The Trombonist - Spring 2023

The Trombonist

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Welcome

Welcome to the Spring 2023 edition of The Trombonist.

In the following pages you will read about the conclusion of an ambitious recording project, explore what makes a Tom Garling solo so special, and be introduced to a range of new recordings and compositions but first we would like to take this opportunity to give a huge thank you to Alison Keep.

After more than 10 years, Alison is stepping down from her role as BTS Secretary. She has been a constant source of knowledge, has kept us organised (she has a fantastic ability to round us up for meetings) and brought joy to everyone who has had the pleasure to work with her, liaising with many of our members and enjoying playing bass trombone at our events. Alison is off to spend time with her family and help bring up her grandchildren, but you will see her at events when she can attend. From all of us at the BTS, Alison, thank you! 16–23 April is International Trombone Week.

The BTS is hosting two events to coincidence with ITW 2023. What better excuse to get the instrument out of the case, play and enjoy performing than by getting involved with our latest collaborative video? BTS South East representative, Michael Pilley, has put together a piece using the theme by Purcell from Britten’s Young Person’s Guide to the Orchestra. It’s an exciting version, click here for full instructions on how to download your part and join in. Deadline for upload is Sunday, 16 April.

On 19 April there will be a massed blow at Regent Hall, London, from 2.30pm to 5.30pm. This will feature a world première fanfare from Callum Au in celebration of ITW, amongst some other great pieces. We hope to have some people important to the BTS attending, including founders, Past Presidents and more.

We would imagine there will be socialising afterwards in a local café or hostelry.

For further inspiration, our friends over at the International Trombone Association have put together an extensive ideas list, so head to their website and check it out. Use the #ITW tag for your social media posts and let’s celebrate ITW together.

If you can’t make it to London, why not head up to the BTS Durham Trombone Day on 30 April to hear and learn from Cillian Ó Ceallacáin, Jon Stokes and the Brighouse & Rastrick Band Trombone Section: Ellena Newton, Charlotte Horsfield and Steve Lomas. Read on to learn about the hugely successful South West and Northern Ireland days already held in 2023.

Full details of upcoming events can be found on the BTS website; don’t forget to follow booking instructions. We hope to see you there!

Best wishes and happy music making.

Simon Minshall president@britishtrombonesociety.org

Alastair Warren editor@britishtrombonesociety.org

SIMON MINSHALL, PRESIDENT ALASTAIR WARREN, EDITOR

THE TROMBONIST MAGAZINE TEAM

EDITOR

Alastair Warren editor@britishtrombonesociety.org

SUB-EDITORS

Peter Chester and Alison Keep

NEWS EDITOR

Barney Medland news@britishtrombonesociety.org

EVENTS EDITOR events@britishtrombonesociety.org

REVIEWS EDITOR

Jane Salmon reviews@britishtrombonesociety.org

ADVERTISING MANAGER

Chris Valentine advertising@britishtrombonesociety.org

SOCIAL MEDIA MANAGER

Martin Lee Thompson content@britishtrombonesociety.org

MAGAZINE DESIGN

Sára Mikkelsen saramikkelsen.com

FRONT COVER PHOTO CREDIT South West Trombone Day Participant Photo Credit Wells Cathedral School

CONTRIBUTORS TO THIS ISSUE

Alastair Warren

Barney Medland

Simon Minshall

Nathan Moore

Josh Cirtina

Becky Smith

Jon Stokes

Tom Lees

Jeremy Price

Peter Chester

Becky Pepper

Dan Jenkins

Rob Egerton

CONTENTS

03 WELCOME

06 THE NEWS

09 PRESIDENT’S TOOLKIT

10

13

15

21

SOUTH WEST TROMBONE DAY

NORTHERN IRELAND TROMBONE DAY

ONCE UPON A TIME IN LEEDS …

CD REVIEW: BRUKDOWN BY BONE-AFIDE

22 MUSIC REVIEW: NEW FROM WARWICK MUSIC

25 CONCERT REVIEW: CALLUM AU – SONGS AND STORIES

26 JAZZ BY JEREMY

32

PLAYING SECOND FIDDLE

34 THE LISTENING LOUNGE

35

36

38

CD REVIEW: ASPECTS OF DON LUSHER – TRIBUTE TO A LEGEND

FROM THE STAGE TO THE PIT

WHAT’S ON?

THE NEWS

BY BARNEY MEDLAND

More Success for Alex Paxton

In February Alex Paxton received one of three Composers Prizes awarded by the renowned Ernst von Siemens Music Foundation. The Foundation said the composer and improvising trombonist manages to marry the best of three worlds: classical music, jazz and pop. ‘Alex transfers his playful desire to improvise into his compositions and writes refined, passionate music full of pulsating energy and stylistic diversity’. Last December Alex received the Hindemith Prize, given in commemoration of the musical pedagogy of Paul Hindemith to promote outstanding contemporary composers. The award includes a commission from the Schleswig-Holstein Music Festival.

Trombone Spotlight at Black Dyke Festival

On Sunday, 4 June, the Black Dyke Festival, to be held at Huddersfield Town Hall, will feature a Trombone Spotlight. Led by the band’s trombone section, Dr Brett Baker, Gary Reed, Adam Warburton and Adam Reed, the Spotlight will include lessons, workshops and ensemble playing. Players of grade 5+ standard can register to take part by emailing brett.trombone@googlemail.com, cost £10.

Kris Garfitt Releases Debut Album

Thursday, 25 May will see Kris Garfitt officially launch his debut album, Kaleidoscope, at the Royal Over-Seas League, London, returning to the venue where he won the 2019 ROSL Music Competition. The recording features ‘the many voices that composers have given to the trombone as a solo instrument in a programme of music ranging from George Frideric Handel to Ernst Krĕnek.’ A graduate of the Guildhall School of Music and Drama, Kris is Solo Trombone with the WDR Symphony Orchestra and a multiple international competition winner, most recently taking first prize in the 2022 International ARD Music Competition in Munich. Advance copies of Kaleidoscope can be ordered here.

New Member Benefits

The BTS is pleased to announce Voigt Brass as a new addition to our Member Benefits, offering members a 15% discount on instrument repairs and servicing.

Bobby Lamb Concerto Reconstructed

In April, Mick Marshall, second trombone with the RTE Concert Orchestra, Dublin, will record Bobby Lamb’s Concerto for Trombone and Violin as part of RTE’s annual New Music Week. This year the focus is on Irish composers of all genres and the recording will be broadcast on Ireland’s National Classical Radio Station “Lyric FM”.

Mick writes, ‘Bobby wrote this concerto, entitled Conversations, many years ago and the RTECO hired Paul Campbell pre-Covid to reconstruct it from Bobby’s original handwritten score. Paul has done an absolutely fantastic job. Conversations is an interesting piece about a lowlife jazz trombonist who meets a pretty, virtuosic Classical violinist.’

Now aged 92, Bobby Lamb will be best known to many as Director of Jazz Studies at Trinity College of Music from 1982 to 2007 but he first moved to London

from Ireland in 1952 to work with the bands of Teddy Foster and Jack Parnell. A three-year stint in the U.S. followed playing with Charlie Barnet, Stan Kenton and Woody Herman before Bobby returned to the UK to join the BBC Show Band. Over the following two decades Bobby worked with, amongst many others, Geraldo, the BBC Radio Orchestra, as well as co-leading an orchestra with Ray Premru and frequently touring Europe and the Middle East with the likes of Frank Sinatra, Ella Fitzgerald, Peggy Lee and Buddy Rich. Alongside performing, Bobby developed a considerable reputation as a composer and conductor, winning an Ivor Novello Award for his 1970 composition

The Children of Lir.

Award for Joshua Herman

Congratulations to Lance Corporal Joshua Herman, Principal Trombone of The Band of the Prince of Wales, who has been awarded the Band’s Porter Performance Award. The award is based on outstanding and consistent musical performance and recognises LCpl Herman’s musical excellence. When not at his day job LCpl Herman can be found playing second trombone with Tredegar Town Band.

The Saga of the Errant Trombone

We are absolutely delighted to report that our missing trombone has finally been returned! After five long months of wrangling with DPD, a small but dedicated team within the bowels of Trombone Towers, led by BTS Administrator Chris Sowerby, emerged triumphant following what seemed like an endless pursuit of justice and honour against a foe hiding behind countless emails and buck passing.

Rewind to August 2022 and the Yamaha YSL-882 GO trombone recently donated to the BTS Instrument Loan Scheme by Peter Moore, Principal Trombone of the London Symphony Orchestra, was winging its way to an excited young student in need of a quality instrument when … it vanished.

Last seen at the DPD Aldridge Depot on 31st August according to the Parcel Tracker, one would have thought that a trombone was an item not easily overlooked but after several weeks of ‘searching’ DPD returned with a standard reply of ‘whereabouts unknown.’

Then…

The instrument was spotted on the internet being offered for sale in the West Midlands area. At this point it was natural to assume the instrument had been stolen and the police became involved. After a short investigation, it was determined that the instrument had been sent by DPD to an auction house (without the authority to do so), which is how unclaimed ‘lost’ items are dealt with, and it had subsequently been sold. The person who bought the instrument did so in good faith but despite having learned of the trombone’s provenance chose to offer it for sale and profit rather than return it to the auction house.

Several months of impasse followed with DPD stonewalling and legal advice being taken by the BTS before someone within DPD was found who was willing to pick up the baton and assist in the instrument’s recovery. Persistent pressure ultimately paid off and DPD agreed to buy back the instrument. The trombone has been checked over and is now ready and waiting for the opening of the BTS Instrument Loan Scheme on 1 July.

BOBBY LAMB

New Principal Bass Trombone at BBC SSO

Alex Kelly has been appointed Principal Bass Trombone with BBC Scottish Symphony Orchestra. Alex studied at Chetham’s School of Music with Les Storey, Rob Burtenshaw and Phil Goodwin, before going on to complete undergraduate and postgraduate degrees at the Royal Academy of Music, studying with Bob Hughes and Keith McNicoll, and the Royal College of Music, studying with Dave Stewart and Paul Milner. Prior to his appointment, Alex freelanced with many of the UK's major orchestras.

RPO Appoints Sub Principal Trombone

Rupert Whitehead has been appointed to the position of Sub Principal Trombone (No.4) with the Royal Philharmonic Orchestra after being an Associate Member since October 2017. Born in Carmarthenshire, Rupert grew up in Llandeilo and moved to London in 2006 to study at the Royal College of Music with Byron Fulcher. He then completed a master’s degree at the Royal Academy of Music. Since graduating, Rupert has enjoyed a varied freelance career, working with some of the UK's leading orchestras as well as recording for TV and Film, and was recently appointed to the BTS Committee.

And Finally a Well-Earned Rest

All at the BTS would like to offer their best wishes and congratulations to two long serving trombonists on their retirements. Martin Wilson retires after 30 years as Principal Trombone with the Ulster Orchestra, and Mike Crowther leaves the English National Ballet Philharmonic after a truly remarkable 49 years. ◆

RUPERT WHITEHEAD

BBC SSO LOW BRASS. L-R ANDREW DUNCAN, JONNY HOLLICK, ALEX KELLY, SIMON JOHNSON.

Ask Simon …

BY SIMON MINSHALL

I am keen to keep this section as useful to you as possible. Martin Lee Thompson, on the socials, has assisted in getting some questions in from you: this gets me thinking and researching, so thank you!

What sort of breathing exercises do you do as part of your regular routine?

For a time as a younger player, I would do some in depth breathing routines such as The Breathing Gym and make use of lots of different breathing devices such as Air bags, Inspiron, and Voldyne: aids which Arnold Jacobs used to 'divorce remedial function matters from the actual playing of the instrument.' They certainly helped but I find myself using them less often now, replacing them with physical exercise to keep my lungs strong. I keep telling myself, and my students, to swim more.

Brass players often focus on taking in a much air as possible, 'take a BIG breath'. This can lead to stress and tension and have a negative impact on how we sound. We need to remain elastic and keep in mind that air comes in and goes out. Sounds a little silly when you say it, but you won't forget it now. Move warm air and shift the focus of breathing in to moving that warm air. You should be pleasantly surprised about how easy the breath in can now be. Walk, run, play some sports and be aware that playing a brass instrument is a physical task.

Some simple stretching can help you keep the elasticity in the core of the body and allow you to expand without tension. Take care of your body as best you can.

What repertoire should I bring to lessons with show players/jazz players?

I have touched on a similar subject before. As musicians we are constantly being asked to fit into different styles, not only to earn a living as a professional but to expand

our musical horizons, so we should be trying to play in all styles.

Don't think too hard about what to take. If this is a lesson to learn more about how to play that way then a great teacher will guide you and I would hope have some things at hand for you to play: I suspect sight reading would feature a lot. Chat with them before about your goals and objectives. I have some of my students tell me what they want to achieve, and then it's my job to help them.

How do I keep in playing shape on tour/away from home?

Everyone is different, but I try to keep things as much like home as possible, just on a different continent or in an unknown hall. My warm up may take longer than usual if it's been a big concert the previous night or a long travel day. A practice mute on tour makes all the difference. I'm not going to review mutes here, but I use an Okura mute for my bass trombones: for contrabass, a Denis Wick baritone mute fits. (Order online so you don't have to awkwardly ask for a baritone practice mute in a shop!!!)

Other practice mutes may be preferred but I want something that fits flush with the bell in the case. It's not great to play with a practice mute all the time, but it's useful to have the option of playing in a hotel room without the police getting involved.

As ever, please do email in anything you would like me to address or babble on about to president@britishtrombonesociety.org or find me on Instagram @th_minsh ◆

South West Trombone Day

BY TOM LEES

Wells in Somerset is known as the UK’s smallest city (by area) and the setting for the film Hot Fuzz, as well as countless period dramas making use of the Gothic cathedral and medieval Vicar’s Close. On 21 January 2023, Wells Cathedral School’s renowned music department hosted 55 trombonists aged between 9 and 81 for a day of warm-ups, ensemble playing, secret lessons, masterclasses and performances, all expertly led by the members of the Bones Apart Trombone Quartet

After refreshments – much-needed by those who had travelled from as far away as Newquay and London

Helen Vollam and Becky Smith led the mass group warm up in the Eavis Hall (named after old Wellensian Michael Eavis, the founder of the Glastonbury Festival). The focus was on making a blended sound and good intonation (‘watch out for 5th position, it’s like the Bermuda Triangle!’). Nicely warmed up, the players went off into three pre-designated groups to work on repertoire for the gala performance at the end of the day. The youngest players went with Jayne Murrill to work on We Will Rock You and Wallace and Grommit, with the emphasis on ensemble skills and having fun! Becky took the middle group who played the Raiders March, and the third group went with Sarah Williams to work on Spanish Gypsy Dance by Pascual Marquina and the Theme from Jurassic Park

While all of this was going on, Helen gave free one-toone lessons to those lucky trombonists who had their names drawn out of the hat in the ‘Lesson Lotto’.

A Young Trombonist writes … By Alex (aged 9)

The BTS event at Wells Cathedral School was over 2 hours away from where I live in London, but it was worth it because the day was fantastic! I made new friends of all ages who shared a love of all things ‘trombone’. Bones Apart were there and they were brilliant and inspiring. I even won a private lesson with Helen from Bones Apart while the other members were busy conducting different groups. Helen is great at playing and teaching and helped me with my Grade 5 piece. At the end, the parents, friends and relatives watched us all in a concert. Bones Apart played wonderful pieces and did unusual things with their trombones to make different sounds, like putting the mouthpiece in the tuning slide and playing through only one outer slide tube. Then the different groups played pieces, some with audience involvement. Finally, the whole lot of us came together to play a couple of fun pieces; it was amazing to play in an ‘orchestra’ of over 50 trombones. A very big thank you to everyone who helped organise the whole event along with Bones Apart. I can’t wait to do it again!

PHOTO CREDIT: WELLS CATHEDRAL SCHOOL.

A well-earned lunch break gave everyone a chance to explore historic Wells or visit the John Packer trade stand that was in attendance, to stock up on accessories or try a selection of Bach and Conn instruments and play some high ‘C’s!

After lunch there was a chance to do some listening, as three students from Wells Cathedral School – Theo, George and Morgan – took part in a masterclass coached by the members of the Quartet; they were joined by a young volunteer on the day, Seth.

First up was Seth who played The Parsons Nose by Christopher Mowat. Seth breezed up and played unaccompanied and was just going to sit straight down again before Sarah grabbed him and explained what he had let himself in for! She helped him highlight the contrasts in this characterful little piece. Next was Theo who has started to work on the bass trombone and played Alwyn Green’s arrangement of Bruch’s Kol Nidrei. Sarah was able to help him make a more open sound in the lower register and imitate the sound of a cantor chanting the liturgy in the synagogue. George has just joined the National Youth Brass Band and played Arthur Pryor’s Thoughts of Love. Amongst the dazzling virtuosity, he was helped to find more line and direction in the theme of the piece. Morgan is a new member of the National Youth Orchestra section and gave a stylish performance of Guilmant’s Morceau Symphonique. The quartet suggested some complimentary slide positions and worked with him to find even greater expression.

After the masterclass it was time to assemble the massed ensemble, expertly directed by Jayne. She put us through our paces in arrangements of Bill Conti’s

Gonna Fly Now (Rocky Theme) – lots of fun for the bass trombone section! – and The Speak Up Mambo (Cuentame) by Al Castellanos, which tested our Spanish vowels. All of the arrangements had adapted parts so that the many young players, some of whom had only been playing for a few months, could take a full part.

Following a short break, the audience filled the hall for the gala concert which began with a performance by Bones Apart. They played a selection from their Wonder Women: Muses, Queens and Warriors programme, which they would be performing the next day down the road in Frome. They began with Becky’s arrangement of Un barbaro rigor, an aria from Sant’ Alessio by Camilla de Rossi composed in Vienna in 1710. The vocal line and virtuosic continuo line were shared amongst the Quartet in this spirited opener. Next up was Torc, composed by Helen Vollam in 2021. Helen gave us some insight into the composition and the Quartet illustrated some of the key themes and effects used:

‘Torc is a type of gold necklace which was worn by Boudicca, Queen of the Iceni tribe, and the composition is a portrayal of some imagined scenes from Boudicca’s life. It starts with a distant call on an animal horn (actually the detached tuning slide and mouthpiece played by Jayne). Then the mist gradually clears, and a small Celtic village comes into view. A folk tune can be heard played on a Celtic flute (Helen took off half of the outer slide and played a beautiful melancholy melody), but the atmosphere is uneasy, and a sense of danger is in the air. A battle cry from a Carnyx raises the alarm (the main tuning slide is taken out and put back in on the gooseneck side) and it’s into battle. Boudicca’s chariot

L-R BECKY SMITH, GEORGE, HELEN VOLLAM. PHOTO CREDIT: WELLS CATHEDRAL SCHOOL.

thunders across the plains and an ugly battle with the Romans commences. On this occasion, Boudicca is undefeated.’

The work created an amazing atmosphere and looking round the audience I saw many captivated young faces.

Next, Jayne’s group of young players took to the stage to play what they had prepared for their proud audience of friends and family, after which Bones Apart gave us more of their ‘Wonder Women’ programme. Kehaar’s Theme from Watership Down composed by

Angela Morley was a delightful moment, and the quartet finished with The Windy City from Calamity Jane, channeling the spirit of Doris Day!

The remaining groups performed their morning’s work before the massed ensemble of 55 trombones took to the stage. The performance of The Speak Up Mambo with audience participation had them as tongued tied as we had been earlier (“IOA IOAE – pronounced ‘ee-oh-ah ee-oh-ah-ay’), and the Rocky Theme was loud. Fortunately, the Eavis Hall is equipped with absorptive wall panels that can be adjusted to manage the acoustic, and these were set to the levels used for the Onyx Brass Day and The Cory Band’s visit a couple of months earlier!

As always with these events, it was great to see trombonists bump into old friends and make new ones too. Huge thanks to Bones Apart for their tireless energy and enthusiasm on the day, to Conn Selmer for supporting the event, to John Packer for bringing the shiny things, and to the Head of Brass at Wells Cathedral School, Ross Brown, and his team who organised the event and made us feel so welcome. The school is keen to develop the relationship with the BTS and host events in the future, so watch this space … ◆

PHOTO CREDIT: WELLS CATHEDRAL SCHOOL.

Northern Ireland Trombone Day

BY NATHAN MOORE

On 26 February 25 trombonists gathered in sunny Antrim for the Northern Ireland Trombone Day 2023. This was the second event put on by the BTS in collaboration with the Education Authority of Northern Ireland. Our special guests this year were Richard Ashmore (Principal Bass Trombone of the Ulster Orchestra) and Stephen Barnett (retired 2nd Trombone of the Ulster Orchestra). The day was led by BTS Northern Ireland representative Nathan Moore and Will McLean.

The event began with stretching and breathing with Richard, who talked about the importance of preparation before practice, as well as injury prevention. His insights into breathing were informative and practical, spending time showing everyone exercises to breathe efficiently and how to turn that breath into a great sound. Nathan then took over with some lip slur exercises and note bending to build on what Richard had worked on beforehand.

Once everyone was warmed up and ready to play Stephen rehearsed the trombone choir with two specially adapted arrangements by Kevin Morgan.

Kevin very kindly had taken two of his arrangements, When the Saints and Teddy Bears’ Picnic, and added beginner trombone parts for our younger participants. Stephen focused on ensemble and sight-reading skills and had the choir sounding absolutely glorious.

Just before the coffee break, we had a masterclass featuring some of Northern Ireland’s very talented young trombonists, Daniel, Michael, Oisin, and Edward. We heard brilliant performances of the Cavatine by

WARMING UP WITH RICHARD ASHMORE.

PHOTO CREDIT: NATHAN MOORE.

STEPHEN BARNETT REHEARSES THE TROMBONE CHOIR.

PHOTO CREDIT: NATHAN MOORE.

Saint-Saens, Bach’s Arioso, Chattanooga Choo Choo by Gordon and Warren, and Greenwood’s The Acrobat Our guests demonstrated how to be comfortable behind a music stand, how to engage with the audience and how to stay focused when playing with a pianist. I think we can all agree that these are all things we can forget in the practice room, yet it can make a huge difference to our performances.

After our coffee break, we rehearsed the trombone choir before performing for the parents at the end of the afternoon. Check out the video on the BTS social media pages to hear the choir performing When the Saints.

We would like to thank the British Trombone Society and Education Authority Northern Ireland for helping us put on the event. Special thanks to Martin Haggan from EA who worked behind the scenes to make this event happen and to Kevin Morgan for adapting and letting us use his arrangements for the event.

Will and I would like to host more events in Northern Ireland as we have a wealth of great trombonists here and not very many opportunities to get together. We’re planning some smaller events to focus on trombone choir playing later this year. Please get in touch if you would like to get involved! ◆

MICHAEL. PHOTO CREDIT: NATHAN MOORE.

OISIN. PHOTO CREDIT: NATHAN MOORE.

EDWARD. PHOTO CREDIT: NATHAN MOORE.

DANIEL. PHOTO CREDIT: NATHAN MOORE.

Once Upon a Time in Leeds …

BY PETER CHESTER

In the last week of November 2022, I was privileged to be present at an event that at the time was doubtless unique on the planet. It took place in the comfortable surroundings of the Mantle House Studio, the new rehearsal space in Leeds for the Orchestra of Opera North. What probably made the occasion unique was that not one but two trombone concertos were recorded, plus a new work for three trombones and orchestra, along with a nearly-new trio for trombones –that’s two concertos and two world première recordings in three days! All the music was composed by British composer Benjamin Ellin, who also conducted the Orchestra. As for the soloists, we had none other than Joseph Alessi, the distinguished principal trombone of the New York Philharmonic, flown in especially for the session, playing alongside Opera North's own Christian Jones and Blair Sinclair.

To add to the pleasure, the three recording days were preceded by an afternoon session on the day before, some five hours long, when Joe Alessi kindly presided over a masterclass, listening to and providing thoughtful comment on the performances of a number of students and trombone ensembles. This event was generously supported by Leeds Conservatoire and Chetham’s School and some 100 performers and spectators were treated to a fascinating start to the week, a full report of which appeared in the last BTS magazine, Winter 2022.

It has to be said, the credit for organising the recordings goes to Christian, working very closely with composer Ben, and Philip Boughton, the Orchestra Director, who is himself an ex-trombonist. In the mid-1990s bass trombonist Christian and Ben, who plays the tuba, were colleagues in the National Youth Orchestra and they have remained good friends ever

since. That friendship contributed to a commission from Opera North, in 2020, for Ben to write a Concerto for Bass Trombone, the first ever commissioned by a British orchestra, which Christian premièred in Huddersfield, on 7 October 2021, with the Orchestra of Opera North. The concerto is called Gresley, as it is partly inspired by the life of the famous engineer, Sir Nigel Gresley.

JOE COACHES APOLLO, ACCOMPANIED BY HARRY RYLANCE.

PHOTO CREDIT: MICK ARDRON.

A report of the première can be found in The Trombonist, Winter 2021.

However, this was not Ben's first foray into writing a concerto for trombone. Back in September 2009 he had been awarded a prize for composition from the Barlow Endowment, a philanthropic Foundation linked to Brigham Young University in Utah, USA. He was only the second British composer ever to win such a prize and, as he recalled, he did not believe it at the time and nearly deleted the email. However, the prize gave him the chance to write a concerto for Joe Alessi, then as now, one of the greatest trombone players alive today. That concerto was called Pandora and it was premièred by Joe, with the Brigham Young Philharmonic Orchestra in April 2012. This work has since entered the trombone repertoire and has been performed by a number of soloists across the world since 2012, although it has not been recorded. Ben has even rescored it for wind band accompaniment, a version premièred by Brett Baker in March 2022. Once again, a back copy of The Trombonist has its uses – a report on Ben and Pandora can be found in the Spring 2013 edition.

The artistic objective of the current project was to get these two concertos, along with Ben’s Stow Sketches unaccompanied trombone trio, written for Blair, Rob Burtenshaw and Christian in 2015, definitively recorded for the first time. This requires significant organisation and hard cash: hiring an orchestra, booking a number of guest players, with an appropriate recording space, along with an experienced recording and production team, as well as arranging cross-Atlantic travel, for example, does not come cheap, and that is apart from coordinating the diaries of numerous very busy people. But the spirit was willing, optimism was high and a number of significant sponsors came forward to support the recording project, notably Opera North, Samantha Lane at S. E Shires Company, Conn Selmer, the RVW Trust, the Svetlanov Legacy Charity, the Opera North Future Fund and the British Trombone Society. The most innovative source to complete the final budget was a crowdfunding campaign in the spring of 2022, which BTS members certainly heard about and to which individuals may well have generously contributed. Certainly, I know Ben, Joe, Christian, and Blair were very pleased with this level of support as it gives everybody a sense of involvement.

So, what happened on the recording days?

As Ben said to me during the week, in composing both Pandora and Gresley he was trying to write serious concertos for the trombone, substantial pieces of music, challenging yet musically satisfying to perform, which could also be seen as a serious offering to the entire concerto genre. In writing Pandora, before he had ever put pen to paper, Ben had long conversations with Joe, about music and performance so that he could

understand Joe as a musician and as a man. As Ben has written elsewhere, this ‘helped create a distinct image of a character I wanted to have within the composition and within the solo part itself’. What emerged was the age-old image of Pandora's Box which, when opened, allowed many different things to escape. And so, the concerto not only allows the soloist to display significant technical capability but also reflects Joe’s fluency in all aspects of trombone playing, for example, in jazz styles and smooth melody.

What I heard in the first movement was an opening eerie mood created by shimmering strings and woodwinds. Warm stabilizing chords from the orchestral heavy brass followed before rising tension in the lower strings led to a climactic ‘swoosh’ from the tam-tam, over which the solo trombone voice entered. This initial declamation subsided into a recitativelike section, with a dialogue between trombone and woodwinds. Strings and horns took over the support for the trombone before statements from timpani, bassoon and solo violin underlined the serious mood. The end came with tam-tam and bass drum strokes fading to silence.

Pandora’s second movement was a livelier affair, with lots of percussion giving, at times, an almost Latin feeling to the music. Significantly vigorous playing was called for from the solo part, often against spikey off-beat rhythms from the orchestra. The orchestra brass provided some drama to change the mood and the movement finished quietly with a cup-muted solo trombone playing a very long note indeed.

In concert performance, the third and fourth movement, Nocturne and Finale, are played segue, meaning, in simple terms – slow then fast! For me, the

L-R BEN ELLIN, BLAIR SINCLAIR, JOE ALESSI, CHRISTIAN JONES. PHOTO CREDIT: MICK ARDRON.

opening themes of the Nocturne had an oriental feel and there was some lovely interplay between the trombone and flutes. However, the addition of a harmon mute to a singing melody for the solo trombone, complete with slide vibrato, could only be described as ‘Dorseyesque’. I later learned that this little detail was one that particularly attracted Joe to the concerto, as the sound and the light scoring at that point were such a contrast to much that is often written for the trombone. As Joe said, ‘(Ben) really cleared out the space so that I could just play comfortably with a smaller group of musicians.’ In the concluding passages, the music allowed Joe to display the rich tone for which he is famous, before the mood darkened again with a gradual descent into the orchestral lower registers.

What followed could only be described as an explosion. Musically it was a huge entry from the orchestral brass and percussion that opened the Finale, Allegro Molto, with lots of virtuosic display from the solo part, flawlessly executed by Joe. Out of nowhere came a fugue section in the strings, joined by the solo part, then more exceedingly rhythmic interplay across the Orchestra, a strong soaring violin theme, dazzling trills from horns and the solo trombone, and a lovely round bang of a pedal Bb to finish – all somewhat exciting.

With Pandora ‘boxed’ on the Wednesday and, most importantly, Joe returned to his family in New York in time for Thanksgiving, attention was turned to Gresley on the Thursday. To be clear from the start, Ben had said ‘This is not about trains!’ Yet, somehow in the initial discussions he had had with Christian, the subject of engineering and machines had come into their conversations about music and constructing new ideas for a concerto. In those discussions, Ben had been struck by the importance of the two valves to the sound and tessitura of the bass trombone, and that led on to thoughts about engineering, air, tubing and machinery –not that far away from a steam engine perhaps? That in turn led to an exploration of the life of Sir Nigel Gresley, which revealed that he had faced a life-changing tragedy with the death of his beloved wife, and yet he had gone on to rebuild his own spirit and energy to create some of the most famous machines, both aesthetically and mechanically beautiful, in his field. Thus, the story of Sir Nigel Gresley is one of the triumph of the human spirit. As Ben remarked, ‘Quite amazing what the human spirit can do’.

As sad chance would have it, Ben found himself composing Gresley during the time when the Covid pandemic struck. This clearly changed the lives of many people, forcing almost everyone, particularly those in the Creative Arts like musicians, to wonder what the world would have in store in what seemed a very bleak outlook. And yet, like Sir Nigel Gresley, the human spirit

has prevailed and creativity has returned, and perhaps even to stretch a point, has been strengthened when one considers the new on-line creativity that many musicians, like Joe and Christian, for example, have embraced during the past couple of years.

A small but very appreciative audience was present at the recording session for Gresley and what they heard was a beautifully crafted piece of music, effortlessly performed by Christian. The solo part allowed him to demonstrate the warmth of his sound as well as its power and the inventiveness of the orchestration, along with its superb execution by the Orchestra of Opera North, was a revelation. One onlooker made the appreciative comment, ‘what an astonishing level of detail’, which was something that really came through in listening to the recording process.

The concerto had three parts, the first opening with a deeply resonant chord and a melancholic theme centred on the cellos and bassoons, perhaps signifying Sir Nigel Gresley’s despair, before the first bass trombone entry arose from a shimmering tam-tam – a lovely effect and one of several imaginative percussion effects in the piece. The mood of this movement overall can best be described as sombre, with declamatory motifs, ‘crying out’ as it says on the score, and there was huge climax when Christian played down to a resounding pedal F at one point. That said, the use soon after of a bucket mute produced a velvety tone, very suited to the meditative final passages, which had lovely delicate support from the harp, piccolo and glockenspiel.

Part Two opened with a lightly jaunty start from Eb clarinet and tambourine before Christian joined in with a rhythmic melody. What impressed was the sustained warmth of his tone despite the rapidity of some of the passages. Part way through, with the solo trombone bucket-muted again, a very smooth interplay with the horns was noteworthy. A new mood was created by the triangle at one point and before long there was another intriguing sound, Christian using a practice mute, playing almost without tempo, recitative-like, over shimmering lower strings. This quiet and controlled playing led to a perfectly judged tonal handover to the bassoon, which in turn was supported by some very eerie high-note harmonics on basses and cellos. Yet another mute, this time a harmon without the stem, appeared on the bass trombone, to colour the final gentle passage. This movement really did explore some very interesting sounds from the trombone and the orchestra.

Crunchy low chords from the Orchestra’s trombones, bassoons, tuba and horns were a feature of the third movement, as were percussion instruments, such as granite blocks and bongos. There was lots of rhythmic playing for everyone, often with the solo part playing smoothly on the top. At one point Christian had to

master powerful arpeggios from pedals upwards, and there were the occasional aggressive glissandos required. It was perhaps musically fitting that the solo bass trombone should join with the orchestral trombones and tuba in a powerful low note unison phrase just before the final stab of a very satisfying concluding note. Our spirits were well and truly lifted!

One of the pleasures of the final CD, when it comes out, will be the two trios. The first had an intriguing title, ‘Stow Sketches, and had actually been performed at the start of the masterclass on the first day, although it was first heard at a recital by the Opera North trombone section at Leeds University in 2015.

The inspiration for ‘Stow Sketches came from Walthamstow, where Ben used to live and it fell into three contrasting movements: (i) Hoe Street (ii) William Morris Nocturne (iii) Pound a Bowl. What was interesting to witness was the interaction between the players, the composer and Mike Purton, the producer, as the recording was created. It was clearly an evolutionary process and small details like agreeing on breathing points and balance between the players echoed precisely the points made previously at the masterclass. As for the music, the first movement had some very lively writing with, at one point, ‘sleazy’ being the instruction for Joe on the top part. The Nocturne had some beautiful chord shifts, almost Brahmsian, requiring some very controlled breathing and playing, not least to achieve a very long perfect final diminuendo, something which

pleased Ben no end. The final movement, inspired by a lively market stall, had contrasts of tone, volume and mood, with some mute work and every part taking a lead at some point. A surprise quiet moment came before a fiendishly frightening ending, requiring total control and fearlessness. Needless to say, that is what the players delivered and this piece is bound to become part of the repertoire of many trombonists.

The new composition for trombone trio and orchestra is in effect a mini-concerto. Ben has given it the name Windows and it requires a full orchestra, although minus a trombone section (!), but with a particularly full percussion section once again, with woodblocks, shakers, chimes, cajon, triangle and several other instruments all playing their colourful part. The single movement piece lasts a little under seven minutes and after an attractively discordant opening, a real melodic rhythmical line develops across the three soloists. Three trombones make a powerful statement early in the piece, with ‘whoops’ from the horns bringing an exciting touch. Overall, this is very rhythmic music, almost jazzy at times and certainly with syncopated themes, often contrasted with smooth playing from one or all of the solo players riding over the top. The music allowed each player to demonstrate technical skills as well as play in close harmony, as trombones can do, and these three players certainly did. Mutes were used at one point to vary the tone, but the final section produced a very powerful sound with each

PHOTO CREDIT: MICK ARDRON.

part having an independent line, improvising within the mode Ben stipulated, yet still carrying across the orchestra. The final climax and cut-off ending was, to say the least, exhilarating. Soloists, composer, orchestra, and producer were all very pleased and Windows will almost certainly creep its way into the lives of trombone sections everywhere.

So, for this writer at least, what will I be left with?

For me, it was a most memorable occasion and experience. It was both a pleasure and a great privilege to watch the entire process and certainly to learn from it. I had not fully appreciated how much the recording process was like completing a jigsaw, but a jigsaw in which the pieces had to be made before they could be put together into the finished article. The interaction between soloists, conductor, orchestra, recording engineer and producer was fascinating to observe and indeed the recording team of Michael Purton and Ben Connellan fell in for particular praise all round during the project. As Joe said, ‘the recording team were a great mix of people … the complete team, we worked great together (Mike) was very discerning with what we recorded and gave us some good directions and talkback, so I believe the results should be wonderful.’

Joe also remarked on the Orchestra of Opera North, full of praise for their sound and precision and their responsiveness, as well as their patience. He had felt ‘warmly welcomed by a very friendly bunch such a positive atmosphere great people all the way round’.

For this writer, listening to a symphony orchestra is always exciting but it was clear that the Orchestra was enjoying these sessions and the warmth of the reception they gave to the soloists was very evident. I sense the Orchestra was very proud of its own trombone players, Christian and Blair, and individual players commented to me on how much they were enjoying the whole experience. Fiona from the violins thought it had been a great week, with most enjoyable music to play, and she was not the only one in complete awe of Joe Alessi’s playing. Oboist Cathy was full of praise for the achievement of getting it altogether as much as the music-making; guest leader Melissa, who in fact had studied at Juilliard and knew some of Joe Alessi’s students, had a ‘fantastic week’. On the day when Christian was otherwise engaged with Gresley, a certain Josh Cirtina from the RPO was also spotted, guesting in the trombone section, where he too was ‘thoroughly enjoying the experience’.

As for Christian’s reaction to the week:

‘If you’d told me last May that within 6 months, we would pull off this album project from nothing, with all the scheduling, practical and financial challenges that immediately became apparent, I genuinely wouldn’t have believed it! Blair’s expression was one of disbelief then delight as I reported the initial discussion between Ben, Phil (orchestral director) and I, plus Joe’s game-changing willingness to fly over. At least providence might be on our

PHOTO CREDIT: MICK ARDRON.

side, as we chatted either side of the Holy Grail during a break in rehearsals for Parsifal!

‘In return for Opera North’s very generous – and crucial – opening offer of the contract players and recording studio for five already-scheduled but repurposed sessions, Ben and I would be acting like any third-party promoters. In short, this involved sorting everything from the funding shortfall of nearly £20,000, to checking that recording cables running through a fire door were removed during each break!

‘Having now spent 23 professional seasons witnessing a wide variation in the way that orchestral musicians are treated, the pressure was on for us to ensure that both guests (I refuse to use the word ‘extras’) and members were fully briefed in advance, with parts available weeks beforehand and bowed where necessary. The result, I feel, was a studio full of happy colleagues, who knew they were a vital part of a unique project.

‘It was the pleasure of a lifetime to bring together so many people from different stages of my life: I’ve known Ben since NYO; first performed to Joe at The Valve trombone shop opening night masterclass in 1999; met Blair on Carmen Jones in the refurbished Royal Festival Hall in 2007; worked with Mike Purton on Symphonic Brass of London recordings; taught my star pupil, Josh Cirtina, at RNCM after Benny Morris passed away. The whole project was exhausting and stressful, with the final accounts settled only in March, but having heard the latest edits, I know it’s been worth it.

‘As a footnote, it is worth saying that orchestral recording is an inherently expensive process, and will become increasingly rare without action on fair remuneration of performers via streaming services.’

Perhaps the final words should go to the composer, Ben Ellin:

‘It's something of a dream really isn’t it, to have your music played by an orchestra like this, with these soloists? And I didn't know Michael and the recording guys before this but they've been absolutely terrific as well. I've been very humbled by the response from the musicians about the music and it is such a real joy. I think in this day and age the making of recordings like this, especially like this, with people like Joe, Christian and Blair, it is a legacy project and hopefully one that will inspire trombonists, and hopefully composers as well, to get stuck in. As you can hear, none of the music goes to the stereotype for a trombone we might have expected. It’s funny but when I was talking to Christian about the concerto, we were both very clear that we were not interested in that – in writing something with lots of ‘lollipop licks’ – that’s fine and it has its place in the pantheon, but that’s not really why I’d be interested in writing a trombone concerto, to conform to the stereotype. And it’s a credit to people like Joe, who’s been doing it for years, and now Christian, in giving the trombone a sort of full 360-degree vantage point as a solo instrument.’

I sense that many people will look back on these days in Leeds with immense pleasure and satisfaction for a long time to come.

The recordings are due out in the summer – I have every confidence that Ben and Christian’s original vision of a legacy will come true and the trombone’s position in the concerto world and beyond will be further strengthened. ◆

PERFORMING 'STOWE SKETCHES. PHOTO CREDIT: MICK ARDRON.

BY BECKY PEPPER

Iwasvery excited to receive my CD of BONEAFIDE’s second album release, Brukdown. I had followed the process of rehearsal and recording on their social media (check them out @bone_afide –they are an absolute masterclass in social media for chamber groups!) so I was really excited to listen to the finished product. Then, I realised I don’t actually have a CD player in my house! Happily, the album is available to stream on Apple Music and Spotify too! The CD is a beautiful thing however, with lovely photos, and I know many people prefer to have the physical article for the programme notes – they provide so much background information on the pieces and how they fit into the album as a whole.

From the first piece, an arrangement of Kodály’s The Peacock, we know we are in for a lot of beautiful warm playing of a high quality. Loch Lomond is the emotional heart of the album, sounding like a love letter to Scotland and the folk music of the U.K. Errollyn Wallen’s commission, the titular track Brukdown, is fun, catchy and full of life, a great addition to the repertoire.

REVIEWBrukdown by Bone-Afide

It’s easy to forget how technically demanding some of these pieces are, such as Liszt’s Hungarian Rhapsody No. 2, where the music is played with the same effortless style as the piano originals but with the added warmth of the low brass timbre. Cadenzas in the high register and lip trills pop out of nowhere and the ensemble is so tight on the accompaniments that it sounds like one player. This continues in de Falla’s Canciones Populares Españolas, where Merin Rhyd is featured as the solo ‘singer’ and shows the trombone’s vocally expressive capabilities stunningly, and again in the Three Transylvanian Dances, by Bartôk.

Then there are the transcriptions of works by the Welsh folk group CALAN. These are just incredible, even if the quartet do resort to using baritones to “keep up” with the folk fiddler’s fingers! When I saw the German style baritones online, I assumed it would be for a Central European piece, so I was surprised to see them on a Welsh piece – maybe the British baritone horn would have made more sense? Either way, the players show they are up to the challenge and the piece roars through to an exciting conclusion, driven by the emphatic bass line.

The jazzier numbers are great, but it’s on the technically demanding transcriptions and heartwarming ballads where this quartet really hold their power. They make these hard to play pieces sound easy, fresh and fun. And this is the crux of the album – it is very enjoyable to listen to. I listened to several tracks so many times that Apple Music suggested adding them to my favourites list, alongside pop artists, and it didn’t feel out of place. This is the genius of this album.

Building on the work of groups such as the New Trombone Collective and Maniacal4, I think this quartet could go far and push the trombone quartet and instrumental music into the mainstream zeitgeist, something that can only be good for the future of our instrument.

These excellent young players could clearly turn their hands to whatever they wanted, musically speaking, but I feel in this ensemble they really do what they want to do authentically and have fun doing it, which is a welcome antidote to the very rigid and competitive environment we often find ourselves in. I for one am really excited to see what they do next.

Brukdown is available for purchase from BONEAFIDE’s website, along with many of the featured arrangements. ◆

L-R MERIN RHYD, ANGUS BUTT, ROB MOSELEY, ISOBEL DAWS.

BY ALASTAIR WARREN

New from Warwick Music

Warwick Music has kindly given The Trombonist access to its extensive catalogue of newly-published works, from which we will be highlighting a selection across the 2023 editions of the magazine. Don’t forget BTS members receive a 10% discount on direct purchases from the Warwick Music!

Chick Herman’s Hanukkah Songs and Folk Songs for Trombone Quartet is a collection of 11 well-known Jewish songs presented in relatively straightforward arrangements, perfect to add variety and contrast to a recital or just to enjoy in the rehearsal room. Trombone 1 enjoys most of the melodic material with the other parts fulfilling an accompanying role interrupted by the occasional moment of melodic interest. While this style of arranging does facilitate performance by a quartet of mixed ability (Trombone 3 rarely ventures beyond the stave while Trombone 1 requires a player with a range up to high D5 and the stamina to remain in the high register for extend periods), in reality I imagine the tenor trombone parts will be shared around. Much of the bass trombone part is playable on tenor if necessary and is ideal material for a player transitioning to bass to develop facility in the mid to low register, without making excessive technical demands.

One Small Flight in a Hot Air Balloon for Solo Trombone by Peter Stones ‘is designed to mimic a short journey in a hot air balloon, from the industrious yet grand take off through the serene flight to the thud back to earth.’

Each section of the piece is built upon the repetition and development of relatively simple motifs, which fit very comfortably on the slide, and explores a variety of a different timbres, guided by descriptions such as ‘Uplifting and Emphatic’ or ‘Distorted’. The composer

states ‘No performer should aim to replicate another, preferably they should put their own style into the timbre choice. This could be performed by the soloist changing the sound using an electronic sound effects pedal or…adding a mute for non-electric effects. Creative choices of timbre are encouraged, and it should reflect each individual's different journey aboard the hot air balloon.’

One Small Flight in a Hot Air Balloon is an ideal introduction to contemporary ideas of performance practice, encouraging the performer to think about the act of performance and make creative decisions beyond those usually required, whilst remaining technically accessible for most players. My only real criticism, and an admittedly minor one at that, is the inclusion of several low Eb’s which, while compositionally necessary, precludes performance on an instrument without an F attachment.

In Martin Yates’ Skirmish for Trombone Octet the performers are grouped antiphonally in two choirs of four: given the title I was perhaps expecting more of a ‘battle’ between the two choirs but instead they are used to create a stereo effect, panning material from one side to another in an exchange of ideas. The opening and closing sections are firmly rooted in a straight-ahead 4/4 Rock style, with the central 6/8 section having more of a Folk Rock feel. Ranges are modest, accommodating a range of abilities: most of the tenor trombone parts sit below E4, with only Trombone 1, Choir 1 required to ascend to high C5. Similarly, the bass trombone parts descend only to low D2, and are more than playable on any instrument with an F attachment, tenor or bass. A great piece for a massed blow! ◆

Callum Au

— SONGS AND STORIES

BY SIMON MINSHALL

951 days is a long time. That's how many days Callum Au reminded us of the delay to this show but some things are worth the wait. Featuring charts from his Songs and Stories album and showcasing the incredible vocals of Claire Martin, the orchestra brought together by Callum on 20 January 2023 could not have sounded better, from the gorgeous warmth of Pure Imagination to the roaring Hello, Young Lovers!

Opening the show was a new composition, Murmurations, fronted by the magnificent Mark Nightingale and tenor saxophonist Nadim Teimoori (Mark was in fact the conductor for the album). This was our first taste of the intricate way Callum layers sounds and melodies to create his own signature sound world.

One of my favourite tracks from the album is I Get Along Without You Very Well. Orchestra leader John Mills and Principal French Horn Andrew Littlemore need a mention for their beautiful contributions. The stand out moment in this chart for us trombone players has to be Andy Wood's breath-takingly effortless high melody playing. Watch an exclusive rehearsal snippet here

For the low brass fanatics, the whole show was a gift to the ears, with Andy Wood, Mark Nightingale, Matt Lewis, Barry Clements on trombone and Owen Slade on tuba proving they can turn their musicianship to each and every style with the upmost class. I was smiling ear to ear!

Callum couldn't help but play a chart himself (we are glad he did!) and brought out the pixie and plunger mute combination for Gershwin's How Long Has This Been Going On. The band constantly glued together by Matt Skelton on drums and Laurence Ungless on bass.

Next up was a Latin take on You and the Night and the Music: a huge mention to Barry Clements on bass trombone, whose powerful and perfect tone anchored the ‘bone section.

I can't express what a joy it was to see so many musicians loving what they do and to hear an album come to life in the beautiful Cadogan Hall, with new works generously supported by Arts Council funding.

Callum is a true great of our generation. Click here to watch his presentation ‘Writing for the Trombone’, given at the British Trombone Festival 2022, to learn more about his approach to orchestration and arrangement.

Songs and Stories is available to purchase from Callum’s website. Go and buy the album, you won't regret it!

PHOTO CREDIT: BEASTLY STUDIOS (SAM DYE)

BY JEREMY PRICE

JAZZ BY JEREMY

TOM GARLING: YOU GOT IT!

If you turn out to be a professional musician, the sound of your teenage bedroom is probably a bit different to the average school kid. Blasting out of my well-barricaded garret at that stage of life was among many things, Mahler Symphonies, Puccini and Wagner operas, JJ Johnson and Watrous and of course, Maynard Ferguson. The chops and the charts were always firmly in the ‘gratuitous’ category and Maynard always had young up-and-coming players in the bands, straight out of the American jazz colleges like Manhattan School of Music, Eastman and Berklee. It was all pretty inspiring. Virtuosity and showmanship were kings, and the peak of the solos and all those 4-bar breaks gave the sort of rush you get from your team scoring a goal. So, when I’d done with the German angst of Tristan and Isolde and had enough of Puccini heroines committing suicide, on came the Maynard!

Imagine my delight several years later when Maynard Ferguson’s Big Bop Noveau came to Ronnie Scott’s, London, in the late Nineties. It was certainly a memorable night and the main reason turned out to be the star trombonist in the band, Tom Garling.

According to his website, Tom Garling studied at Berklee College in Boston during the mid 1980s, got hired while still a student by Buddy Rich, and then got a full scholarship to do a masters at the University of Miami. Shortly after, Maynard Ferguson hired him as trombonist and Musical Director of Big Bop Nouveau, a mini Big Band of just two saxes, three trumpets, one trombone and rhythm section.

Now let’s be honest, all musicians like applause and whoops and hollas of affirmation from the audience, and jazz musicians are no exception. In fact, jazz musicians like a clap after every solo, not just at the end of a piece. On a jazz gig, the biggest clap nearly always goes to the drummer, then saxophonist, then trumpeter but probably quite low down the list on the clapometer is the trombone. But Tom Garling was turning the tables on the band and even on Maynard himself with consistently the biggest reaction from the crowd every time he took a solo.

Thanks as ever to Rob Egerton for dashing off this transcription of You Got It for us. You can watch and listen to the solo on Rob’s YouTube channel, which now features his transcriptions unfolding in real time alongside the original performances, well worth further exploration. Don’t forget to like and subscribe.

Let’s get into the solo and try to see what is in that magical elixir for soloing!

Five choruses of Blues in Bb ensue, starting the first chorus on the third bar in. It’s good to look at blues solos as three interconnected four bar phrases, each inhabiting a different part of the structure, then look at how each four-bar section prepares the next. Very often Tom Garling plays a line into the next section and at the top of each new ‘four’ plays something to distinctly outline the new harmonic territory. This is a basic premise of ‘changes playing’ but here done in a very direct and straight between the eyes kind of fashion. Towards the end of each chorus (bars 11, 12) there is

often tension through chromaticism that launches the next chorus. See bars 21 and 22 that have chromatic tension held over the cadence, not released until bar two of next chorus with a simple Bb triad. The rhythmic language is very appealing as well as it often deploys a four-square on the beat motif, reminiscent of Michael Brecker and commonly adopted in the 1990s by various hard bop exponents. That rhythmic language is of course balanced

nicely with other syncopated ideas and gratuitous blues playing, such as the chorus that starts bar 35. Overall, I think the secret to why this sounds so exciting is that the tension and resolution is so well balanced and there is a very smart deployment of structural devices. He really knows when to pull out the range card for dramatic effect and play accessible blues after some very hip outside chromaticism. Then of course, the delivery is astonishing: a big brash sound with hard articulation and a ton of fast air, whistling down the horn, all with great time and dexterity. Congratulations to Tom Garling for taking on the post-Brecker tough-tenor impersonators and putting it onto the trombone so superbly. What a great role model. Better get to the University of Illinois where he is now teaching.

PHOTO: ISTOCK

Rob Eger ton Jazz T ranscr iptions ROB EGERTON JAZZ TRANSCRIPTIONS

Playing Second Fiddle

In June 2021, the excellent Radio 3 programme The Listening Service, a fascinating half-hour programme featuring Tom Service and his irresistible enthusiasm about the myriad aspects of music, did a show called Playing Second Fiddle. This was all about the vital role of being in the middle of any section of the orchestra, be it violins, horns, trumpets, and so on. Well worth a listen.

But focussing as it did on the vital role, it didn’t have time to emphasise the comical aspect of the job, especially when it comes to the trombone section. The instrument itself, surely, has long been regarded as the comedy element of the orchestra, or, in fact, of anywhere it turns up. It’s our fault for having a slide. No-one else can do that clown-effect, whoops-missus, raucous or semi-tragic noise like we can. Look at Bartok’s Concerto for Orchestra, where he uses us as a vivid raspberry to Shostakovitch. In Stephen Roberts’ superb Brass Quintet arrangement of Come Landlord Fill the Flowing Bowl, who was the only possible choice to portray the reveller having drunk to overflowing? The classic tune with our trademark glissandos in is, of

course, The Acrobat, a sort of brass equivalent of The Laughing Policeman. That’s the trombone itself, as jester and light relief of the group (though we do often turn out to be the big hero in the end). But among the three trombone stooges, the Second is definitely the stoogiest. Though all three are often used for our various light moments, it’s the Second Trombone who is stereotyped as the most laughable focus, the most pathetic and bumbling character. He’s Cletus in The Simpsons, Doberman in Sergeant Bilko, Ron Weasley, Donkey from Shrek, Phoebe in Friends, Baldrick, Rodney Trotter …

The unique character of Second Trombone was highlighted by WS Gilbert in The Mikado when Nanki Poo, the hero (told you) and son of the Emperor, describes why he had to go into hiding. ‘My father ordered me to marry (Katisha) within a week, or perish ignominiously on the scaffold. That night I fled his Court, and, assuming the disguise of a Second Trombone, I joined the band in which you found me …’ He also said that it was his job in the band ‘to take the cap round for contributions.’ This character

DAN JENKINS TAKES A LIGHT-HEARTED LOOK AT THE ROLE OF SECOND TROMBONE.

and portrayal was no accident; even in 1885 second trombones were being singled out for their relative obscurity and role as lackey.

In 1933, the comic author P. G. Wodehouse joined the mocking crowd. In his story Best Seller from Mulliner Nights, he wrote this: ‘From far away in the distance came the faint strains of the town band, as it picked its way through the Star of Eve song from Tannhäuser – somewhat impeded by the second trombone, who had got his music-sheets mixed and was playing The Wedding of the Painted Doll’. No doubt who’s the bumbleheaded member of the band there.

I must admit I had to look both these tunes up, and the contrast chosen by Wodehouse, of a solemn bass aria accompanied by minor-key trombones and a flippant 1920s vaudeville number is priceless.

Our value to the section is, of course, equal to the other two trombones; professionally there’s no buffoonery. The second is the heart of the machine, the hub of the wheel, from which the spokes of first and bass stretch out musically and in their own higher and lower ranges. Or you could imagine the section sitting on a plane. The bass takes the aisle seat, the foundation of our row, and the first sits at the window, staring out at the wider world in which they sometimes spread their soloistic wings. We seconds sit in the middle, with little musical elbow room but still in close contact with the other two.

But there is an element of territoriality. Both first and bass are rightly proud of their speciality of range,

and it’s best not to encroach on that. This can happen during the warm-up before a rehearsal. The first may be practicing way above any stave, leaping from note to note ‘like a chamois of the Alps’ (as Wodehouse used to say), while the bass is exercising his right of ownership of everything deep and dogged. This situation once happened to me in an orchestra, and at one point the bass ended his routine on a rich pedal F, while the first sang out the same note four octaves higher. So I simply played a single, short middle F, to demonstrate my own range and area of expertise. They both laughed.

Seconds are the guys and girls who sit next to the guys and girls playing the famous solos. Tell yourself that no-one is staring at you as you sit in mute support inches away from the glamour of the Bolero solo to your right, the majesty of the Mahler 7 solo to your left, or the brilliant improvised lead trombone run-around in a big band. How to look detached yet approving. It’s their spotlight, you could reach them with your elbow, yet you mustn’t be in it with them. How to look humble yet mentally encourage every note with the star. How not to look extremely awkward, a sore thumb next to a high-five.

It would be easy not to take yourself too seriously on second trombone, in any ensemble (and often that’s a very good idea!). But remember this ode, written by Osbert McDoonen, conductor of the Forfar Instrumental Band in the 1950s, when trying to gee up the under-confident youth in the middle of his trombone section:

‘You might be humble, you might not be glamourous

You might seem to bumble, and not appear amorous

But have pride in the calling, you’re part of the wheel

A hub, not a spoke, with a certain appeal.’

Dan Jenkins is second trombone (officially SubPrincipal but he knows his place) in the BBC Symphony Orchestra.

This article first appeared on Dan Jenkins website. Visit for more musings on music and life, and to browse Dan’s numerous compositions and arrangements. ◆

MIKADO.

BY ALASTAIR WARREN

Listening Lounge

In this edition of The Listening Lounge, we feature just one artist, BTS Player of the Year 2022 Helen Vollam. Drawn from a recital given at the Royal Welsh College of Music and Drama on 11 November 2022, these recordings feature works either written for or arranged by Helen. Representing exciting additions to the repertoire these pieces showcase the ‘resonant fluid tone, melodious natural phrasing and unflinching accuracy’ of one of our leading players.

To learn more about Helen, and access more sound clips and videos, please visit her website. Nominations of tracks or albums to include in The Listening Lounge can be made by emailing editor@britishtrombonesociety.org.

SI DOLCE È IL TORMENTO – CLAUDIO MONTEVERDI

ARR. HELEN VOLLAM

The aria Si dolce è il Tormento (So sweet is the torment) is drawn from Quarto scherzo delle ariose vaghezze (published by Milanuzzi, 1624), and continues the long tradition of trombonists borrowing from the vocal repertoire to display the instrument’s singing qualities. As Marin Mersenne wrote in 1636, in his book Harmonie universelle, ‘It [the trombone] should be blown by a skillful musician so that it may not imitate the sounds of the trumpet, but rather assimilate itself to the sweetness of the human voice…’, an ideal achieved by Helen in this performance.

AIR MOVING – KATHRYN TICKELL ARR. DAN JENKINS

About this piece, Helen says ‘I love Air Moving by Kathryn Tickell. She very kindly allowed Dan Jenkins to make a transcription of it for me. The original recording of Kathryn performing it is so atmospheric and she tells the story behind the tune.’ Transcriptions for both solo trombone and piano, and for trombone quartet are available from Dan Jenkins’ website.

MABUIKA! – SHIRLEY THOMPSON

Helen comments ‘Shirley Thompson’s piece Mabuika! is a lot of fun! She wrote it for me to record during lockdown. BBC Radio 3 commissioned various composers to write ‘postcards’ for solo instruments to be recorded at home, then edited and tweaked by the BBC producers. They were then broadcast on Radio 3 and posted on social media. About Mabuika! Shirley Thompson writes ‘The tenor trombone solo is taken from the opening movement of Symphony Jamaica, a large-scale historical project, and entitled Mabuika! (A Taino Welcome). The Tainos were the indigenous people of large parts of the Caribbean including the island of Jamaica where my parents are from.’ Mabuika! is published by Deuss Music

PARHELIA FROM BOOK OF MIRACLES – GAVIN HIGGINS

Helen premiered Gavin Higgins’ trombone concerto

The Book of Miracles in February 2019 at the Barbican, London, accompanied by the BBC Symphony Orchestra. Gavin writes ‘The Book of Miracles is a recently discovered 16th Century German manuscript depicting in vivid detail miraculous signs, natural catastrophes and Christian myths and overflowing with striking images of comets, fantastical beasts, miracles celestial apparitions and other astronomical events. From these images I have drawn inspiration for the four movements of this concerto. Parhelia (the second movement) is a ’celestial apparition’ caused by refractions of light passing through ice crystals in the air, the illustrations of which are some of the most impressive in the book. Read an interview with Helen and Gavin from the Winter 2018 edition of The Trombonist here, and to learn more about Gavin visit his website ◆

Aspects of Don Lusher

— TRIBUTE TO A LEGEND

BY DR BRETT BAKER

BY JON STOKES

Don Lusher is one of the UK’s most revered and cherished trombone players and was a long-time supporter of the British Trombone Society, having been President, twice! Don grew up as part of the Salvation Army Brass Band tradition and he always retained his passion for brass bands, despite moving into the blossoming big band scene after WWII. He was a remarkable player, and his silky tone and punchy lead playing can be heard on many recordings with his own Big Band, The Ted Heath Orchestra, Geraldo and his Orchestra and many more. His association with brass bands continued throughout his career, making records with The GUS Band, Black Dyke Mills and Hammonds Sauce Works Band, as well as having several pieces written especially for him and even composing a few himself (some of which can be heard on this album). Dr Brett Baker has taken on the daunting task of paying tribute to this true legend of the UK trombone and music scene with this album.

When I first heard Don play, I was struck by how beautifully he shaped and ‘sang’ a melody on his trombone. His rich sound, luscious vibrato, singing legato style and of course, his use of the upper register were always an inspiration. These traits are all taken into consideration by Dr Baker right from the first track, Don’s own composition Aspects of love. This style of ballad playing is woven through the album on gorgeous tunes like Michel Legrand’s What Are You Doing the Rest of Your Life, the firm favourite Londonderry Air, the classic ballad Stardust and the achingly beautiful In the Wee Small Hours of the Morning. Dr Baker handles the style effortlessly.

Dr Baker also tackles the more playful side of Don’s musicality, picking up a plunger mute and attempting the swing style on tunes like The DL Blues and Makin’ Whoopie. The arrangements from Ian Jones, Kevin Holdgate, Mark Leigh and Don’s friend and

colleague, the equally legendary Bill Geldard, are cleverly done for the smaller ensemble, especially on pieces like Earle Hagan’s Harlem Nocturne and the latin/funk version of Without a Song. An electric bass underpins many of the tracks, alongside the versatile musicians of the JSVB Legacy Band with conductor Dr David Thornton. Of the many contributions from the band, I should mention Matt Harrison’s roaring trumpet solo on The Peanut Vendor and some blistering soprano cornet on By The Time I Get To Phoenix. Gary Curtain on euphonium is also worth a mention. His classy playing can be heard throughout this album. A full personnel list and programme notes for the album can be downloaded here.

Dr Baker’s technical ability is prominent throughout with tracks like Leroy Anderson’s The Typewriter and the ever-popular Dark Eyes, but I can also hear that he has strayed into the world of improvisation. This is a brave but welcome addition to his performance and something unavoidable when paying tribute to one the country's most prominent jazz trombonists.

This album is a wonderful tribute to Don Lusher with a well-considered selection of Don’s favourite pieces. Dr Baker delivers a wonderful and thoughtful homage with his usual display of musicianship and virtuosity.

Aspects of Don Lusher – Tribute to a Legend is available for download from Downplay, or via Dr Baker’s website. ◆

From the Stage to the Pit

As we approach the summer, orchestras across the UK begin to bring their seasons to an end before the Proms arrive. We’ve got some excellent concerts to choose from over the next few months, with some spectacular season finales planned. As usual, the proms aren’t announced yet so keep a lookout for that as they will take over most of the orchestral event listings for July, August and September.

BY JOSH CIRTINA // PRINCIPAL BASS TROMBONE IN THE ROYAL PHILHARMONIC ORCHESTRA SYMPHONIC HIGHLIGHTS

THE RITE OF SPRING – HALLÉ ORCHESTRA

7.30pm, Thursday, 20 April, Bridgewater Hall, Manchester

7.30pm, Friday, 30 June

Royal Concert Hall, Nottingham Christian Reif conducts two performances of Stravinsky’s timeless masterpiece. In Manchester

The Rite is paired with Dobrinka Tabakova’s Earth Suite: Pacific, both works taking inspiration from ‘the overwhelming force of Nature’ and the programme is completed with another 20th century classic, Bartok’s Second Violin Concerto. In Nottingham The Rite is prefaced by Lili Boulanger’s contemporaneous D’un matin du Printemps. Also in this technicolored programme are Rodrigo’s Concerto de Aranjuez and Rimsky-Korsakov’s Capriccio Espagnol

Two evenings full of excitement and character –thoroughly recommend!

MAHLER’S SYMPHONY NO. 3

– ROYAL PHILHARMONIC ORCHESTRA

7.30pm, Thursday, 27 April

Royal Albert Hall, London ‘Mahler’s love of nature imbues his Symphony No.3 in this, the final concert of Vasily Petrenko’s series at the Royal Albert Hall. Written from his purpose-built composing hut that overlooked the Austrian Alpine vistas, this six-movement, colossal work evokes a canvas of life and a reflection of nature’s beauty, with the huge orchestra and choir bringing to life – musically – the blooms of the forest and the silence of the night; culminating with a stunning finale that embraces – above all else – the state of heavenly love.’ … AND there’s a pretty big trombone solo … !

HYMN OF THE FORESTS

– LONDON PHILHARMONIC ORCHESTRA

7.30pm, Saturday, 6 May

Royal Festival Hall, London

‘I felt a cathedral grow before me in the vast expanse of the hills and the vault of the sky.’ For Janacek, the whole of creation was a cause for celebration, and with its jubilant trumpets, thundering organ and raw, unbuttoned lust for life, there’s something primal about his Glagolitic Mass – a choral work unlike any other. Edward Gardner conducts the peak of the London Philharmonic Orchestra’s season with this epic work.

GAMING CONCERT

– BBC NATIONAL ORCHESTRA OF WALES

7.30pm, Wednesday, 17 May

St David’s Hall, Cardiff

‘Breath-taking music from the soundtracks to some of the biggest games on the planet are brought to life by the BBC National Orchestra of Wales in this exhilarating video games concert, conducted by gaming music royalty, Eímear Noone.’ I’m pretty sure this will be a fun one for the trombones…

BELLA ITALIA

– ULSTER ORCHESTRA

7.45pm, Friday, 26 May

Ulster Hall, Belfast

The Ulster Orchestra’s season comes to a close with their Music Director and Chief Conductor Daniele Rustioni taking us on a tour of Italy. Violist Timothy Ridout performs Berlioz’s joyful and stirring Harold in Italy, followed by Elgar’s tour de force overture In the South. The concert concludes with Respighi’s simply aweinspiring Pines of Rome. Sure to be a great event.

BBC PHILHARMONIC AT THE ALDEBURGH FESTIVAL

7.30pm, Monday, 12 June

Snape Maltings Concert Hall, Suffolk

The BBC Philharmonic, conducted by Rumon Gamba, present a really interesting programme in their second of two nights at the 2023 Aldeburgh Festival. First on the programme is Benjamin Britten’s dark and brooding Sinfonia da Requiem (his first orchestral work), followed by Anna Thorvaldsdottir’s Metacosmos; ‘The idea and inspiration behind Metacosmos, which is connected as much to the human experience as to the universe, is the speculative metaphor of falling into a black hole – the unknown’. Concluding the programme is Tchaikovsky’s enduring and emotional 6th Symphony.

BY BECKY SMITH // PRINCIPAL TROMBONE AT THE ENGLISH NATIONAL OPERA

OPERA PICKS

We are well and truly heading for the busy summer opera season now, and it can’t come too soon! Winter does seem to have dragged its heels this year.

Due to the recent, well publicized, Arts Council Funding cuts we had the sad news that Glyndebourne Touring Opera has cancelled its entire programme this year, Welsh National Opera have had to reduce their touring schedule and English National Opera are very much under threat of closure entirely, so it is more important than ever we support opera, the musicians and the independent festivals.

GLYNDEBOURNE will get under way on 19 May and runs until 27 August, with a great variety of opera on offer. I am not familiar with some of the shows they are presenting, so I would go for Dialogues des Carmelites by Poulenc. ‘One of the most devastatingly powerful operas in the repertoire, Dialogues des Carmélites is also one of the most beautiful. Steeped in Debussy, Monteverdi and Verdi, Poulenc’s lyrical score balances cinematic drama and scope, charged with the violence of revolution, with moments of startling simplicity and beauty.’

GARSINGTON OPERA opens on 31 May with the Barber of Seville by Rossini. However, the one for me from their six-week festival would be Richard Strauss’ Ariadne auf Naxos. A bizarre request led Strauss and Hugo von Hofmannsthal to come up with a work that combines opera, comedy and of course, fabulous music.

THE GRANGE FESTIVAL is a mix of opera and concerts, so there really is something for everyone. From their opera schedule I would be torn between Cosi van Tutti by Mozart, or Orfeo ed Euridice by Gluck, both taking place across various dates in June. I’m less familiar with Cosi, (there are no trombones in it!) but it is a classic, and there are some really beautiful moments in the Gluck.

As well as these, we have Opera Holland Park, Grange Park Opera (not to be confused with The Grange Festival), and all the permanent houses across the UK performing opera throughout the year that also need your support, the Royal Opera House, Opera North, Welsh National Opera, Scottish Opera and English National Opera.

Please keep music and opera alive by making it one thing you go to this summer! ◆

What’s on

By Alastair Warren

JAMES WADE-SIRED & TOM SHEEN TRIO

7.30pm, Thursday, 20 April

World Heart Beat, London

BTS DURHAM TROMBONE DAY

11.30am, Sunday, 30 April

Collingwood College, University of Durham

ENGLISH CORNETT AND SACKBUT ENSEMBLE

7.30pm, Saturday, 22 April

Cathedral of St John the Baptist, Norwich

7.00pm, Friday, 12 May

National Centre for Early Music, York

7.30pm, Saturday, 3 June

St George's Church, Kendal

7.00pm, Wednesday, 21 June

Lighthouse, Poole

7.30pm, Thursday, 22 June

Collegiate Church of St Mary, Warwick

7.30pm, Friday, 23 June

Northern Aldborough Festival, York

7.30pm, Saturday, 1 July

Budleigh Music Festival, Devon

7.30pm, Thursday, 13 July

Malvern Theatres, Malvern

WILF DIAMOND QUARTET

7.30pm, Thursday, 4 May

World Heart Beat, London

ONYX BRASS

5.00pm, Sunday, 14 May

St Mary’s Church, Wedmore

KRIS GARFITT

Kaleidoscope album launch

Thursday, 25 May

Royal Over-Seas League, London

TROMBONE SPOTLIGHT

Black Dyke Festival

Sunday, 4 June

Huddersfield Town Hall

MNOZIL BRASS

7.30pm, Friday, 16 June

Symphony Hall, Birmingham

BONES APART TROMBONE QUARTET

7.30pm, Thursday, 29 June

Church of St. Nicholas, Bradfield

6.15pm. Wednesday, 26 July

Cambridge University Botanic Garden, Cambridge

ALASTAIR BURROWS

Creston Fantasy with Bolton Symphony Orchestra

7.30pm, Saturday, 1 July

The Victoria Hall, Bolton

LIVERPOOL PHILHARMONIC YOUTH

BRASS BAND

Conducted by Simon Cowen

1.30pm, Saturday, 1 July

Liverpool Philharmonic Hall, Liverpool

INTERNATIONAL

TROMBONE FESTIVAL

12-15 July

Salt Lake City, USA

PETER MOORE

11.30am, Sunday, 16 July

Wigmore Hall, London

BONE-AFIDE TROMBONE QUARTET

Classical for Kids – Tantalising Trombones

11.00am & 1.00pm, Friday, 2 June

Royal Albert Hall, London

NATIONAL YOUTH BRASS BAND OF GREAT BRITAIN

Summer Concert featuring Scott Hartmann

7.00pm, Saturday, 5 August

Saffron Hall, Saffron Walden

Do you know of an event that should feature in our next publication?

LET US KNOW