 World Tour. The other trombones were Derek James (on secondment from the LPO), Paul Lawrence, and Frank Mathison, all of whom, in their very different ways, tried to teach me how to enjoy touring. A tricky business, this touring, but it is an integral part of any musician’s life. You may see fascinating bits of the world, enjoy great meals and hilarious booze-ups. And of course, you may have to be playing decently on a frightening morning rehearsal, and then provide a superb performance in the evening.
overture. It happened one day that our 1st trombone was off sick and Sid Langston, who had been Principal with the B.B.C.S.O. many years before, was engaged as a short-notice deputy. He duly appeared at the Winter Garden theatre, all ‘mouth and trousers’. Silvestri used to have the naughty habit of asking any new face if they had played the piece before. When he applied this question to Sid, he received the reply, “Yes, I’ve done it with the composer!” Game, set, and match! I moved to the BBCSO in 1970, joining Alfred Flaszynski, Tony Parsons, and Jack Pinches in the section. The principal conductors were Colin Davis and Pierre Boulez. Boulez did once admit that he enjoyed rehearsals more than concerts, a notion which I’ve always regarded as quite weird and topsy-turvy, but which perhaps explains why his rehearsals always went on for three hours, to the absolute second.
A few enduring musical memories during my time at the BBC: in 1975 we enjoyed a short year sadly, as it was the last of his life, under the direction of Rudolf Kempe, without doubt one of the greatest conductors I have worked with. Then along came Gennadi Rozhdestvensky, another complete wizard, a man whose every tiny gesture you just had to watch, largely because he hadn’t rehearsed very much! Continues on the following page.
On a more up-beat note, my 20 years at the BBC provided many very exciting concerts, during various European tours, and especially during the Prom’ seasons, which I always enjoyed. The hugely overpopularised ‘Last Night of the Proms’ was, admittedly, a great turn-on to begin with, but I ended up feeling a bit sick of the ‘Hooray Henry’ sort of behaviour.
However, I digress.... I joined the Bournemouth Symphony, on bass, in 1967, and immediately became involved in a different sort of touring - mad-cap driving at all hours and in all weathers, all in the cause of Art. Considering that the BSO was always ‘strapped for cash’, we got through some pretty amazing repertoire. I remember Mahler 6 & 7, Prokofiev 5 & 6, Shostakovitch 8 (in the Odeon Cinema, Taunton, after a Sunday Lunch of draught Bass and a Mini pork pie!). Also, the world première of Lutoslavski’s Cello Concerto, with Rostropovitch and the composer, both of them, I imagine, struggling with Bournemouth. I must tell of one classic moment during Bournemouth days--- The eccentric but loveable principal conductor was Constantin Silvestri, and one of his favourites was Elgar’s In the South
However, I should dearly love to hear the ‘Spanish Ladies’ trombone quartet reinstated into the Sea Songs, giving us all a chance to hear Helen Vollam and her fine section in solo action.
ion
Dick’s trombone collect
Keith McNicoll & Dic k recording the ‘London Trombon e Sound’
13 15
some thoughts & memories continued... Our admired and legendary principal trombone in the BBC, Alfred Flaszynski, had died in 1985, after a very full life, including copious cigarettes and whisky. However, shortly before he left us, he gave me a large mouthpiece which had been created back in the 1950’s by the Philharmonia’s tuba player, John ‘Tug’ Wilson. A couple of years later, I fulfilled a long-held ambition and commissioned the building of a contrabass trombone, to my own design, by the Thein brothers of Bremen. (It’s in E flat, with a double slide, and one valve, to B flat). Amazingly, it worked: the favourite mouthpiece has always been the very one described above, and luckily, this trombone helped give me access to Covent Garden in 1990, after Gerry McElhone’s retirement.
Trying to sum up my views on working at the ROH is difficult: both the pay and the prestige make it a great privilege to be there. But it is a very demanding job: we brass players in particular, have always to ‘keep down’ and to accommodate the singers. The working day can be very spread out with some long idle afternoons. Personally I find much of the ballet music is banal in the extreme, with musical ‘cuts’ and original orchestrations being savagely hacked about, and such sublime works as Mahler’s ‘Song of the Earth’ subjected to someone’s choreographic ideas in the Ballet Company.
As the 1990s rolled on, we were threatened by the impending closure of the Opera House for refurbishment, which took place in 1997. Our very last show in the old House was Wagner’s ‘Der Meistersinger’. There had been a thunderstorm during the five and a half hour evening, and so our final trouser-changing and exit from the brass room took place in an inch of smelly rainwater on the floor. Time to go, we thought. Come the closure, some members of the Royal Opera House Board even suggested that the orchestra could be dismissed for a couple of years, and then at the reopening would come gratefully back! (This is an example of what may happen anywhere in the orchestral world, these days). ntrabass Trombone
Eflat Co Dick with his Thein
Life in the ROH was not that different from the BBCSO - living underground, deprived of daylight, and subject to an arcane management upstairs. But, also in the greatest British traditions, it meant working with colleagues who are determined to make music, whatever the circumstances. I arrived at the ROH right in the middle of Wagner’s Ring Cycle, conducted by Bernard Haitink.
Anyway, thanks to Bernard Haitink’s fierce support, we survived, and, somewhere along the line played a memorable concert performance of ‘Die Walküre’ in the Concertgebouw in Amsterdam, Bernard’s home town, which brought the house down. I won’t lecture you on Wagner’s Ring, but the fact remains that for any brass player it is the ultimate challenge. To play this music, and to ’get it right’, gives a very special feeling, and yet you can still go on for ever working on the balance, the breathing, and so on.
Well, that’s about it. I don’t offer any fancy advice to young players, except always be yourself, and always go for the music. The money will follow later if you are fortunate. Oh, yes, and of course so will the beer. In the Royal Opera House pit
P.S. To update you to the present, I recently revisited Ashbourne (my hometown) to play with my brother’s brass group at the local Camra beer festival, for £20 cash. We had a lovely time, just a few yards from where I fell off the bike, some 58 years before. This time, all I did was to fall off several high notes instead. Perhaps I have come full circle? 15
autumn 2014 the trombonist
my life with humph by Ray Wordsworth
In my life as a Professional trombone player I’ve been fortunate to work with some brilliant musicians. Humphrey Lyttelton was one of the best. He was a unique charismatic man with an aura about him. Not at all pompous, he always gave you his full attention.
The late Humphrey Lyttelton
I worked with Humph over many years as a guest and depping with the band for my old chum Pete Strange, who had been with Humph’s band for many years. When Pete became ill in 2004 I stepped in to help out, something which lasted about six months until sadly Pete died. Humph asked me if I would like to replace Pete and join the band, which I was only too happy to do. Humph was always a gentleman, polite, courteous, and a very kind individual. And remember he was not only wonderful musician, he was a very talented presenter, broadcaster, writer, and calligraphist, a huge and varied talent. He was very observant too. Once when travelling in my car with me driving, he noticed the huge digital speedometer on my dashboard and, remembering I had only months before got caught on camera for speeding, remarked. “How the hell did you get done for speeding with a speedometer as big as that?” 16
He would tell some lovely stories on stage and whilst travelling. One of my favourites was about trumpet player Wingy Manone, so called because he only had one arm. Wingy was asked by a club owner to book a 7-piece band for his club for one week, which Wingy did. As the band arrived on the first day the club owner was watching them coming in, he noticed the guitar player only had one eye, one of the other’s had a limp, there was something amiss with nearly all of them. Nevertheless they did a great job every night. At the end of the
week, Wingy went in the office to get paid, the club owner puffing on his big cigar counted out the money. At this point Wingy noticed the owner had only paid for 6 musicians. When questioned the owner said, “I’ve been watching you guys all week and the way I see it, you’re one whole man short”. True story. On one occasion travelling to a gig in the car I mentioned I was doing a gig the next evening with the Glenn Miller Orchestra UK, at which point Humph immediately told me a true story about Glenn Miller. Glenn was a strict
disciplinarian, and when he enlisted in the U.S. Army and was made Major, he ordered all musicians with moustaches to shave them off because he thought they looked too much like gangsters. Well, as we know, if you have a moustache and blow a brass instrument and then shave it off, it can be a disaster. In this case it apparently was! Apart from Humph knowing countless true stories about bandleaders and musicians like Duke Ellington and Louis Armstrong, whom he knew personally, he was a very talented musician himself. He composed many of the tunes which the band played every night and still do when we work, which for obvious reasons is not as much as it used to be when he was around. They’re good tunes too. He knew what he wanted and what he was listening to. It was a pleasure to play in his band and still is, even though Humph’s not there any more and the wonderful Tony Fisher is filling his shoes, big shoes to fill, size 13, I think. The rest of the band is unchanged, Jimmy Hastings, Robert Fowler, Ted Beament, John Rees Jones, Adrian Macintosh and myself – we’re still there. Humph’s life-long friend and manager Susan da Costa is still managing the band. We have played some wonderful venues around the world and hopefully will continue to do so. Another funny story Humph told me about Bill Harris, very fine trombone player in the Woody Herman Band. Apparently Bill was a bit of a practical joker. The band was booked on a show that ran for several nights and Bill found himself sitting next to the ramp that ran down the middle of the band on the stage. Bill equipped himself with a wind-up waddling duck that quacked. When Woody was out the front playing his feature, Bill put the duck on the slope and gave it a gentle shove. It duly waddled into the spotlight, quacking loudly. Lovely story. Just a few stories from the great man Humphrey Lyttelton, a legend. I miss Humph very much. Sadly he died in April 2008. I will carry on enjoying his music and the memories.
‘Humph was always a gentleman, polite, courteous, and a very kind individual.’
Ray and Humph on stage
‘He knew what he wanted and what he was listening to.’
Trombonist Ray Wordsworth
17
AUTUMN 2014 the trombonist
by Tom Dunnett
norWich to new york This edition’s centre feature has given me the opportunity to speak with one of my trombone heroes; Elliot Mason. I have always been truly inspired by Elliot’s skills as a technician, improviser and all round musician, and it is a pleasure to give readers an insight into the life of this exciting man! I gather you came from a musical family, how did you end up playing trombone? Both my parents are jazz musicians; my father was a music educator who played trumpet, trombone and bass trumpet and my mother was a jazz vocalist. From as early as I can remember there was always jazz on in the house. If someone wasn’t listening to it, they were practising it. For me, this created an overwhelming curiosity towards the extravagant metal objects in the forbidden room. When I was four years old I tried to play my Dad’s Bach Mount Vernon bass trumpet while it was on it’s stand, this swiftly resulted in me getting my own trumpet. At age seven, my father thought my embouchure was better suited for trombone and I willingly made the switch.
In your early playing days in Norwich, what kind of ensembles were you involved in? Did jazz play a big part from the beginning? There were several ensembles that were instrumental in the early stages of my development, including the Norwich Schools Jazz Orchestra and the National Youth Jazz Orchestra. As NYJO was in London, every weekend for three years, my Dad would travel there with me by train to rehearse. By the time I was twelve years old I was playing almost every night of the week, with bands ranging from my school peers to some of the local veterans including the Jonathan Wyatt Big Band, who first introduced me to playing the music of Glenn Miller, Duke Ellington and Count Basie. So yes, Jazz absolutely played a large role in my life right from the beginning, and that’s not to mention that my mother was singing professionally while pregnant with me. 18
Who were your teachers in Norwich?
There were a good number of musical influences in Norwich, including experienced musicians in the local jazz scene that would encourage me to sit in. But as far as a teacher, no-one came close to my father. The time I spent playing, listening and absorbing jazz with him was by far the most essential to my musical development.
What made you decide to move to America? When did you go? When I was sixteen I came to the U.S. to study at Berklee College of Music. My brother Brad, a trumpeter, was already studying at Berklee, so my parents were comfortable sending their youngest son there at such an early age. I was fortunate to receive a full tuition scholarship, because without this opportunity it would have been impossible for me to attend. Of course my parents were quick to remind me that I still had to get good GCSE grades in order for Berklee to accept me.
How did you enjoy your time at Berklee? Who were your teachers? Berklee is a great school, especially if you have an idea of what classes to take and who to take them with. I studied with Hal Crook, Phil Wilson and Tony Lada. Each of them has a diverse focus and teaching style. I also really enjoyed Ed Tomassi’s classes. Berklee and the city of Boston were great stepping stones for me at that time in my life. Going from Norwich to New York at age sixteen would have been culturally overwhelming. But Brad and I definitely had our sights set on New York.
How did you get the job with the ‘Jazz at the Lincoln centre orchestra’? I joined the orchestra seven years ago. At that time I had already been in New York City for eleven years. Unlike most of the musicians in the band, I had not met or played with Wynton before getting the call. This past June, Wynton Marsalis did an interview for Cambridge News in which he revealed how I became a member of the JLCO. I was actually unaware of what went on behind the scenes until reading the interview myself. Here’s a quote from the interview: “Normally, when we have an opening coming up, I ask each of the sections who they would like to play with and they give me their 1-2-3. The trombone section unanimously chose Elliot Mason. They said, ‘Man, if we could get Elliot to be in the band, that would be a Godsend because he is the
Elliot Mason photographed by Helge Hansen
greatest trombone player in the world’. He’s unbelievable as a trombonist, there’s such virtuosity and clarity in his playing, but he is even greater as a person. As a person, he is like pure gold. He gives so much and is always keen to give himself fresh musical challenges. His mother and father are both jazz musicians and his brother too. It’s in his blood. He can sing a melody out from the trombone; it’s like a human voice the way he plays it.” Wynton Marsalis
Alongside your job with the JLCO, what other kinds of playing or ensembles are you involved with? There are two other musically fulfilling projects that I very much appreciate at the moment. One is with the love of my life, Sofija Knezevic, an amazingly talented jazz vocalist whose music brings out another dimension in my playing. Hearing her sing a melody is pure inspiration to me.
And, of course my band with my brother Brad, someone who I have an unparalleled unique musical bond with. We recorded our debut album a few years ago entitled “Two Sides, One Story”. Since then I’ve been writing new music, largely inspired by my current path, which I think is one where emotions take precedence. We are preparing to record our second album, “Chapter 2: Efflorescence”, in early September. We are fortunate to have our new works feature a fresh cast of some of our favourite jazz musicians.
Do you have any advice on how to create your own unique voice on the trombone?
As a musician you spend an infinite amount of time playing and practicing alone. Often this can aid you in getting to the core of who you are as a person. When I first began developing my musical vocabulary I immersed myself in the work of jazz greats, trying to absorb my influences instead of imitating them. I was always eager to gravitate toward working on my own voice and my own form of self-expression by devoting a good amount of time to making sense of the music within. The essence of who you are is distilled when you improvise. Everyone has a distinctive sound of their own, but practise is essential in expressing that sound. To me, how you tell the story defines your unique voice. The delivery is as important as the content. This is clearly reflected in the work of jazz masters. Someone with intent behind their solo can talk to you, even if you don’t speak the language. What helps me to continually evolve is to routinely examine my motives and priorities. I feel that as an artist, nothing influences your individual voice more than feeding from your life’s journey. Embrace your experiences, positive and negative, and let them influence what you say and how you choose to say it.
Website: www.masonbrothersquintet.com Facebook: www.facebook.com/elliotmasontrombone 19
g risin s star
Rising stars: meggie murphy
Meggie is 13 years old studying at the Cathedral School in Llandaff and is working towards Grade VI.
Meggie Murphy
How old were you when you started playing the trombone, and why did you choose it? I started learning trombone when I was 8 ½ years old. My brother was learning the cornet and my Dad suggested I try the trombone. I actually thought a trombone was a tuba so was a bit surprised when I was loaned my first trombone from school!
Britain last year and really enjoyed Kabalevsky’s Sabre Dance and Mussorgsky’s Night on a Bare Mountain. I love listening to Big Band music. Last month I heard Chabrier’s Espana for the first time and would really like to play the trombone part in that! What make of instrument to you play? A Bach Stradivarius 36B.
Who are your teachers?
Would you like a career in music?
I began learning with Nye James at The Cathedral School in Llandaff. In September 2013 I started with Roger Cutts at the Royal Welsh College of Music and Drama where I am in the Junior Conservatoire. From September 2014 I am starting as a Specialist Musician at Wells Cathedral School but I don’t yet know who my teacher there will be.
I am really hoping to become a professional musician and hope that studying at Wells will give me the best opportunity to realize that dream.
What music do you like to play and listen to? I played with the National Children’s Orchestra of Great
What are your other hobbies? I play netball and hockey for my school, and I love skiing. I also enjoy singing and until recently I was a girl chorister at my current school. I have also recently started learning to play the piano. 21
autumn 2014 the trombonist
by Christian Jones
the symphonic brass
of london The Symphonic Brass of London (SBOL) was first formed in the late 1990’s by Eric Crees, then co-principal trombone of the London Symphony Orchestra (LSO) and since 2000 Principal trombone of the Royal Opera House Orchestra. Eric played with the Philip Jones Brass Ensemble as a student and went on to arrange for and direct the LSO brass, with whom he made five albums and toured worldwide. SBOL played occasional engagements including guest ensemble at the Narbonne Festival and at the National Brass Band Championships in the Royal Albert Hall. In 2012 Eric and freelance trombonist and arranger Nick Lloyd formed The Symphonic Brass of London Ltd with the aim of promoting brass chamber music of the highest level through concerts, recordings and education projects. They draw upon a set pool of players to perform music from the renaissance through to the contemporary as a quintet, dectet, orchestral brass or large symphonic brass. The dectet plus percussion was used for their debut album, A Bridge Over the Pyrenees, released in July. Included are arrangements of French and Spanish music by Eric and fellow trombonists Roger Harvey (Carmen Suite), David Purser (Alborado del Gracioso) and Chris Mowat (The Girl with the Flaxen Hair). Much of this sultry music was performed on the SBOL trip to Tromso, Norway, in January, where the very hospitable locals need all the warmth they can get! Situated well inside the artic circle, central Tromso lies on the island of Tromsoya, 22
enveloped in the winter twilight by iridescent snow covered mountains atop leaden fjords. We arrived, following a three-hour flight from Gatwick, two days after the first full sunrise since November! Our host was Tromso’s annual Nordlysfestivalen, which translates as Northern Lights Festival, though it was overcast each evening, so we sadly missed nature’s spectacle. As the first brass group to have performed in Nordlysfestivalen, director Ulf Jensen made contact having been impressed with the quality of content on the SBOL website – those aspiring to selfpromotion take note! For anyone who hasn’t travelled to extremes of latitude before (as I hadn’t), the experience is a challenge for trombone playing! Quite apart from negotiating the ice covered roads and pavements, at 70 degrees north the air was not only bitterly cold but very dry. Luckily, the rest of the trombone section consisted of well-travelled pros: Chris Houlding (doubling euphonium), Simon Wills and Nick Lloyd. Between us, a plentiful supply of lip creams and gels… Our performance took place in the Ishavskatedralen, or Artic Cathedral. Situated on the mainland opposite the 1km wide Tromso bridge, this austere concrete building features a better than expected acoustic. At one end, a huge glass wall looks back towards Tromsoya, while the opposite area, behind the stage, features muliti-coloured back lights. It was a pleasure to play to an appreciative capacity crowd, before heading to the hotel (bar) for the ever important debrief! SBOL have numerous projects in the pipeline and more information can be gleaned from their website and YouTube channel. Hats off to Nick and Eric for making all of this happen; having largely relied on orchestral membership to fill my diary, I am struck by just how many performance opportunities there are for brass chamber groups, if one is prepared to work hard at promotion and forging contacts. 17
Michael Rath Trombones by Roger Cutts (Principal Trombone Welsh National Opera)
WNO Section
While rehearsing for a Welsh Proms concert at St David’s Hall in July 2013, Alan Swain and I decided to post a silly photo of ourselves on social media, with our Rath trombones, Alan on an R9 which he has played since they first came out and myself on my R1, also dating back 15 years or so. Mick sent us a message almost immediately, laughing at our pose, but also asking if we would be interested in trying some trombones for him. I, like many others, tried Rath large-bore tenor trombones when they first came out and was keen to buy British, if the instrument suited. I recall at the time thinking that the quality was first rate, the choices were wide-ranging, but I couldn’t find a combination of parts that made the instrument as versatile, or rewarding to play, as my trusty Elkhart Conn 88H. I believe this is a view many have shared, although admittedly, in common with others, I only ever tried instruments in the showroom, or briefly at work.
Speaking to Mick a couple of days later, it was clear things had moved forward in their business. A huge success across the globe, selling well in all genres, Mick indicated his desire to be even more widely accepted within the orchestral field, particularly on his “home turf” in the UK. As our section, Alan, John Hendy, and myself, are always up for trying new instruments, believing that you should always play the best instruments available (and then practise them!), we happily said we would do some test-driving of the latest instruments Rath had.
…we happily said we would do some test-driving of the latest instruments Rath had. A week later, a bumper box of trombone bits and pieces arrived, different slides, bells, valves, lead pipes and so on. On first playing, we quickly whittled the numbers down, as the yellow bell and the yellow slide, also the narrower lead pipes, seemed to produce a sound that felt too bright and inflexible for the mix of orchestral and operatic playing that is our daily life. A brief call to Chris Beaumont at Rath’s, and he had already prepared more of the gold coloured bits (bell, slide, tuning slide, bronze lead pipe) to send down, anticipating this result, but not wanting to influence our decision by telling us what the expected outcome might be. That is something he very fairly keeps to himself along the development process. The autumn season at WNO was three Donizetti operas, and Tosca. The Donizettis need lightness and crisp, clean 23
Come along to the BTS event on 5th October to see who wins the prestigious Don Lusher and Bob Hughes competitions and walks away with a brand new Rath R10 tenor and R9 bass trombone.
Michael Rath Trombones continued... playing and Tosca needs rather more power, especially the Act 1 Te Deum. Our observations were that the Raths worked beautifully on the Donizetti and fine on Tosca, although the outright power was a little shrill. Mick suggested that a slide-tuning set up on the trombone may change the response of the instrument, so we met up again and put this together with a Rotax valve section. This produced a totally different feel and one which I liked immediately, and still play on. It’s hard to say why this is the case, as the slide is inevitably heavier (but totally fine, as the standard one is super-light), but sometimes a set-up just seems to click. I had been suggesting a thinner bell as an experiment to see the impact on an already-fine instrument, and this was also waiting for me to try. It is two levels thinner than Mick had produced before, but as ever, he was very happy to make it, if it made a more rewarding instrument. Again, wow, what an impact it had! The clarity of sound, loads of warmth, flexibility, and more importantly for me, an instrument that you just love to play. A shortage of material, a broken bell lathe, and a full order book at Rath’s have delayed my colleagues getting access to all the parts I have been using until now, but swift “swapsies” in the workplace have met with total agreement with each new update.
The sound is even more flexible, keeping the easy response Mick is famous for…
with no pressure. They will advise when requested and let you take instruments away to try in your own orchestra/band/ ensemble. This is a particularly good idea, as the showroom is fine, but it is not a concert hall or your own sitting room, or more importantly, it is not alongside other musicians.
• If you feel you would like to try something different, whether it’s available, or something unusual that needs to be created, just ask. These guys are craftsmen and keen to help. • Other people that have tried my instrument have liked it/not liked it/been indifferent, apart from the latest update, which has 100% positive reaction. This is OK. Not everyone drives the same car, enjoys the same sport, or watches Breaking Bad. However, if you are in the market for a large-bore symphonic tenor trombone, the list of possible contenders most definitely includes Mick Rath’s latest creations. What an achievement. My Elkhart 88H has been in the loft for 8 months! • A section of Rath trombones sound pretty great! A quick word about the Rath Alto Trombone. Try one. If you don’t instantly smile, and give an evil stare at your current alto, I shall eat my hat*. *I don’t have a hat. For more information visit www.rathtrombones.com
I have used this instrument in various settings, from WNO playing Verdi, Henze, and Schoernberg operas and Bruckner’s 8th Symphony, to the huge forces needed for BBC Symphony Orchestra playing Messaien, and Philharmonia Orchestra playing Wagner and Mahler, and not once felt like I wished to be playing on a different instrument. Dean Wright, our Principal Trumpet, is also very positive about the sound that hits him on the back of his head! The last visit to Mick’s was only recently, to pick up new thin bells for John and Alan, but on my arrival, workshop boss Andy opened the showroom door on some other updates I had mentioned, but at such short notice, I hadn’t expected to be possible. An instrument set up like mine, but with a Hagmann valve, a medium thin bell, and also a tenor slide with a bass trombone crook. I still prefer the Rotax valve, but that is a more subjective choice. The bell works well, but I prefer the thinnest version. The slide, with a bass crook just transforms the instrument, yet again. The sound is even more flexible, keeping the easy response Mick is famous for, yet adding a power that can contain the warmth, and consistency of tone we all strive for. General observations about this experience are these: • Play the best instrument you can, one that you really enjoy playing. • Chris and Mick will let you try instruments at your own pace, 25
AUTUMN 2014 the trombonist
by Roger Argente
Thank you for taking the time to tell the BTS about yourself and your life as a musician.
Can you tell us a little about your bone background? I started to play the trom Dijk, van Piet r, fathe when I was 15 years old. My nic armo Philh ue Hag was principal trombonist in The t wha in ested Orchestra at that time. I was not so inter The on sed he was doing as my interest was more focu . Then Beatles and other pop-groups from that time trombone one day my father was going to buy a new erday and and I joined him. He played Beatles’ Yest bone. I trom the on ible poss I was surprised this was at the ied stud I . well as decided I wanted to learn this re, and Moo Art with ue Royal Conservatory in The Hag bass for tion when I was 19 years old I won the audi so I started my trombonist in the Dutch Radio Orchestra professional career some 38 years ago. the How did you come to work with I started work 1975 In ic? mon Rotterdam Philhar estra and I Orch nic armo Philh in the Netherlands Radio estra orch that of e rtoir played there 23 years. The repe d aske was I 1998 was very wide and interesting. In their join to by the Rotterdam Philharmonic Orchestra forces.
been the Do any events stand out as having ing of most memorable and enjoyable play as you tion ques cult diffi very a your career? This is ing… play of s year y can imagine that after so man contrabass My first complete Ring Cycle in concert on with The m, terda trombone, in the Concertgebouw, Ams ial. spec Radio Phil under Edo de Waart, was very DG recording Also our recent Rotterdam Philharmonic ick Nézetof Tchaikovsky’s Sixth Symphony under Yann Séguin, is something I am proud of. week at Can you give us an idea of a normal work? No week is the same, but: servatory Monday: teaching at the Amsterdam Con arsals Tuesday: 1000–1230 and 1330–1600 rehe Wednesday: 1000–1300 rehearsal
26
Ben van Dijk
Thursday: general rehearsal 1000–1300 + Concert no. 1 (evening) Friday: Concert no. 2 (evening) Sunday: Concert no. 3 (matinee) mbone You also play the Contrabass tro nderful can you tell us more about this wo ra it was instrument? When I started on the cont course it Of . bass ing play quite a different feel than extremely is it that ed still is, but I got used to it. I notic way, even ed relax a important to play the instrument in it. force to not more than on my bass trombone, and
g and Can you tell us about your teachin logy or do you follow any particular ideo 25 years at style? Yes, I have taught now for more than After a long different Conservatories in the Netherlands. teach at now I arts, Cod m period of teaching in Rotterda agues colle ing teach the Amsterdam Conservatory. My de ko Rem and are, Jörgen van Rijen, Pierre Volders e my shar to is er Jager. My simple philosophy as a teach ove impr to experience, to inspire, to coach, to give tools and idual and to try and make the best of each indiv es! copi e mak to certainly not to try My father Piet Who are your trombone heroes? rge Roberts, Geo lino, Roso k van Dijk, Urbie Green, Fran Becquet, el Mich , olds Edward Kleinhammer, Jeff Reyn lz. Schu Joe Alessi, Brandt Attema and Stefan to? So many What music do you like listening ra, Chamber, different styles: Classical, Symphonic, Ope Jazz and a lot of Flamenco. , one Name two inspirations, one musical Isla / la de aron Cam El non-musical? Musical – Non-Musical – my family. ? I hope What does the future hold for you few more a health and happiness to start with, but also much years of being able to do what I like so very making and enjoying music. away from How do you relax and enjoy life ly with the fami ly love my music? First of all there is ied last marr s year (35 sweetest possible wife on earth , our ures treas little year), two great sons and our three grandchildren, Cas, Liv and Noah.
The Bass Bone Files : TOP SECRET
Bass Bone Files
What is your view of the diverse nature of the music business today? It is obvious that things are changing and although I myself have already tried to be as diverse as I can, today it is wise to be as flexible as possible to make a living out of playing the bass trombone. There is one thing that does not change; you need to have a great sound, intonation, and rhythm, also to be sociable as a player and as a person. If you do not have these fundamentals you can forget it. It never has been easy to get work on our instruments but the political atmosphere is not helping at all. Government backing and support of the Arts in gener al is changing and right now I see many jobs being lost in Holland. I try to motivate my students to be as comp lete as possible, not only in their playing but also they must be communicative, commercially aware, and be business-oriented. For all those Boneheads out there who need to know, what type of bass trombone do you use? For more than 20 years now I have worke d with the Thein brothers from Bremen in Germany. I have my own line of bass and contrabass trombones with them, as well as mouthpieces. These instruments and mouthpieces allow me to play in my own style and to play in a vocal way as much as possible. My bass trombone mouthpiece is based on a Schilke 59 but modified to better suit my instrument. Your pet hates? I am not so crazy about players who think they alone are correct. They turn around in rehearsals when somebody plays differently from them, making faces when a colleague makes a mistake and so on, always commenting on others. These people are not my friends! Your favourite and most inspirational composers and repertoire? Tchaikovsky and Mahler are for sure two of my most favourite composers. Tchaikovsky 4th, 5th and 6th Symphonie sbut also his Operas are amazing. Puccini Operas are also in my list of favourite compositions.
Ben with the Marine Band
The Bass Bone Files : TOP SECRET
Ben at Slide Factory 2005
If you had the chance to meet any compose r, what would you like to ask them? Dear Pyotr Ilyich, I really love your music and always enjoy playing your compositions very much indeed. Can you please write me a nice little solo piece? Something like a beautiful Onegin aria, for bass trombone and string orchestra. I think we bass trombonists would be so happy with this, as would our audience. It would be a dream come true. Hugs, Ben How do you keep your chops in shape, do you follow any type of routine? All my ideas are to be found in my own book ‘Ben’s Basics’, but I have to be honest, I should do it more frequently. Do you have a website? www.basstrombone.nl Made by my son Mark some years ago. It should be updated soon but you know, today with Facebook and so on, there is another great way of communicating with the brass community! Any new CD releases we can mention? I have just released my latest solo CD, my fifth solo recording. This CD’s title is ‘World Concerto: Ben van Dijk plays the music of Steven Verhelst’. Along with Jan Oosting and Martin van der Berg, I am very happy to have worked with the Amsterdam Staff Band on this projec t. On my request the young Belgian composer Steven Verhelst (a former bass trombone student of mine) wrote some new compositions and some great arrangemen ts for me. We shouldn’t forget your recent appointment at the ITA as First Vice-Presiden t should we? Congratulations. That will take you on to being President won’t it? Thank you very much. Yes I’ve been involved with the ITA for many years and it will be an honour to take up that position. It will certainly keep me busy! Turn to page 31 for a review of Ben’s latest release ‘World Concerto’.
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ONE SIZE FITS ALL?
by donal bannister
The past half century has seen a revolution in orchestral playing and sound. Previously, the symphony orchestra had evolved slowly, and musicians rarely stopped to question whether the way they played, or if their choice of instrument, were appropriate for the music they were playing. In the mean time two apparently contradictory things have happened. Firstly, national styles of playing and instruments have all but disappeared, and secondly, the period instrument movement has massively improved our knowledge of what composers from earlier centuries might have expected to hear.
single bore slide of .547” (13.9mm), and a bell flare of 8.25” (21cm). This design was developed in the USA by such makers as Conn and Bach and is evolved from various 19th European models. A century ago you could have travelled across Europe, encountering a wide diversity of playing styles, and instruments. Having collected instruments for years, the most striking contrast in my collection is between two instruments from c.1910, one French, one German. The French is a Courtois narrow bore: single bore slide of approximately .490”, and a bell flare of just 6”. It has a tiny cone shaped mouthpiece, and makes a lovely clear, bright sound. French sections of the time consisted of three of these, and composers from Berlioz to Ravel would have expected a very light sound with a sizzling fortissimo, crisp articulation, cutting through without dominating.
Courtois c.1910
Since the 1960’s, the standard orchestral tenor trombone in the UK has been the Conn 8/88H, or equivalent. Essential characteristics are a Photograph courtesy of Benjamin Ealovega
The German instrument is a Kruspe ‘Virtuosa’, different to the Courtois in almost every respect. Dual bore slide, the first leg being decidedly narrow, the second markedly larger, and flaring to a 9” bell. With paper thin metal in the bell, only one stay on the bell section, no tuning slide, and no counterweight, it is unbalanced and awkward to hold, but it feels alive to play. Thankfully, it is at about A=440HZ, in spite of the absence of a tuning slide. Thein have supplied me with a Tilz mouthpiece that is wide but not deep,
Mouthpieces by Bruno Tilz, and Heide copy of Guilbaut Paris 1889
and works very well. The sound is warm and soft focused at all dynamics, but when played very loud it changes colour, producing a massive fortissimo. Lots of air is required, and articulation needs great care. Playing this instrument helps to understand the dynamics and accents, particularly in Bruckner. Only passages marked fff would dominate, everything else contributing to a warm orchestral tutti. I am sure the many ^ accents are there simply to ensure claity. Pianissimo is effortless, so all the quiet chorales, in Brahms for example, are very playable. Next time we do Mahler 3rd Symphony I will use the Kruspe, as Kruspe it makes complete Virtuosa c.1910 sense of the dynamics. Of course there were many variations of design, but they seem all to have had the characteristic soft response with edge only at maximum volume.
autumn 2014 the trombonist
one size fits all? continued...
Photography courtesy of Benjamin Ealovega
Before the 19th Century it was unusual to play music of the past. Musicians played primarily the music of their own time and place, were completely in tune with their own current style, and would unthinkingly have used one instrument for everything. Handel was possibly the first composer to enjoy a reverence from succeeding generations, and within a few decades of his death, performance traditions had been established that were undoubtedly foreign to his original conception. Instruments were, in real terms, expensive compared to today and few could afford the luxury of several different versions. Composers traveling around the continent could well have found the national differences in instruments and styles of playing refreshing, rather than a problem. Berlioz, for example, enthusiastically endorsed the newly invented tuba when touring Germany. The industrial revolution led to much experiment in instrument design and, not surprisingly, the invention of valves proved an irresistible opportunity to improve the trombone’s agility. Many places, including Vienna for about 50 years, virtually abandoned the slide trombone in favour of the valve version. I have focused on just two adjacent countries, France and Germany, but the reality is that from the 1820’s onwards there were many different versions of trombone, going in and out of vogue
across the continent. Working out what might be authentic for any particular repertoire can be a nightmare, and one player cannot possibly be equipped for all musical eventualities. The 19th Century saw large-scale migration of Europeans to North America, instrument makers amongst them. The modern orchestral trombone was developed in the USA by European craftsmen, adapting their designs for the New World, and for whatever reason, they came up with a large bore instrument which is a compromise between the traditional German and French designs, with much improved ergonomics. With the development of mass produced, affordable recordings in the 1950s, the rest of the world could hear these instruments playing many styles of music. American orchestras also toured, and made a profound impression on players in other countries. Denis Wick talks of the effect of the New York Philharmonic trombones at the Edinburgh Festival in 1951, and takes some credit for introducing the instruments here. Of course the same happened in other countries, and today, this instrument is the industry standard worldwide. No-one can be an expert in everything, and when a composer today writes for trombone, rarely has much thought gone into what sort of trombone. This confusion started during the 19th Century with composers traditionally labeling parts alto, tenor, and bass, when actually the alto parts often seem more suited to a tenor instrument; so choice of instrument comes down to performers, armed with as much knowledge as possible. The modern orchestral trombone is a brilliant, if accidental, compromise, successfully coping with the huge range of music we play today. It’s design allows us to produce the direct sound similar to narrow bore trombones, but it’s large bore and mouthpiece also allow it to produce a warm, rich sound suitable for the late romantic German repertoire. With good historical knowledge and a flexible technique, it will adapt with us. However, there is plenty of room for flexibility in today’s world. I despair when I hear students express a desire to always produce a ‘warm, dark, big’ sound, (whatever these words mean in a musical context). Sometimes, a terrifying blazing sound is appropriate, sometimes a straight tone, sometimes a heavy vibrato. Music shouldn’t always be ‘nice’, it should also challenge and shock, so why put a limit on the sounds we can produce? Many sections, (including the BBCNOW trombones), down-size to medium bore instruments for some music, (e.g. Beethoven and Berlioz), but I think there is also scope for using modernised versions of the old German instruments, as some German orchestras still do. If we had instruments with modern ergonomics, we could realistically tackle Mahler and Strauss and so on, and create a better blend with the German instruments our trumpet section occasionally use. We will never return to the days of strongly distinctive national styles of instruments and playing, but the ‘them and us’ antagonism between modern and period instrument bands is outmoded. Let’s have a pragmatic approach that puts the music first, helping it to flourish into the future. Donal Bannister - Principal Trombone, BBCNOW
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reviews
ews i v e r
Flexibility for Trombone by Anders Larson
World Concerto – Ben Van Dijk
The Sound of Jay & Kai
Reviewed by Roger Argente
Reviewed by Owen Dawson
Reviewed by Jon Stokes.
To call Ben just a Dutch bass trombonist is of course an understatement. He has almost single-handedly advanced the cause of the bass trombone and bass trombonists through tireless enthusiasm, hardwork and a massive smile. This is Ben’s 5th (!!!) solo CD and features music composed and arranged by Steven Verhelst – incidentally a past student of Ben’s - accompanied by the Amsterdam Staff Band of the Salvation Army, conducted by their Bandmaster, Olaf Ritman.
Fronted by two of the country’s top trombonists, Mark Nightingale and Alistair White, this group strives to recreate the explosive energy of the original Jai and Kai Quintet. With the exception of the down tempo arrangement of Cherokee and June Time, a bossa nova, the album is comprised exclusively of very straight-ahead, swinging tunes. From the raucous, bluesy Groove Merchant to the virtuosity on display in Mad About the Boy, every tune has a very traditional feel, all stylishly grounded by the trio of Graham Harvey (piano), Alec Dankworth (double bass) and Clark Tracey (drums). For me, the highlight of the album has to be one of the few more reserved tunes, Judy, where the melodic interplay between Mark and Alistair is exposed in a collective improvisation, showing off a sweeter side to their playing.
In Anders Larson’s Flexibility for Trombone he is addressing the issue of cumbersome, clumsy trombone playing through a series of exercises ranging in difficulty suitable for players of all abilities. The focus is on improving strength, legato playing, intonation and control in order to achieve a more musical, fluid approach to trombone playing.
With so many books of this nature readily available, the hardest part is choosing the one that is right for you and then picking the exercises that are going to help. This book is well laid out and the exercises, whilst not being anything new, are presented clearly and with a strong sense of purpose.
My personal favourites from the album are Na Sopkah Manchurii or On the Hills of Manchuria, a Russian song by Alekseevich Shatrov (reputed to be a favourite of Joseph Stalin’s) and Steven Verhelst’s A Song for Japan. And of course I can’t sign off without mentioning the final bonus track, the only work that doesn’t involve the Amsterdam Staff Band. La Tarara is a multi-tracked piece that tells the story of a Flamenco dancer, which has Ben playing first on his beloved Flamenco guitar before moving on to bass and contrabass trombones, and being joined by some great licks from Jan Oosting (tenor trombone) and Martin van den Berg (tuba).
The addition of rhythm into some of these exercises makes them slightly more melodic and therefore a bit more interesting than some of the others. This book contains some great material for improving as musicians on the trombone, especially if used alongside methods focusing on breathing, tonguing and slide technique.
I highly recommend this CD and would also like to mention the wonderful contribution the Amsterdam Staff Band make to this recording, allowing the listener to sit back and enjoy the warmth of their sound and tone. Bravo once again to Ben and Steven for all the new exciting solo works which I hope many budding brass band bass trombonists will adopt.
This quintet most definitely capture the true essence of the Jai and Kai group, whilst also bringing a more contemporary edge to the music through the inclusion of original compositions, both by Mark Nightingale, Blues on the House and A Gentle Man, and the occasional hint of more modern influences in the playing styles of the group’s members. An album that any fan of jazz would most definitely enjoy.
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Photography courtesy of Betina Skovbro
G&T by Matthew Gee & Mark Templeton
With the BBC Proms over, now is the time to appreciate our homegrown bands. With many announcing new seasons, there is sure to be some worldclass British trombone playing near you.
The trombone has been used to sell everything from Beer to Milk. The CBSO pay homage with Friday Night Classics - TV and Adverts, where you will find a plethora of well-known excerpts, from Ravel’s Bolero to Verdi’s Force of Destiny: October 24th, Symphony Hall, 7.30pm.
Matthew Gee from the RPO and Mark Templeton from the LPO share with us their selection of orchestral highlights for the trombone this autumn.
Some of the hardest trombone parts ever written, performed on stage with nowhere to hide...unmissable! October 23rd, City Halls, Glasgow, 7.30pm. The RTÉ National Symphony Orchestra with Christian Lindberg. It is impossible not to be entertained by Lindberg, as he plays, recites and conducts the Irish première of his own work, Helikon Wasp: October 24th, National Concert Hall, 8pm. Over to you Mark...
On a more serious note, the Liverpool Philharmonic are performing in the Metropolitan Cathedral on November 8th, 7.30pm, with Yan Pascal Tortelier conducting Strauss’ Tod und Verklärung. Book a seat down wind from the trombone section and they will demonstrate the sheer power of our beloved instrument. If you do not know this piece, buy a recording and prepare to have your life turned upside down!
Thanks Matt. Here are my picks from the South, starting with a show of force by the Philharmonia. Berlioz had some revolutionary ideas about music and really pushed the envelope in his day. Look out for his Grande Masse du Morte. With the full trombone section on stage plus 4 brass bands, you’ll hear this groundbreaking work in full surround sound: September 25th, Royal Festival Hall, London, 7.30pm
The BBC Philharmonic offer a classic: Elgar’s Cockaigne overture and Walton’s Belshazzar’s Feast. This lip-bending concert takes us around London Town (where the trombones represent drunks!) and includes off-stage brass bands: November 8th, Bridgewater Hall, 7.30pm.
Or you could visit the south cost for a bit of Russian sparkle. The Bournemouth Symphony Orchestra will be playing Borodin’s Overture to Prince Igor and Tchaikovsky’s Symphony No.5. Both pieces display excellent writing for the ‘bones displaying a huge palette of colours to cater for all tastes:12th November, Poole Lighthouse, 7.30pm
A very interesting concert north of the border sees the BBC Scottish Symphony Orchestra perform a semi-staged production of Berg’s epic Wozzeck. 32
From my band, the LPO, I’m picking Schubert’s Unfinished and Strauss’ Don Juan. The Schubert was the first piece
I played with orchestra when I was thirteen and contains some great lines for the ‘bones. Don Juan is a riot of colour with a bit of Euphonium on the side. 19th November, Royal Festival Hall, London, 7.30pm. STAR PICK: London Symphony Orchestra under Bernard Haitink. Bruckner’s Symphony No.8 is one of my favourite pieces to play and listen to and Haitink is a master who gets everything he wants with the tiniest of gestures. A bumper in this piece is essential, not necessarily to save strength, but to add weight to the big tunes, allowing the section to sit back and prioritise quality of sound rather over volume. 23rd October, Barbican, London, 7.30pm. Denis Wick said a good trombone section can do more to get an audience on its feet than the rest of the orchestra put together. We couldn’t agree more. Follow Matt by visiting www.matthewgee.info or on Twitter @Geetrombone Follow Mark on Twitter @mbonetempleton
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t’s a h w on
what’s on september
thern Great Nor Festival Brass Arts all day 13 September ester Hall, Manch Bridgewater
november s recital Total Bras 3pm h, DT4 7TH 2 November hodist Churc et M ay B th u Weymo ss.co.uk www.totalbra
september BTS Wessex Day Trombone all day 21 September lage Hall Pimperne Vil ls r more detai see page 7 fo
october
r ass UK tou Mnozil Br er 8 - 17 Octob nozilbrass.at .m w w visit w for details
october
a Day East Angli BTS AGM & sworth ft. Ray Word workshop improvisation l day 5 October al ugh ol, Peterboro Oundle Scho ls r more detai see page 7 fo
october
d Brass Ban National ls ships Fina Champion l day 11 October al on t Hall, Lond nships.com Royal Alber andchampio b ss ra b al n io www.nat
october
Lindberg Christian rchestra Symphony O al n io at N É T R pm 24 October 8 ails for more det see page 32
november
s Tunnell Total Bras al tour Trust recit ember 12,14,15 Nov le of Arran Kilbrade / Is Islay / West ss.co.uk www.totalbra
november
ecital eld solo r Ian Bousfi 8pm 14 November n, um Hall, Ber ri o at Konserv Switzerland sfield.com www.ianbou
november
ntest oncert - Co Brass in C all day 16 November eshead The Sage, Gat ncert.com www.brassinco
december
stival ombone Fe Lätzsch Tr ber 16-21 Decem Netherlands e h Germany/T nefestival.eu www.trombo ails for more det see page 28
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. 33
autumn 2014 the trombonist
fast talk... What’s your name? Liam Kirkman. What’s your current job? Freelance musician. What model of trombone(s) do you play? Vincent Bach LT12, Conn 88H. What mouthpiece(s) do you play on? Denis Wick Heritage 7CS, Marcinkiewicz model 12, Denis Wick Heavy Top 6BL. How old were you when you started playing? 12 Years old. What is the best technical advice you could give a student? Breathe deeply and forget everything else! Don’t suffer “paralysis by analysis”! Try to keep it feeling natural and instinctive. What was the most amazing gig you’ve ever been involved in? Don’t know about most amazing but I enjoyed playing on Saturday Night Live
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60cond seterview in
with Radiohead. The house band had all the New York heavyweights in. Steve Turre was on trombone.
with Kenny Wheeler at the Gulbenkian Amphitheatre in Lisbon under a starry night sky.
What was the last record you bought? Royal Philharmonic Orchestra/Yuri Simonov Stravinsky Rite of Spring.
What are you currently working on work-wise/ repertoire-wise? I don’t exactly practice ‘repertoire’ but play lots of scales and patterns. I often play the Bach Cello Suites and am currently working my way through a book of Irish folk songs (Reels and Hornpipes and such like) for fun. That’s a style of music trombonists don’t really get to play and challenging! Work-wise I’m shortly going on tour with the John Wilson Orchestra.
What is the best advice you could give someone who is just starting out freelancing? Be versatile and say yes to everything. You just need to be seen for work to escalate. Don’t be too pushy! Be yourself....unless you’re an idiot.... then just keep quiet. What was your first pro gig and when? Whilst in 2nd year at the RNCM in 1989 I got a job in the dance band at Blackpool Tower Ballroom...it went down very badly at college... Where has been your most favourite place to perform? A lasting memory is from 1992 playing
What’s your favourite colour? Black..I’m a fan of the Dark Side. What’s your favourite food? Indian food and Belgian beer Give us an interesting fact that people might not know about you… I’m really good at falling off Motocross bikes.