The Trombonist - Summer 2016

summer 2016 the trombonist

contents Regulars 6

19

Captain Kirk(man) takes us into orbit

32

Presidents Column

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News & event Reviews

Read what has been happening in the trombone world

23

Jazz by Jeremy

Notecracker

He’s back…Need we say more?

G&T Matt and Mark give you a little insight to the biggest trombone dates in the calendar

profiles 12

Randy Hawes

34

FAST TALk A minute with… Barry Clements

features 16

star wars

Liam Kirkman dives into outer space discovering the stories behind the blockbuster

22

Top tips about starting a band

ecse

33

Find out more about this exciting and individual groups

10 years since Don’s passing, Mark Nightingale shares a story with us

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30

Ryan Watkins finds out what goes on in the Welsh valleys

Small bore, Large bore…

We review them all!

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31

Roger Argente talk to Randy Hawes

CD’s, gig’s and book’s for you to read about

What’s On

Winter-warming concerts for the next three months

Resources 11 why nyjo?

Jon Stokes gives an insight into one of countries finest organisations

4

cory band

The Bass Bone Files

Remembering don

Gear Review

Reviews

Welcome to the summer ISSUE OF THE BTS magazine

Welcome to the 2nd edition of ‘The Trombonist’ for 2016. We hope you’ve been enjoying the hot weather and as always at BTS headquarters we have been hard at work organizing events and competitions for you to all take part in.

Congratulations go to Stephen Cann who is the winner of a Gard Trombone Gig Bag. Your prize is on route to you Stephen! Thank you everyone for entering. Take a look on our competitions page to see what you could be in with a chance of winning!

We always value your feedback and would like to welcome any suggestions from members on how to improve our magazine.

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: Andy Thomas advertising@britishtrombonesociety.org Design: Sian Nowley sian@hmca.co.uk

Anything we can do? Want to promote your event? Drop us a line: editor@ britishtrombonesociety.org, and don’t forget to Tweet photos of you performing or anything trombone’y @britishtrombone Contributors in this issue:

Best wishes, Simon & Ross drop us a line: editor@britishtrombonesociety.org

Jeremy Price Jane Salmon Roger Argente Jon Stokes Simon Minshall Jonny Goodwin

Adrian France Liam Kirkman Ryan Watkins Mark Nightingale Stephanie Dyer Lewis Bettles

page 12

page 21

page 14

page 25

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summer 2016 the trombonist

president’s column Space, the final frontier.

These are the voyages of the starship ‘Bendyslide’.

Its continuing mission to explore strange new tunes. To seek out new jobs and new civilisations.

To baldly go where no-one has gone before.

Stardate 21082016 The BTS space station has fallen into a black hole and there’s been a disturbance in the space-time continuum. Newly appointed First Officer (vice president) Dávur Juul Magnussen, on one of his frequent multi-phonic circular breathing escapades has caused time to stand still (and I thought that only happened in the world of British big bands). This does however afford the rest of the crew the opportunity to explore what has been happening in the world of trombones over the last 400 years or so.

Apart from BTS Admiral Chris Sowerby, not many of us can remember that far back, so with a lot of research and a little bit of guesswork we’ve compiled this Summer issue for your delight. It’s a Gabrieli/ Williams/Bach/Kosma mashup. Sackbuts meet light sabres (sometimes difficult to differentiate) and large bores meet the not so boring.

(reviewed last issue) where you could be the proud owner of probably the most hi-tech, out-of-this-world custom-made carbon-fibre case!

Remember, the BTS is nothing without its members so please keep the suggestions, your President’s Problems and any other trombone related news coming in.

Until next time, Live long and prosper May the force be with you| Na-nu, na-nu etc Captain Kirk(man)

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www.britishtrombonesociety.org contact list

President: Liam Kirkman president@britishtrombonesociety.org Vice-President: Dávur Juul Magnussen vicepresident@britishtrombonesociety.org Immediate Past-President: Christian Jones pastpresident@britishtrombonesociety.org Chair: Matt Gee chair@britishtrombonesociety.org Vice Chair: Rosemary Abram rosemaryabram@britishtrombonesociety.org Treasurer: Christian Jones treasurer@britishtrombonesociety.org Secretary: Alison Keep secretary@britishtrombonesociety.org Committee: Simon Minshall simonminshall@britishtrombonesociety.org Becca Pope beccapope@britishtrombonesociety.org Adrian Taylor adriantaylor@britishtrombonesociety.org Administrator: Chris Sowerby administrator@britishtrombonesociety.org Membership Enquiries: membership@britishtrombonesociety.org Please submit news and events items for the website to: Jane Salmon news@britishtrombonesociety.org Representatives: Scotland: Chris Stearn 01360 860220 scotland@britishtrombonesociety.org Wales: Jo Hirst 07729 144690 wales@britishtrombonesociety.org North East: Peter Chester & David Thornber northeast@britishtrombonesociety.org North West: Kerry Baldwin 07920 022395 northwest@britishtrombonesociety.org Midlands: Martha-Ann Brookes 07966 416198 midlands@britishtrombonesociety.org Northern Ireland: Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org

My thanks go to my fellow follicly challenged front cover crew mates, Richard Edwards, Ed Tarrant, Richard Henry, Dave Stewart, Carol Jarvis, Christian Jones, Andy Wood and Colin Sheen for being good sports and especially to the incredibly talented Toby Coles for his amazing artwork (he’s not a bad trumpet player either).

It’s competition time again and we’ve some stellar prizes on offer too. This year we have the Don Lusher Jazz Trombone Competition kindly sponsored by Korg UK/ XO Professional where you could be the lucky winner of a John Fedchock model trombone, reviewed on page 29, as well as follow-up promotional support from Korg.

Also we’ve the Bob Hughes Bass Trombone Competition, supported by Wiseman cases

British Trombone Society

South: Matthew Lewis 07849 774777 south@britishtrombonesociety.org South West: Vacant southwest@britishtrombonesociety.org East Anglia: Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org Wessex: Robb Tooley wessex@britishtrombonesociety.org Yorkshire: Jonathan Beatty jbeatty70@icloud.com Brass Band: Ryan Watkins brassband@britishtrombonesociety.org Jazz: Jeremy Price jazz@britishtrombonesociety.org Young People: Vacant youngrep@britishtrombonesociety.org

president@britishtrombonesociety.org

Military Bands: James Howard military@britishtrombonesociety.org

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BTS news RNCM Trombones at ITF

One of the two ensembles representing the UK at this summer’s International Trombone Festival, the trombones from the Royal Northern College of Music, led by Principal Trombone of the Hallé, Katy Jones, were featured at the festival after winning the Emory Remington Trombone Ensemble Prize. Trombonist Rachel Allen has written a very nice diary of the ensemble’s trip, which can be found on the BTS website. Visit the RNCM Trombone’s Facebook page to see videos and photos of them stateside.

Brits Abroad

The Royal College of Music was represented at the ITF by their trombone quartet as finalists in the ITA Quartet Competition. The BTS would like to congratulate members Robert Mossley, Ryan Hulme, Jonny Hollick and James Maund. We are sure you had a great time!

L-R Ryan Hulme, James Maund, Jonny Hollick and Robert Mossley

World Record Attempt

In addition to all the events taking place at The Julliard School of this summer’s ITF, Joe Alessi and others decided to organise a world record attempt of the most trombone players playing at one time. Head over to the ITF’s website to see video footage of the attempt. 400 trombones…Not bad USA!

Competitions announcement

The BTS are pleased to announce that entries are open for both the Don Lusher and Bob Hughes solo competitions.

Details of how to enter and important information can be found on the BTS website and on page 23.

Annual Award Nominations

It’s that time of year again! We welcome your nominations for the BTS Annual Awards. The categories are: Student of the Year, Teacher of the Year, Player of the Year, Outstanding Contribution & The Sheila Tracy Award. Head over to the website to read more about these important awards and see past winners.

Send your nominations in to: secretary@britishtrombonesociety.org.

Credit: Chris Lee

Prizewinner in Bern

Congratulations to Michael Buchanan for winning the concerto prize at the Hochshule der Künste Bern.

His performance of the Serocki concerto with the Bern Symphony Orchestra was rated above all other instrumental performances.

Under tutor Ian Bousfield, the trombone department has had prizewinners in the last three years; Matthew Gee (2014), Ben Green (3rd prize).

ITF 2017 Date

We are pleased to let you know that the 2017 International Trombone Festival will take place at The University of Redlands, Redlands, California. Dates are June 28th-July 1st. Visit: www.trombonefestival. net/2017 for more information including how to get there and what other events are taking place.

Hoping for a good British turnout!

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event review

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summer 2016 the trombonist

NATIONAL TROMBONE DAY-SCOTLAND

sound like various

by Lewis different guitars and bass Bettles guitars. After this, Úraich Brass played a set of popular jazz pieces and also invited Chris Grieve to join them in this, an hour’s concert, which hopefully opened up many more possibilities for the trombonists in the audience.

Massed blow

On Sunday 17th April, trombonists from all over the country arrived at the Royal Conservatoire of Scotland in Glasgow for the British Trombone Society Scotland Trombone Day. The day started in the Stevenson Hall where they were welcomed by Head of Brass at the RCS, John Logan and Principal Trombone of the BBC Scottish Symphony Orchestra, Simon Johnson.

Simon then led a massed warm-up which focused on breathing and lip slurs.

It was fantastic to see Hellen Vollam, Jayne Murrill, Becky Smith and Sarah Williams as the members of the Bones Apart trombone quartet at the BTS day.

After the warm-up session the younger members took part in a workshop called ‘Tiddly Troms’ run by the wonderful Bones Apart. Here the quartet gave an interactive experience for the young players on basic technique including scales, dynamics, tonguing and ensemble playing. The workshop also included sight-reading and ensemble playing as they learnt a new piece.

They also got a great opportunity to hear the quartet play some exciting pieces from Bernstein’s West Side Story, such as Gee Officer Krupkee.

While the young players were with Bones Apart, the other participants went along to a class on early brass instruments. This was run by tutors from the Royal Conservatoire and professional historic brass performers Tony George and Pedro Alves.

This included lectures on the various different kinds of brass instruments throughout the years and also included 8

some demonstrations from both Tony and Pedro on various instruments and mouthpieces including the didgeridoo, serpent, an ivory mouthpiece and the Sax trombone.

The first recital of the day was from Bones Apart and included music by Byrd, Mendelssohn, Cole Porter, Duke Ellington and more. This was followed by a lunch break and time to browse the trade stands supplied by Band Supplies and Wallace Mutes. During lunch, we heard various trombone ensembles playing in the café. We heard a great set from he Bearsden Academy Trombone Ensemble and also two students from the Royal Conservatoire, Joe Walters and Kyle MacCorquodale, play Steven Verhelst’s bass trombone duet, Devil’s Waltz.

After lunch, Soloist and Principal trombone of the Royal Scottish National Orchestra, Dávur Magnussen led a class on extended techniques. This included some fun for over 40 trombonists trying out elephant noises, slap tongue, varied flutter tongue speeds, multi-phonics and split tones. He also gave many inspirational performance tips, such as remembering when something feels good, rather than always concentrating on the bad and how to battle nerves.

This was followed by recitals from jazz trombonist from the Scottish National Jazz Orchestra, Chris Grieve, and a student group from the RCS, Úraich Brass. Chris, and two of his jazz students performed a set of rock songs where a microphone and an effects pedal were used to make the trombone

The raffle was then drawn, with prizes including a pBone, a full set of Wallace Mutes, a lesson with a tutor of your choice at the Royal Conservatoire of Scotland, a collection of Dávur Magnussen’s CDs and more. After the raffle, everyone was involved in the massed blow, playing pieces such as 12th Street Rag, All the things you are and Deep River. This was conducted by Nigel Boddice, ex-Principal Trumpet of the BBC SSO and brass and conducting tutor at the Royal Conservatoire of Scotland. The massed blow gave all the participants a chance to play alongside the RCS trombone students, members of Bones Apart, Mark Frost, Simon Johnson and Dávur Magnussen.

The evening concert was fantastic!

This yet again featured the fabulous Bones Apart, the RCS trombone ensemble playing Berlioz Witches Sabbath, Shostakovich, Bruckner and more.

The RCS Senior Brass Ensemble were joined by soloists Dávur Magnussen and Mark Frost to perform the Nina Rota Trombone Concerto and Elgar Howarth’s bass trombone concerto Spooks.

Mark Frost performing “Spooks”

All in all, an extremely enjoyable and inspiring day. Thanks to Simon Johnson, John Logan and all the other members of staff for their hard work. Also thanks to Band Supplies and Wallace Mutes for their support.

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BTS day in Durham July 17th 2016

Massed blow

I was delighted to learn that Peter and David, the Society’s regional representatives, were staging an event in Durham this summer so I decided to incorporate it into my annual trip north. I was not disappointed: the venue, Framwellgate School, was most suitable, a generous array of raffle prizes, a warm welcome and sunshine set the tone for the day.

Peter Chester

The day’s Massed Blow sessions attracted over 30 players and a varied programme incorporated the tranquil Salve, the bluesy Rainy Day, Derek Parker’s arrangement of Gabrieli’s Battaglia, Thunderbirds and Boneweek Fanfare 6, a challenging piece written for ITA Trombone week 2009. We were

gently introducing By Rosemary volunteers (!)

Abram to the joys of improvisation and playing with a jazz trio, as well as giving his own take on several jazz standards. The Brighouse players offered duets, notably Ewazen’s Pastoral and two very contrasting solos, the Barnacle Bill Variations for bass trombone, and a lovely lyrical song by Rachmaninov. Finally from Christian we had another polished performance

capably conducted by Nick West of the Royal Marines, and it was a pleasure at lunchtime, as we picnicked outside, to be serenaded by a Marines’ Trombone Quartet.

Three morning workshops were offered, for beginners (8 to 80+!), Brass Band enthusiasts and Orchestral players.

The beginners were treated to an entertaining session with Slides Too Far, a exciting Quartet from the Scottish Conservatoire, who also gave a stunning recital later in the day. The banders worked with Ryan Watkins and Steve Lomas from the Brighouse & Rastrick Band, dispensing, as BTS members visiting from Scotland said, “Words of wisdom on a labour of love”. Christian Jones, fresh from Opera North’s acclaimed Ring Cycle, and complete with contrabass trombone, took players through some Mahler chorales and the Ride of the Valkyries.

The trombone has many voices, amply illustrated by the afternoon’s splendid recitals. Kev Holbrough, from Leeds College of Music, started the session,

Trombones of the Royal Marines

from his varied repertoire, including one piece featuring pre-recorded sounds and others, the contrabass gently playing some Vaughan Williams. David Murray from Newcastle provided excellent piano accompaniment.

Thanks to all for making a wonderful day, and I even won a raffle prize!

Kevin Holbrough

oundle preview Organised as usual by the fantastic Ben Bouzan, the annual day over in Oundle will take place on Sunday 20th November. A little later in the trombone calendar this year, the day will feature the annual general meeting of the BTS where all members are invited to check

how your society is being run and offer any suggestions for the coming year.

The day will also feature the finals of the Don Lusher Jazz Competition and Bob Hughes Bass Trombone Competition. There is bound to be some serious talent on show. With the

obligatory massed blow there is going to be plenty of opportunity to get the instrument out the case and join in with fellow musicians.

Keep and eye on the website for information on confirmed artists, workshops and masterclasses.

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why nyjo? by jon stokes

I first heard NYJO play at the Bacon Theatre in Cheltenham when I was about 16 years old. I can still remember being completely taken back by what I was hearing and thinking ‘that’s what I want to do’. I had never heard anything like it and the fact that these musicians were only 4 or 5 years older me was unbelievable. The soloists were stunning and the sound of the ensemble and the energy of the music were breathtaking, especially for a trombone player, who up until that point had never heard a big band with so much fire. Every time the band visited Cheltenham I was sat in the audience, longing to be a part of it.

By the time I moved to London in 2001 I considered most of the band members as celebrities and I had transcribed many of their solos. The band’s vast discography enabled me learn a few tunes although the pad consisted of over 1000 charts. I ended up spending 7 years in the band with Bill Ashton as Musical Director. I loved every minute and to this day I perform on a regular basis with many of my NYJO band mates.

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

Bill Ashton has been the driving force behind NYJO for nearly 50 years.

He started the London School’s Jazz Orchestra in 1965 with the aim of giving London’s young musicians somewhere to play jazz and big band music.

This soon evolved into The National Youth Jazz Orchestra of Great Britain and has been thrilling audiences, inspiring the next generation and giving young musicians the tools to go on and become some of the most respected musicians in the world.

NYJO definitely helped to shape my career and I would encourage everyone to go along and get involved. Alongside all the fantastic musical experiences, the band also offers the opportunity meet other musicians in a similar stage of development. The chance to discover new ideas, forge new relationships and discuss music with your peers is invaluable in my opinion. Over the years, NYJO has helped launch the careers of so many incredible UK musicians that it’s actually easier to count who wasn’t part of NYJO. Mark Armstrong is now the band’s musical director, taking over from Bill Ashton in 2010. ‘Back in the day’ the band was run rather differently and that worked well for me but I understand it wasn’t to everyone’s taste. It was a sink or swim attitude and you needed dogged determination to keep coming back week after week hoping to get your name on the gig sheet. The rehearsals were tough but the gigs were tougher.

Sight reading the hardest music I’ve ever encountered, sat beside some of the countries finest musicians (who just so happened to be young!) was what you might call a complete roast up.

These days players audition for the band and, if successful, you hold the position until you’re 25. I heard the band perform recently at the 50th Anniversary Concert at the 100 Club on Oxford St. It was like being 16 again and hearing the band for the first time. Stunning.

The band still plays a lot of the iconic NYJO repertoire (which was written and arranged entirely by band members) but has broadened the repertoire to include canonic works by composers as wide ranging as Duke Ellington, Count Basie, Thad Jones, Kenny Wheeler, Stan Tracey and Maria Schneider.

NYJO have commissioned new music from UK composers including Tim Garland, Laura Jurd, Jason Yarde and Nikki Iles and worked with guest soloists including Mark Nightingale, Lianne Carroll, Pete Long and Gerard Presencer. It’s not just UK artists that work with the band, Ingrid Jensen and Allen Vizzutti have been flown over and Bob Mintzer shall be working with the band this July.

These are exciting times for the band with the release of their critically acclaimed new album ‘NYJO 50’, to celebrate the band’s 50th anniversary year. They are also traveling to Milan in July as the only UK youth orchestra to play at this year’s festival of youth orchestras. Other trips include Germany and Amsterdam to collaborate with the German BuJazzO and the Netherlands NJJO (equivalent youth jazz orchestras to NYJO) in September.

‘stunning’ I would encourage any budding musicians (especially trombone players) to get in touch and get involved with NYJO. As well as the main band, there is also the NYJO Academy, which requires no audition and also meets every Saturday morning in London.

The Academy offers several training bands and a vocal ensemble for young musicians of different abilities as well as a nationwide series of inspirational workshops and educational events. www.nyjo.org.uk/ Roger Wilson (Orchestra Manager): roger@nyjo.org.uk Claire Furlong (Learning and Participation Manager): claire@nyjo.org.uk 11

summer 2016 the trombonist

The English Cornett & Sacbutt Ensemble by Adrian France

ECSE was formed in 1993 by Tom Lees and myself among others (including the much-missed cornettist and founder member, Adrian Tribe) whilst we were all studying at UK conservatoires.

After early guidance from a range of tutors and conductors we started to build a reputation in our own right and ECSE became part of the London early music scene at an inspiring time in the period instrument revival. Since those pioneering days we have taken part in countless exciting projects, including ensemble recitals and collaborations with vocal groups and ensembles of all shapes and sizes. ECSE has also been very fortunate to tour worldwide, and in 2018 will celebrate our 25th anniversary.

ECSE’s philosophy has always been to expand the knowledge and accessibility of our wonderful instruments and their repertoire. As a specialist group 12

we follow developments in the field of historical performance practice closely, and aim to play in as informed a manner as possible. The instruments and mouthpieces we play are handmade replicas of surviving original instruments. There are several leading makers working today who offer a range of historical sackbut models (alto, tenor and bass) and ECSE’s sackbuts have all been made at the workshops of either Ewald Meinl or Egger Blechblasinstrumetenbau. I personally play a bass sackbut by Ewald Meinl (after Oller) based on an instrument in Stockholm dating from 1639.

We often get asked why we chose to specialise in early music. For me, my journey began 25 years ago when I was approached to do my first sackbut concert of Monteverdi’s l’Orfeo.

This was a truly eye-opening experience of performing on period instruments

and led me to commence lessons with Sue Addison at the RAM. Her expert guidance and playing with fellow students at the RAM and other colleges led to the formation of ECSE. For Emily White it was much the same: “At the RAM Sue Addison put on really inspiring projects with voices, strings and trombones. It was such great music.”

Tom Lees meanwhile first played the sackbut as a student in Manchester: “At the RNCM Peter Bassano gave a class on historical trombones and taught us a whole new approach to playing and phrasing with the voice.

After that, I went to the RCM and became the first ever full-time student of the sackbut there. I met contemporaries dotted around other colleges who were interested in early music and we formed the group, learning from one another as we went along!”

Bass sackbut player Andy HarwoodWhite is also a graduate of the RCM: “After enjoying playing Gabrieli and Monteverdi’s music on modern trombone at school and at the RCM I wanted to experience the sound-world these composers wrote for. The college had a bass sackbut I could use until I bought one in 1995 from Adolf Egger in Basel.”

Rather than staying in London, cornetto player Gawain Glenton took the decision to study at the Schola Cantorum Basiliensis in Basel under Bruce Dickey, but again it was the mix of fellow students that proved most inspirational. “Schola was such a melting-pot” he says, “and it was great to be surrounded by different languages, playing alongside students from different backgrounds. It was an eye-opener seeing just how differently different people understand music, and even what it means to be a musician.

It certainly changed my own outlook.”

For budding young players and for beginners considering entering into early music, there is a wealth of material available these days and endless possibilities to explore within the world of period performance. There are also many more opportunities available in the form of courses and workshops (including those run by our own ‘ECSE Academy’) than in ‘our’ day, and the explosion in online resources means it is

easier to research repertoire than it used to be. A great way to begin is to form an ensemble (like we did) to share ideas and thoughts and to practice imitating articulation and phrasing as well as to experiment with ornamentation.

Finally, we do get asked many times if playing these instruments can help or hinder one’s modern playing and my answer is always the former.

The skills you learn through studying the sackbut - such as vocal playing, ornamentation, playing in different pitches and historical temperaments can only develop you as a musician, regardless of whether you decide a career in historical trombones is for you or not and I believe that it is a healthy discipline to experience the different approaches required for playing the sackbut compared to the challenges of the modern day trombone.

To see the ECSE in action just scan this code: or visit www.esce.co.uk

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jazz by jeremy

Slide Hampton’s Autumn Leaves By Jeremy Price

This issue’s transcription has been sent in by Rob Egerton, which is a very welcome initiative and helpful guide to me to know what BTS subscribers want from this regular article. It’s a simple solo in mid range of the instrument with some classic “public domain” licks ready for the taking. It also quotes the tune in a couple of places which is a worthy tactic for novice improvisers, so I hope this will be a helpful example to trombonists at the formative stage of their forays into improvisation.

‘one of a rare breed of left hand slide players’ Slide Hampton was born in 1932 which makes him around 84 years of age today. If you have a quick search on the internet you’ll see the pictures of him look like they are in mirror image, but they are not as he is one of a rare breed of left hand slide players.

Apparently someone set up the horn back to front for him as a boy and no one thought to ever correct it. When I think of Slide Hampton I think of a big fruity sound with classic be-bop lines, always swinging and very compositional in the way his solos are put together.

In fact, he is especially known as a 14

composer and arranger as well as a trombonist and was a significant part of the late 50’s and 60’s New York jazz composer scene, with Thad Jones and Bob Brookmeyer. This solo is from an album by the Slide Hampton Octet Featuring Freddie Hubbard called “Two Sides of Slide Hampton” and was recorded in New York in 1959.

The solo is just one chorus in the middle of a short arrangement. Have a listen to the recording before you play through it, which I found very easily on You Tube. It’s really important that your first acquaintance with it is aural and not reading it through. Ideally, see if you can get to know it well enough to sing along with it before you read through it. It’s quite likely you spend a lot of time making music from notation, so remember that your jazz practice is a chance to break that mould and go for sound and memorized melodies first.

Use the notation as back up.

Another good approach to transcription is to try and work out what the jazz musician might have practiced. In bar 6 there is a nice major 7th shape that Slide is bound to be able to play in any key for instance. And in bar 8 and 9 there is a simple minor cadence, very easy comfortable slide shifts on the trombone but managing to outline flat 13, sharp

9 and flat 9 on D7 so you’ll find that to be a classic trombonism that most improvisers have found. Again, that’s well worth practicing in all keys.

From bar 15, you have a perfect example of a minor cadence, with clear targeting of important chord tones; see on the dominant D7 that the major 3rd (Fsharp) falls to the flat 9 (Eflat) which is from the G harmonic minor scale.

Applying the harmonic minor scale of the resolution, in this case G minor, to the preceding dominant chord is essential basic knowledge in jazz.

‘try and work out w the jazz musician m hat ight have practiced’ So enjoy this lovely classic solo. It’s got a very satisfying overall shape for a one chorus solo, lots of useful vocabulary and is ideal for emulating an authentic swing feel. Autumn Leaves is also a very common jam session tune, so this is perfect preparation for stepping up and taking your improvising out of the practice room.

To hear Slide’s playing of this, scan this QR code:

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winter 2015 summer 2016the thetrombonist trombonist

The Music of Star Wars

by Liam Kirkman

A long time ago in a galaxy far, far away .... well, 39 years ago in a (now long since demolished) studio in Denham, Buckinghamshire ….

Denis Wick, Eric Crees, Roger Groves and Frank Mathison, along with the rest of the London Symphony Orchestra, recorded one of the most famous film soundtracks of all time.

John Williams received three Grammy awards, an Academy award, a BAFTA award, a Golden Globe award, Saturn award and the American Film Institute’s accolade, “Greatest Movie score of all time”.

Denis Wick: “We knew that (the film) would be very good but had no idea that it would become so successful.”

Roger Groves: “I did have the instinct that the film would be a success, but not as big as did become.”

Star Wars was arguably the first ‘Blockbuster’ film, a B-movie script made good by A-movie production values. Industrial Light and Magic was the special effects company set up by George Lucas, it’s first film being Star Wars. George Lucas was since quoted as saying, “(The music) was the one part of the film that turned out even better than I’d thought.”

Another ‘first’ was the relationship John Williams was to form with the LSO which lasted many years, leading to Superman, Raiders of the Lost Ark, Harry Potter and so on. This John Williams/LSO partnership, however, almost didn’t happen.

Originally the soundtrack was to be recorded by a scratch band contracted by Sid Sax, a prominent fixer at the time. It was only in conversation with André Previn (then LSO principal conductor) that John Williams had mentioned he would be needing a first rate brass section for Star Wars. André Previn suggested hiring the LSO. Eric Crees: “After recording Star Wars, Sid Sax chose never to hire any LSO players for any of his session work ever again.”

Looking back, one might easily divide John Williams’ career into two halves - before Star Wars and after. In the early ‘60s, young Johnny Williams was making a name for himself in 16

Hollywood working as a jazz and studio pianist, composing TV soundtracks and working for and alongside luminaries such as Bill Holman and Henry Mancini.

It is in fact John(ny) Williams who can be heard playing the opening riff on Mancini’s Peter Gunn theme.

Roger Groves: “I had in my possession an LP of his arrangements of songs and tunes from ‘My Fair Lady’ for two singers, Shelly Manne and his Men and big band.

The arrangements are so ingenious and it is one of my most prized records.

It was recorded in 1964 and on the record sleeve it states the arranger was ‘Johnny Williams’ so I wasn’t sure if it was the same Williams.

I took the LP along to one of the sessions and indeed it was. He was knocked out that I had the record. I’m not sure it’s available now but I would recommend it to anyone.”

Interestingly, this record was a follow-up to another My Fair Lady record from 1956 by the Shelly Manne trio.

The jazz pianist on that recording was André Previn.

For those interested in checking out the LP Roger refers to, Shelly Manne - My Fair Lady with the Un-original Cast, the trombone section was Bob Edmondson, Mike Barone and Frank Rosolino.

However, back to Star Wars!

It is well known that John Williams became a big fan of the LSO and especially of their first trumpet, the late (great) Maurice Murphy. Maurice was to play on the first six Star Wars films and John Williams was later to describe “..the amazing, electrifying moment…” he first heard Maurice launch into the opening bars of Star Wars.

Denis Wick: “Star Wars was actually Maurice Murphy’s first date as an LSO member...a real baptism of fire!”

In 1977 the recording process was very different from today. There were no three bar ‘drop ins’ or clever digital edits, with everything being recorded to tape.

Frank Mathison: “I remember Anvil Studios having a really big screen set up behind the orchestra and we recorded live along with the film.”

Eric Crees: “There were no click tracks and John Williams was sometimes really quite rubato in a very musical way.”

Roger Groves: “John Williams was the complete master of timing and synchronisation of each take, so things were done quite quickly compared to these days.”

Denis Wick: “John was highly skilled at this. The parts had been copied (manually!) overnight and at the 9:30 start we played each section through to check for mistakes, then recorded it with the film. There were usually only about 2 takes. It was a real production line.

The LSO excelled at sight reading.”

I asked Denis, Eric, Roger and Frank what their first impressions of the score were and also, in contrast to many film sessions being ‘long note practice’, if they enjoyed recording Star Wars and working with John Williams.

Roger Groves: “My first impression of the score was mind blowing ... it involved a huge orchestra and John Williams’ inventiveness and mastery of orchestration was superb ... as for long note practice, JW’s scores were very demanding and technically difficult but he knew what each instrument was capable of, so nothing was ever awkward to play.”

Denis Wick: “Brilliant scoring, good tunes, well-written ... the main

enjoyment was the music. I always had an absolutely first-rate team and we always enjoyed ourselves.”

Frank Mathison: “John Williams was quite particular but always pleasant ... not like Bernard Herman!”

Eric Crees: “It was quite exciting and John really set the standard for the big tunes and heroic themes. He was a gentleman to work with, but quite exacting in his demands – he knew what he wanted and how to get it.”

L-R Denis Wick, Eric Crees, Roger Groves

After Anvil Studios’ sale and subsequent demolition in 1980 the majority of film recording work moved to the famous Abbey Road Studios, which for many must have been a relief. Denham is a little way out of London and 9:30 starts won’t have suited everybody.

Frank Mathison: “Around that time I had a caravan near Denham which we stayed at between sessions in order to be fresh for 9:30....”

Eric Crees: “I remember Frank’s caravan.

After spending the evening there we were anything but “fresh” at 9:30!”

Of course nearly 40 years later the Star Wars franchise is still in full swing with numerous video and computer games using the music.

Eric Crees: “Only the other day did I get a small cheque for the original soundtrack having been used on a theme park ride or something.”

Frank Mathison: “I’m often getting people ask ‘Are you the guy who played on Star Wars, can I get my picture taken with you?’ - it’s embarrassing really!”

Frank Mathison

Perhaps one spin-off of the Star Wars music best forgotten is the disco-fied version of the main theme that topped the billboard charts for two weeks in 1977 by Meco (real name Domenico Monardo; born November 29, 1939).

Meco was a professional trombonist and contemporary of Chuck Mangione and Ron Carter, all having studied at the Eastman School of Music. Meco was a member of Kai Winding’s four trombone band and active as a studio musician in the ‘60s and ‘70’s. Although not originally inclined towards pop music, Meco famously performed the trombone solo on Diana Ross’ single I’m Coming Out, notable because of the rarity of trombone features on post big-band era pop records.

Whilst the decision to ‘discofy’ John Williams’ themes maybe dubious (which Meco was to subsequently do to both Close Encounters and Superman) in his defence Meco is quoted as referring to his production partners as saying “...(they) would not let me be too musical...

It’s not dumb enough - it’s too good.”

Since the original 1977 film there have been, to date, a further five films employing the services of the London Symphony Orchestra and its slowly changing personnel, including Arthur Wilson, Roger Brenner, Dudley Bright, Katy Pryce, James Maynard, Dave Stewart, Ian Bousfield and Bob Hughes.

Although the LSO had the dates earmarked for the sessions of The Force Awakens, due to last minute production schedule changes, regrettably the latest soundtrack was recorded in Hollywood by a scratch band including Bill Booth, Alex Iles, Phillip Keen, Bill Reichenbach, Steve Holtman and James Miller on trombones. Let’s hope this doesn’t mark the end of the JW/LSO partnership and the future of world-class film soundtrack recordings returns to London once again.

Many thanks to Denis, Eric, Roger and Frank as well as invaluable help from Andy Phoenix, Steve Moss and Libby at LSO archives.

17

XO Instruments (Korg UK Ltd) are very pleased to be sponsoring this year’s British Trombone Society Don Lusher Competition The XO brand is relatively new to the UK, supported by one of the world’s greatest Jazz trombone players John Fedchock.

This opportunity is not only about an instrument it is about a story – your story.

Offering many other musical opportunities we can work with someone to open a door, the question is who will open it and what will they find!

Good Luck!

by old notecra cker

e n Bo ughts o h T m o r f oad r b A I am delighted to see that scores of new trombone players have appeared during my incarceration. Naturally this embarras de richesse is not without its attendant problems; it reminds me of the austere1930s, when thousands of musicians were thrown out of work by the closure of all the cinema orchestras.

Most of them took up teaching and of course based their pedagogy on the silent film repertoire. They published books of excerpts (Eustace Dalrymple’s Bank Robbery Solos of 1923 was particularly admired) and strove to prepare their charges for the glorious day when the upstart recorded sountracks should fall from favour and the silent cinema return. The best teachers discouraged their pupils from watching movies, of course, but centres of excellence were set up for the inculcation of melodramatic body language during bars’ rest: we could do worse than revive this practice today.

With hundreds of people applying for the few jobs that there were, an audition process could easily last a fortnight. Gradually less and less time was given to each player, until at last the process might consist of one extract or even, in one celebrated case, a single note (an F sharp). The Bhutan Philharmonic then took the ineffably

Buddhist step of selecting a player not on the basis of how he performed but rather for the manner in which he abstained from doing so; since, as they believed, everything including the trombone was illusory, there was no point in complicating matters by insisting on its being played. In the interests of fairness, a letter was sent to all candidates informing them in detail of everything they would be required not to perform. Alas,the panel was divided and in the end it was decided to give the job to someone who had not applied for the job at all. The successful candidate was a charming gentleman who rejoiced in the name Zuiju Baichi.

He was discovered working as a samosa-seller and rhinoceros washer in a travelling circus and it soon emerged that his lack of interest in the post had been because not only did he not play the trombone, he had never heard of the instrument and despite a rather fetchingly large pair of ears, was deaf.

19

bone thoughts from abroad continued...

Ernest Pilsbury and I were summoned to Bhutan from our summer engagement in Darjeeling. I was glad to go; the British Empire Trombone Quartet was popular with the ladies of the town but Pilsbury had devised a variation on the Indian Rope Trick which had scandalised several of the military establishment and whenever we played there was a distinct air of menace in the audience.

This interfered badly with my breath control in the lower register. (I tried to blame this on my beautiful but notoriously unstable alto trombone by Hoskins of Worthing, but without success).

I do think it a shame that Pilsbury never published a book on teaching; an accomplished card-sharp, bicycle thief and forger, he approached pedagogy from a distinctly practical perspective.

His methodology resembled not so much a bull in a china shop as a herd of frightened elephants in the Louvre but a curious sympathy nevertheless developed between him and his pupil. They communicated by hand signs and despite his deafness Zuiju Baichi was soon making a creditable job of several charming solos by Pilsbury’s estranged 20

mistress Giovanna Strozzapreti and was doing so, moreover, with only token threats of violence from his mentor.

Evinrud Hearn, author of the seminal How to Produce a Tone and Then Another Tone Just Like It was in Bhutan, promoting his Celebrity Isometric Mouthpiece. Hearn, it will be recalled, was the first person to recognise that the only important part of a trombone is its mouthpiece and that getting the right one - preferably one endorsed by someone who can play very high notes is sine qua non on the route to excellence. The Isometric Mouthpiece was more or less impossible to use unless one had a bottom lip developed to the proportions of a side of bacon, so Hearn sold etudes, exercises, nutritional plans and something called Fortifying Toothpaste that would aid the acquisition of this desirable attribute. I pointed out to him that the readily available Stalin 5AL, which older readers will recall was a Soviet mouthpiece produced in the tens of millions but which, owing to an administrative error in the Kremlin, had no hole bored through it, would achieve the same result at a fraction of the cost.

Hearn very cogently pointed out that he was more famous than Stalin and I let the matter drop.

Hearn attended a recital given by Mr Zuiju and despite the rapturous (albeit silent) reception accorded the performance by an audience of Zen monks, he asserted that Pilsbury’s protege was a poor player because his embouchure did not conform to one of the approved configurations laid down by the World Trombone Committee.

He produced several PhD theses and anatomical charts to support his argument, though I do not recall whether he actually played anything to show where the error lay. His blandishments would probably have attracted little attention were it not for the fact that Pilsbury, incensed by such interference,

attempted to murder the American by ingenious deployment of the swivel handle from his G trombone. Hearn was persuaded not to press charges but we left Bhutan under a cloud and the last I heard of Zuiju Baichi, he had given up the trombone and made a fortune from an executive elephant valeting business.

In 1953, I encountered a certain Fidel Castro at the Mexican heat of the World Warm-Up Championships. He was a wonderful musician, given to playing a mournful Són melody called Debo volver a Bolondrón porque dejé mi cepillo de dientes allí. Except when playing (and sometimes even during performances), he kept a large Cohíba cigar in his mouth; he claimed that it kept his lips strong and supple, and imparted a certain richness to the sound.

There may have been something in this; certainly Pilsbury’s distinctive tone quality - a cross between a ripping circus tent and a poorly tuned motorcycle ascending a very steep hill lost some of its plangency if he couldn’t obtain his daily ration of Player’s Navy Cut. Whatever the reason, nobody could seduce an audience like Fidel in full song.

Evinrud Hearn was there too, and by then had produced his socratic vade mecum Play One Identical Tone After Another Until Your Neighbours Move Away. It may have been a coincidence, but I noticed that within two or three days Fidel had forsworn melody in favour of some official WTC studies (not alas, Bank Robbery Solos of 1923 but some carefully constructed non-melodic ones composed by Hearn himself); the vibrancy had left his playing and he had grown a prodigious beard to conceal his unorthodox technique. As the old Spanish proverb has it Even the stoutest of beards is transparent to God and before long he disappeared from view altogether.

When in 1959 a gentleman of the same name led a revolution in Cuba, I wondered if it might be the trombone playing Fidel; certainly there were tonsorial similarities. I trust this will serve as a warning to pedagogues everywhere: tread softly with your technical analyses lest you unleash forces that you are powerless to control.

xx

Win not just one, not two… but THREE mutes!

It’s here again…competition time!

We love giving our readers the chance to win prizes and this edition is no different.

Generously supported by Denis Wick London, we are happy to bring you an unbelievable prize bundle.

The winner will be able to choose from any three mute combinations from the Alto, Tenor and Bass range of Denis Wick London mutes.

This means you can mix and match or create a whole new set for your mute bag! And, it couldn’t be easier to enter.

We are bringing back the photos!

Just send in an amusing photo of one of your current mutes to be in with a chance of winning. Send in your photo to editor@britishtrombonesociety.org by November 1st 2016 Good luck!

21

summer 2016 the trombonist

Remembering Don -10 Years on

by Mark Nightingale

Like many musicians of my generation I first saw Don Lusher on my TV at home. At that time we were blessed with a lot more quality live music on our TVs, and ‘Don Lusher’s World of Music’ was compulsive viewing for any budding young trombonist. It being the pre-video recorder age, I had to hold an old-fashioned cassette recorder near to the TV speaker so I could record it to listen to again later! Don’s distinctive moustache and glasses also made him easy to spot in many a house band on popular comedy, variety and chat shows, which at that time all employed live musicians.

Whilst I was a member of MYJO (and later NYJO) Don was often invited to be a guest soloist. I remember watching him like a hawk to try and see how he made it sound so easy, and the

nervousness I felt in meeting one of my heroes. There was no need for nerves though, as Don was always the gentleman and always particularly interested in and encouraging towards the trombone section. I don’t think I ever heard him split a note on a gig or a rehearsal on any of those dates!

In my late teens I finally got to work with Don in a professional situation and watch how he coped with playing lead trombone, sweet solos and ‘looking after business’. It seemed he covered every facet impeccably. No wonder other top players I was meeting for the first time all said that Don was renowned for being ‘the safest pair of hands in the business’. Even when surrounded by an orchestra and big band in the recording studio and with a terrifyingly exposed high sweet melody to play, I can honestly say that I never saw him exhibit even the slightest twinge of nerves. And he always produced the goods.

I asked him once about his solo on I’ll Close My Eyes from the Ted Heath record Instruments Of The Orchestra, a particularly

nce We ran it through o to check for wrong notes…

22

stratospheric leaping melody that finished on a double Ab. He recalled the copyist bringing in the freshly copied parts (ink still drying!) at 10am and it being put on the stand to be played first in that morning’s session.

“We ran it through once to check for wrong notes, then they put the light on and we recorded it”, he said.

“How many takes?”, I enquired.

“Oh, just the one”, came the modest reply. “But we were all playing together every day in those days, so the chops were always ‘in’”.

In his later years, Don was just as keen to practise and learn and his standard admirably remained consistently high.

I remember being surprised when listening to him do a radio interview when in his 70’s and hearing him say that he’d just bought a recently published book called ‘20 Jazz Etudes’ and was diligently practising one study a day. With that hunger for anything new or challenging and his commitment to and love of the trombone, it’s no wonder he was at the top of his profession for so many years.

23

summer 2016 the trombonist

Dear President Insights and experiences shared...

Dear President,

Dear Mrs Briggs,

I am forwarding my son’s report from his trombone teacher Mr Hill for your attention. I have never before received such a confusing assessment of Jonny from his school and would like clarification from yourself if possible.

I see from Mr Hill’s report that he has forgotten to use the Ofsted developed MS Office plug-in “Diplomacisor Pro 2000” which became compulsory for all teachers last year when communicating with parents.

Mrs Briggs

Jonny’s progress this term has been less than satisfactory.

His attendance is poor and only last week did I find his trombone in the school car park; a bird had made a nest in it.

I find when a student doesn’t practise, show up to lessons or really know my name that they tend not to improve as I’d like them to.

Having entered Mr Hill’s report into this application, this is what you should have received.

Jonny’s progress this term has exceeded national targets. Areas to work on are improved punctuality and not to let his love of nature distract him from his practice.

I have set high targets for Jonny in areas of scheduling, planning and comprehension.

Jonny recently failed his grade 1 exam with a mark of 7 (quite a bit below the pass mark) The examiner wrote in his report “Please stop”.

Jonny’s recent success in taking grade 1 exam with an admirable score of 7 marks prompted the examiner to report that he need hear no more.

I have begun to wonder if Jonny would be more suited to percussion.... or a life at sea ?

I admire Jonny’s rhythmic abilities and he is as dependable as the tide.

Mr C Hill, Woking Elementary

Mr C Hill, Woking Elementary

Dear President Having spent most of my career playing big band lead trombone, I find my advancing years and extra curricular activities are having an adverse affect on my high register.

It has been suggested that I could switch to bass trombone and therefore not need to practise any more. What are your thoughts on this regrettable demotion ?

AC Moore.

Dear Mr Moore, Proceed with caution! It is true that our low note parping colleagues have it easy.

They are never called on to improvise or play terrifyingly difficult solos. They can even use one instrument for all their work. However, be aware that it was the constant uncertainty and fear that, as a tenor player, honed your hunter gatherer killer instincts.

All those “Getting Sentimentals”, “Songs of India”, “I’ll Never Smile Again” have 24

made you who you are. Before long you’ll find yourself asleep in rehearsals.

You may well end up joining CAMRA and almost certainly find your waistline increase dramatically. There are some bad points too.

Dear President, I’m writing to you following a catastrophic performance of Bolero.

Having had some anxieties approaching the concert, I sought the advice of a number of professionals who each had their own “formula” for preparing for this difficult solo. One player advised a double Hendricks gin with no ice (desensitises the chops) and cucumber (for maintaining electrolytic equilibrium). Another suggested a double port and brandy and another a Belgian beer followed by a single malt (to calm the nerves). Having taken ALL this advice pre concert, I found the high notes problematic, infact holding the trombone wasn’t easy and I could only see through one eye.

Could you tell me where I went wrong ?

Huw Leigh

Dear Huw, The first rule of thumb is “One man’s medicine is another man’s poison”.

Personally, you’d never find me mixing alcohol and music. Having taken advice from my Brass Band Bretheren, I wouldn’t dream of driving a car whilst under the influence and therefore would not operate heavy trombonery either.

Next time (if there is one) I hear the studio guys swear by camomile tea.

At least that’s what they’re asking for at the Abbey Road bar.

s bransd ba cus fo

From the Rhondda Valley -The Cory Band I’ve always had a fascination of listening to the Cory Band live.

Last time was no exception.

Although muffled, I was nervously sat backstage on the first day of the European Brass Band Championships waiting to go on. We (Brighouse and Rastrick) had drawn after Cory, who inevitably ended up winning the contest.

They have a truly unique, raw power behind their playing which takes the listener’s breath away. Even though I was stood behind them, the trombone section’s presence always has been a key winning feature in the lineup.

As always, once the standing ovation began to settle and we trudged on stage, I was met with the usual humble smile of Chris Thomas, who was immediately ready to wish our band luck before I even got chance to congratulate him on the performance. With Chris Thomas’ announcement of his departure from the band, I took time with Chris to remember some of the great moments he had with his section.

Having been in the band for over 17 years, Chris and Andrew Williams on bass trombone have been part of a team since they were both teenagers.

Luckily for Cory, Andrew is remaining with the band to continue in to his 20th

year, and what a legacy he holds with the band. Presence and style are the key words to describe Andrew; you can’t always hear him above the band, but you always know he’s there. In Chris’ own words, “Andrew is a first-class musician trapped in the body of a risk assessor; he has never been interested in playing in a typically macho style and always aims for a balance with the tuba section. This makes the trombone section much more an extension of the lower brass sound, rather than a stand-alone entity, which contributes positively to the overall band sound.”

The newest to the section is 2nd trombonist Gareth Robinson.

Although I say newest, Gareth has actually been in the band for 8 years and has won every major trophy multiple times. Bursting with youthful energy, Gareth provides 90% of it in to the weight and meat of the section (the last 10% going in to patriotically supporting Wales at all sports competitions!).

When asking Chris his thoughts on Gareth as a 2nd, he commented, “Gareth is, without doubt, the finest 2nd trombone around. He knows his job inside out; he counts my rests, he makes sure that the logistics are sorted and is utterly dependable. It also helps that he

has a huge middle-of-the-chord sound and sight-reads like Sibelius!”

Individually, these players are recognised as the top trombonists in brass banding. But I was really keen to understand what makes them in to a great section so naturally. I asked Chris this, and he replied, “we have developed an understanding of our individual strengths and weaknesses and able to accommodate to each other. We know when each of us need to breathe so we don’t need to mark things such as phrases, and stylistic and articulation changes can be changed with slide gestures. We don’t really know how it works, it just does!”

I’d love to know exactly how they do it myself, but experience has to play a key part to it. It becomes rarer these days to find such committed bandsmen as these guys, never mind a committed section of 8 years! The true passionate spirit of the Welsh is something that continues to succeed and prevail at band contests.

Fine players, such as David Childs and Owen Farr, have been champions for Cory, but Chris and his section will always be regarded as one of the key components to the successful winning formula of the Cory Band.

25

summer 2016 the trombonist

by Roger Argente

I first was paid Tell us about your background? old, some 40 to play the trombone when I was 18 years s where I years ago. I started subbing in local orchestra ral Michigan grew up in Michigan. When I got to Cent bone in the trom nd seco on ing University, I started subb trombone bass to ched swit local Saginaw Symphony. I I saw after ge, colle in the middle of my first year in I liked and play to there were many more opportunities the over h the sound. I don’t think that’s changed muc do to ng willi years. If you play bass trombone and are the job in anything, you’ll find work. Until I got the ember 1985, Sept in ) (DSO estra Detroit Symphony Orch nth tour of I did a lot of brass quintet playing, an 8-mo Woody the with stint Porgy and Bess and a two-year Herman Band. ember of 1985 Joining the DSO? I auditioned in Sept had been for a one-year position and won it. The spot Cleveland. vacated by Tom Klaber, who left to join the t position at the In March 1986, I then won the permanen regular audition. ld Hills, a Where do you live? I live in Bloomfie in Detroit.

Hall estra suburb about 15 miles from Orch in the Stand out events? Playing and touring . I joined dible World Orchestra for Peace has been incre to estra in 1995 when Sir Georg Solti formed an orch ons.

Nati ed celebrate the 50th anniversary of the Unit ting, exci t mos the of e som have With Solti, you Gergiev ry Vale r esso succ His ces. dynamic performan table edic unpr es etim som , is very inspiring as well at the Proms and spontaneous, and his Mahler 5 and 6 e Jarvi, Neem ling. thril at the Royal Albert Hall were sense of l derfu won a who was our music director had instinctive very was spontaneity and music-making that the with sub and wonderful. I’ve been very lucky to all ago, orchestras in Boston, Cleveland and Chic different but at extremely high levels. in Chicago On September 20, 2015 I played a concert mble. with the newly formed National Brass Ense legendary the to ect resp of bow It is a definite nod and and ago, Chic d, elan 1968 recording featuring Clev brass has p grou new Philadelphia brass players. This hia, delp Phila , York players from the orchestras of New ago, Chic d, Los Angeles, San Francisco, Clevelan

26

Randy Hawes

reception Boston and I’m representing Detroit. The ert was from the audience that we had at the conc It didn’t hurt overwhelming, almost like a rock concert.

La Forza that Riccardo Muti conducted Nabucco and Higgins, del Destino overtures, all arranged by Tim for plug a is Here y. phon of the San Francisco Sym w. //ww http: ents gem Tim Higgins and is fine arran ject/ s-pro iggin balquhiddermusic.com/gabrielih teach A normal working week? I usually 2:30, 10-1 on Mondays, and we rehearse Tuesday 10-12:30, sday Wednesday 10-12:30 and 1:30-3:30, Thur etimes som , then concerts Thursday, Friday and Saturday Sunday also. r, I play a Doubling instruments? If I play teno Since it is . slide bass ht weig Bach 42 bell with a light players bone trom bass of inching it’s way into the lives often. more ra cont the in the United States, I’m playing in 1981 in bone trom I first tried a Laetzsch contrabass not t regre I often Bremen where they are still located; euphonium buying one back then. I have also played res at an a few times over the years, in Bydlo in Pictu Exhibition.

Randy Hawes and William Rivard

The Bass Bone Files : TOP SECRET

Bass Bone Files

Teaching? I teach at Northwestern University, Illinois, along with Christopher Davis, Tim Higgins, Michael Mulcahy and Doug Wright. We have a team teaching atmosphere there, where the students rotate amongst the teachers. My advice is that students need to be ready to commit to everything and have patien ce.

Listen to everything, go to concerts, be curious, don’t be a snob.

Trombone heroes? George Roberts, Ray Premru and Ed Kleinhammer.

There are so many great recordings out there, but without offending anyone, Stefan Schultz playing Daniel Schnyder, John Rojak with the American Brass Quintet, Ray Premru and the Philip Jones Brass Ensemble and a very good recording that may not be widely known, Geert De Vos’ Vademecum Music you listen to? Singers of all kinds, Dmitri Hvorostovsky, Sarah Vaughan, Dawn Upshaw, Bryn Terfel, Kurt Elling, Esperanza Spalding, Nat King Cole… Tower of Power and Stobe Temple Pilots!

Two inspirations, one musical, one nonmusical? Sir Georg Solti conductor and Ansel Adams, photographer What does the future hold for you? To keep improving as a musician and keep my fundamentals at a high level and to keep exploring and challenging myself.

Away from music? I ride my bike or go walking.

The diverse nature of the music business today? The challenges for orchestras these days are obviously to attract and retain young audiences.

Musicians today have to have patience to develop their skills slowly in a world where everything is accessible NOW. What hasn’t changed is that players today still need to be well-versed in many different styles and be as complete as possible. The technical possibilities on the bass trombone are much greater now than 30 years ago. We have to thank great players like Dave Taylo r who have been pushing the envelope, exploring new music and inspiring composers. The possibility for

Instruments and mouthpieces? I play a Bach 50 with Greenhoe valves and an old Conn 70H. When I joined the DSO I was playing a Holton 180. The Bach has range of colour and dynamics that allow me to get close to the sound that is in my head. When I started on bass trombone I played a Bach 2G, went to a Schilke 59, found my machismo with the Schilke 60, Bach 1.5G (after Jeff Reynolds helped me realize that I needed a more focused sound), In 2006 I was seduced by the Laskey 53D, but found that it was too much work. Since 2008, I’ve been on the Hammond 21BL which for me seems to have great balance of sound.

Pet hates? Cynical colleagues in the orchestra that have lost the appreciation of where they are sitting and the love of music.

The Bass Bone Files : TOP SECRET

new music is expanding with the invention of crowd sourcing and composer consortiums.

Composers and repertoire? Mahler symphonie s, especially 7 and 9, Bruckner 9 plus the beauty and simplicity of the Schumann symphonies.

If you had the chance to talk with any composer at any time? Lunch in Salzburg with Gustav Mahler (in 1893), “If you do write a trombone solo for your Third Symphony, will you please put that solo in the bass trombone part?” and “When can I meet Alma?”

Keeping your chops in shape? Routine maintenance, a mixed variety of scales and flexibility every day. Complete days off throughout the season.

Right now, I’m mixing it up playing lots of scales on the Contra while preparing a few recital programs.

Website? www.bigtrombone.com - It’s not very active but has liner notes on my CD’s.

Recordings we can mention? Well my first two solo CD’s, Melodrama and Barn Burner.

The National Brass Ensemble/Gabrielli CD and Belle Nuit by pianist Kathryn Goodson (my collaborator on my solo CD’s).

Also the Chandos/DSO recordings with Neeme Jarvi in Orchestra Hall, particularly Barber Symphony No 1 and Copland Symphony No 3.

L-R Doug Wright, Pierre Volders and Randy Hawes

27

gear reviews XO 1632LT “Fedchock” Trombone

By Liam Kirkman There are those of us who find an instrument and stick with it and those who just can’t help searching for something new.

Up until June 2015, I’d have included myself in the first category. I’d been playing my Bach LT12 since buying it new in 1992 and was very happy with it and not looking to change. However, a chance encounter with XO playing bass trombonist Josiah Walters, in Glasgow, persuaded me to check out the XO range of instruments.

sions, On first impresgly it’s astonishin light…

For review, here is the small bore (0.500 bore) XO 1632 LT. This trombone has been designed with assistance from American jazz player John Fedchock.

John was previously a King artist so it is not surprising that the 1632 shares some similarities. The slide, especially the round bow, could be straight off a King 2B. The curved bell brace, apparently shaped to optimise bell resonance, is also reminiscent of a King.

For me however, this is where the similarities end. On first impressions, it’s astonishingly light. Initially, I was unsure whether this instrument would prove as versatile as I needed it to be. My experience with lightweight Philharmonic Hallthey’re fine for high trombones is that lead playing and rock and pop but too

razzy for light orchestral playing or sitting on 2nd or 3rd trombone. Not so with the XO 1632 (or perhaps my colleagues are just being polite!) It takes a little adjustment when compared to a similarly sized Bach but after 12 months of using it in various situations from light orchestral to shows and loud rock gigs, I find it handles everything really well. The instrument is available with either yellow or gold brass bells and comes with a “fender stratocaster styled tweed” hardcase.

If I’m to find fault with the 1632 it would be the lack of an interchangeable leadpipe as found with the large bore tenors and basses. The stock leadpipe is well suited to almost anything you would use this size of instrument for but occasionally something a little more open might be useful.

…it feels most secure in the lower and middle register… doesn’t detract from the high register.

I am currently using the narrow crook hand slide but will be trying the wider slide at some point.

I was excited to see how the instrument would react in a section environment and found it easy to balance with the sound blending well with the other guys in the section. I had to work harder to match short notes, as the trombone had a good ring to it.

The large bore tenor and bass trombones are for another review but as an alternative to the usual brands, XO is definitely worth checking out.

Schilke ST Trombone

by Jonny Goodwin Out of the models I tried, I felt the Schilke was like no other. To hold, it feels more dense. The balance is very similar to the 88HO, and the wooden handle on the Schilke valve looks and feels beautiful.

It feels like a large instrument, but the amount of detail I can now produce in my playing, with a little bit of focus, is a revelation. It is a lenient instrument, cleaning up my articulation, allowing me to play at softer dynamics and, with the smaller lead pipes, allows me to soar high with ease.

Using the largest lead pipe that came with the instrument; it feels most secure in the lower and middle register, and

Endorsed by Eric Crees

An instrument at the top of the range comes with a top of the range price tag but I feel the craftsmanship and advantages of this instrument justify the price.

Specs: Model ST21 .548” Bore Gold Brass or Yellow Brass Bell Rotax or Hagmann Valve option Various Leadpipes available: #1/#2 Option: Narrow Crook Handslide The Schilke ST21 comes with a lightweight, hard shell, fibreglass case To try this instrument, head over to Phil Parkers Ltd 29

summer 2016 the trombonist

BTS member privileges See the full list on our website!

The BTS is adding even more discounts to the growing list of offers exclusive to members.

From magazine subscriptions to instrument repairs; from clothing to websites, we hope you will find something pleasing!

Just visit www.britishtrombonesociety.org and log in, to see your full list of discounts!

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For over 90 years Gramophone has been the world’s leading authority on classical music.

Each issue is packed with over 125 reviews of the latest downloads, CDs, DVDs, and books. The must have magazine for the classical collector, and the classical music enthusiast.

Find your discount code by logging into the BTS website quote this when you call 0800 137 201 to claim 10% discount on subscriptions.

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reviews cd: The Bach Players Reviewed by Stephanie Dyer

This ninth CD by deceptively titled ‘The Bach Players’ is the ensemble’s debut release of early-Baroque repertoire.

Played on period instruments – violin, cornett and cornettino, trombone (sackbut), bassoon (dulcian), theorbo, organ and harpsichord – the non-Bach disc is an evocative musical voyage showcasing works of Italian and German composers, from Venice’s ‘stylus fantasticus’, across the Alps to the Habsburg Empire and then to Hamburg.

Of particular interest to the trombonist are five tutti tracks and a duo by Valentini, featuring Emily White on sackbut. Valentini’s Sonata displays fast virtuosity alongside exquisite delicacy, whilst Marini’s La Rizza exhibits rich, luxurious duets between sackbut and dulcian. Instruments are often paired in the jaunty La Cariolatta by Schmelzer, where improvisatory moments demonstrate the mellifluous sound of the sackbut with violin. Expansive sections contrast the otherwise active Weckmann Sonata no.3, busy with passaggi and trills across the registers. Sonata no.9, also by Weckmann, quite rightly concludes the CD as by far the most intriguing composition, boasting angular leaps and percussiveness.

Valentini’s Canzon features White with cornettist Gawain Glenton, where the instruments intertwine in this sweet, dance-like miniature. White’s seemingly effortless mastery and supreme musicianship throughout is exemplary.

Despite the range of compelling repertoire a greater variety of tonality would help to enliven the CD even more; there are only two pieces on the release in a key other than D or G. An occasional departure from the constant continuo team of theorbo and chamber organ – perhaps to harpsichord – would achieve more diversity, particularly as

harpsichord is already used but only as a solo instrument. Although the track order blurs the musical journey, the performances are stylish and effective.

‘The Bach Players’ has certainly produced a fine release, making a valuable addition to the ‘historical performance’ recording canon and promoting trombone playing at its finest.

gig: Mark Nightingale Big Band Reviewed by By Sion Jones

Watermill Jazz Club in Dorking had their last Live Jazz gig at the Aviva Social Club on 28th of April 2016, after being there just short of 15 years.

Founded in 1994 at the original venue ‘The Watermill’ in Reigate Road, a regular since then has been Mark Nightingale, who performed on this night along side the Mark Nightingale Big Band. The whole evening really was fantastic. I’ll start by naming the incredible band that Mark put together and led on the night. This should give you the context!

Saxophones: Andy Panayi, Sam Mayne, Paul Booth, Martin Williams, Jamie Talbot. Trombones: Richard Edwards, Andy Wood, Liam Kirkman, John Higginbotham. Trumpets: Mike Lovatt, Andy Greenwood, Pat White, Martin Shaw. Rhythm: John Horler (Piano), Sam Burgess (Bass), Mike Smith (Drums) The sets had great variety throughout and featured the band so well in both solo and soli sections, with excellent features from Mark throughout the night too.

All tunes were arranged by Mark also.

The opening number, Flight of the Bumble Bee featuring Mark...need I say more?

The next number was Young at Heart which featured the trombone section, and solo by Andy Wood. Following this was Triste by Anton Carlos Jobim, solo by John Horler and Andy Panayi

ews i v e r

on flute. Next another feature, this time from Mike Lovatt playing a Gershwin tune called Soon. These three numbers along with the rest of the two sets showed the great class of these musicians.

Moving on later into the night, to a John Higginbotham feature on Bass Trombone playing It’s Only a Paper Moon.

John displayed such a stylish performance of this wonderful tune. To end, was Mark’s own composition Urbieplicity in two parts - Calm and Urban Shout.

Two different styles based on trombone great Urbie Green. This was an absolute pleasure to listen to and a great ending to an excellent gig that showed the talent of this band, and Mark Nightingale’s terrific and inspiring playing.

These events do happen, so keep an eye out and go to them! Watermill Jazz Club now has a new home at Betchworth Park Golf Club. It is well worth checking out their website watermilljazz.co.uk.

Book: The World of the Contrabass Trombone by Javi Colomer Reviewed by By Simon Minshall

The world of the contrabass trombone can be a very dangerous one. Over the brief history of the modern instrument we have amassed a huge array of very different and individual instruments.

It would be safe to say that the Contrabass Trombone can come in all sorts of shapes and sizes from keys of Bb, F, Eb, double slide to not having a slide at all (no, not a Cimbasso). Javi Colomer’s latest book gives what I think, is the most detailed scripture for approaching the instrument and improving on it. Filled with diagrams of instruments alongside slide charts and exercises, it’s not really a method book as we probably think of one, more of a guide to the instrument.

The book is printed in both Spanish and English.

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Photography courtesy of Betina Skovbro

summer 2016 the trombonist

G&T

by Matthew Gee & Mark Templeton

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

Greetings music lovers. Do we all have our bone-heads firmly on? Good.

Because Matt and I have flicked through our fine UK orchestras’ diaries to bring you our guide to what might float a bone-heads boat. So wether you are looking for top tunes with a trombone twist, or challenging works to push the trombone boundaries, we have it all here.

The London Symphony Orchestra will be playing Rossini’s Overture to William Tell (an orchestral audition standard rarely actually performed) and Richard Strauss’ colossal Alpine Symphony; it’s really worthwhile reading the intricate program notes to get the full picture of Strauss journey.

24th November Barbican Hall.

I’m going to start with my picks from south of the Watford Gap.

Royal Philharmonic Orchestra will treet us to Saint Saëns beutiful and uplifting Organ Symphony on 29th November at Cadogan Hall.

1st mvmt is quite tricky for the ensemble as a whole though. Eyes down for this one.

Starting off with the BBC Symphony Orchestra and my star pick. On 23rd August at the Royal Albert Hall they will be playing Tchaikovsky Hamlet Overture which has plenty of beef for the bones and Prokofiev’s 3rd Symphony. Prokofiev took most of the material from his un-performed opera “The Fiery Angel” for this symphony; it’s a dark piece and lives up to it’s name.

Next up, the Bournemouth Symphony Orchestra with Elgar’s Enigma Variations. The BSO will play this classic at Chichester Cathedral on September 10th, Queens Theater Barnstaple on the 15th and City Hall Salisbury on the 17th.

Back to London and 2 more familiar works, Wagner’s Meistersingers Overture and Holzt’s Planets Suite performed by the Philharmonia on the14th October at the Royal Festival Hall. I went to see the Philharmonia’s interactive instalation at the science museum a few years ago in which you could stroll through the different sections of the orchestra. It was great to sit in front of the trombones and get a real blast.

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And a little bit of Opera to finish.

Puccini’s Tosca performed by the English National Opera will run at London’s Coliseum from 3rd 0ctober -3rd December. I’ve put this work in a G&T before but can’t help myself.

It’s not all about the bass trombone, but there are some cracking notes for Joe to play. Over to you Matt…

Thanks Mark. You will not be surprised to read that there are some cracking concerts coming up over the next couple of months.

I am going to start with the CBSO, who are playing Berlioz’s Symphony Fantastique with Nicholas Collon between 19th and 22nd October, in both Birmingham and Nottingham; demonic trombone writing at its very best!

The BBC Philharmonic have a concert on 9th October in Bridgewater Hall, Manchester, containing Elgar’s overture to In the South and Walton’s epic first symphony. If you do not know this piece it is well worth becoming

familiar with, as it gives the trombones a proper work-out.

My star pick this issue is from the Hallé: Stephen Bell conducting all the music from Star Wars episodes I - VII. It is tough enough just playing music from the opening credits, so expect to see plenty of bumpers on stage to spread the load; Bridgewater Hall, 29th October.

The Liverpool Philharmonic are embracing the opposite end of the spectrum with Stravinsky’s A Solder’s Tale on 30th October in the Music Room at their Philharmonic Hall. This delightful chamber work shows how well Stravinsky understood our instrument and gives us plenty of moments to shine.

And finally, the RSNO perform Dvorák’s Cello Concerto and Shostakovich’s Fifth Symphony on 18th and 19th November in Edinburgh and Glasgow respectively.

There are few bigger highs than those felt in this epic symphony, and knowing the chaps of the RSNO brass section, I am sure they will let everyone know who is in charge at the end!

Mark: That’s it for another G&T so enjoy a concert or 2 this Autumn and always listen responsibly.

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

MT

MG

t’s wha on

what’s on 28 august 2016 nd Foden’s brass Ba Crewe Lyceum CW1 2DA Heath Street, Crewe, www.fodensband.co.uk

10 SEPTEMBER 2016

16 SEPTEMBER 2016 7.30 PM

British Open Brass Band Championships Symphony Hall Birmingham www.thebritishopen.net

The Symphonic Bras s of London ‘Band on the Run’ educat ion project, opening con cert. St Barnabas Church, Perth Road, Beckenham, Kent BR3 6PP www.thesymphonicbras soflondon.com

17 september 2016 7.45pm

25 SEPTEMBER 2016

Road septura - Aurora Lock In: On The Hall Two, Kings Place 90 York Way, London, N1 9AG -lock-in-on-the-roa/ www.auroraorchestra.com/event/the

Bones Apart Trombone Quartet Workshop & Concert, Eversden, Cambridgeshire www.bonesapart.com

29 SEPTMEBER 2016 7:30pm Headspace and Pandora’s Box , two ensembles centered around the trombonist John Kenny.

The Cumnock Tryst Festival Cumnock Town Hall, 62 Glaisnock Street, KA18 1BY www.thecumnocktryst.com/barony-aframe/

29 SEPTMEBER 2 016 8:00pm

29 september 2016 black dyke band a Square St Helens Town Hall, Victori St Helens, WA10 1PH www.blackdykeband.co.uk

Kensington Br ass Ensemble (dectet) Evening recital, Roman River Fe st iv al St. Mary’s Churc h, Stoke-by-Nay la nd, CO6 4QU www.romanriver music.org.uk/ev ents/event/ kensington-brass /

7 october 2016 soul tubes Blues Kitchen Camden, London www.soultubes.com

Follow the BTS on Twitter: @britishtrombone and Like us on Facebook to receive regular dates for your diary.

Submit your own events on the BTS website www.britishtrombonesociety.org and they will be included on social media, the BTS website and right here in the magazine.

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summer 2016 the trombonist

fast talk...

60cond se erview int

What’s your name?

Barry Clements What’s your current job?

Bass trombone/Tuba in Les Miserables (London West End) What model of trombone(s) do you play?

Conn Elkhart 60h converted with 2 greenhoe valves What mouthpiece(s) do you play on?

Bach 1 1/2 g How old were you when you started playing?

Started on tenor trombone at the age of 11 and moved to bass trombone at 15.

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

I would say firstly, to listen to your teachers and make the most of them being there. Also to use a mirror when practicing to see what you’re doing with your embouchure/posture and to record yourself during practice to hear in detail what you’re doing with phrasing/tuning etc

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

That’s a tricky one! One of the most memorable concerts I’ve done was Bruckner 3 with the Philharmonia at the Royal Festival Hall conducted by Andris Nelsons. That was great fun!

What was the last record you bought?

Elgar Falstaff performed by the London Symphony Orchestra.

(I had it coming up and thought it would be a good idea to listen to it!)

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

The best advice I can give is to be as versatile player as possible. By being able to play symphonic repertoire as well as in a big band and show style, you can lead a very varied/ potentially busier lifestyle. Also, don’t be the last one at the bar!

What was your first pro gig and when?

My first pro big band gig was in 2011 with the Syd Lawrence Orchestra and my first orchestral one was with the Philharmonia Orchestra in 2012 Where has been your most favourite place to perform?

I’ve been very privileged to have played in quite a few concert halls but Suntory Hall in Tokyo really stood out as being a great place to perform.

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

I’ve got a couple of Madame Butterfly performances with ENO at the moment as well as a few weeks with the BBC Concert Orchestra with very versatile programmes and a performance of Dvorak’s New World symphony with the Philharmonia.

What’s your favourite colour?

Blue.

What’s your favourite food?

Curry.

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

I’m a keen skier and try to go most years.

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Photography courtesy of Betina Skovbro