The Trombonist - Summer 2017

SUMMER 2017 £5.00

THE

TROMBONIST THE ACROBAT CHALLENGE ROYAL OVERSEAS LEAGUE WINNER JAMES BUCKLE GLASGOW TROMBONE WEEKEND

LIFE WITH PETER MOORE

CONTENTS

REGULARS 6

20 ‘PLASTIC OR NOT’

PRESIDENTS COLUMN

An update and hello from Liam.

How to teach full classes with pBuzz’s and pBone’s.

7-9

30-31

What’s been going on in the world of trombones and events on the horizon.

Gear, gear and more gear.

32

PROFILES 18-19

NEWS & EVENT REVIEWS

G&T

GEAR REVIEWS

G+T are back with more suggestions for your diary.

PETER MOORE

34

21

See what takes your fancy.

BBC Young Brass Soloist Isobel Daws.

WHAT’S ON

RESOURCES 12-14 JAZZ BY JEREMY

Barney Medland profiles Peter Moore.

BBC WIN FOR ISOBEL

26-27

THE BASS BONE FILES

Roger Argente talks to Chris Stearn.

Want to know how to play it?

Jeremy Price explains.

Cover photograph courtesy of - Hugh Beauchamp 4

FEATURES 15-16

JAMES BUCKLE ROSL 1ST PRIZE

The first brass player to ever win the Royal Overseas League Music Competition.

22-23

THE NEED TO DOUBLE

Discussing the need to adapt to survive.

24

THE MOUTHPIECE JOURNEY

The final part installment.

WELCOME TO THE SUMMER ISSUE

OF THE BTS MAGAZINE Welcome to this edition of ‘The Trombonist’.

We hope you have been enjoying the sweltering heat and keeping busy. Those big lumps of metal can get rather warm! As usual, we have a variety of articles and reviews for you including profiling some of the UK’s talent. We are here to listen to you. If you have any suggestions for articles or features you would like to see, then email in and have a chat to us. On the subject of email addresses, we need them! If you think the BTS does not have yours, then please email Chris Sowerby to update it. We have had lots of good responses about the digital version of the magazine and hope to develop this further.

Here is hoping for a trombone filled autumn! Don’t forget to tag the BTS on Twitter and Facebook for a share from us. We like to see what you are all up to.

Ross & Simon

PAGE 9

PAGE 15-16

THE TROMBONIST MAGAZINE Editors: Ross Learmonth & Simon Minshall editor@britishtrombonesociety.org Sub-Editor: Peter Chester

Alison Keep Publishing and Distribution: HMCA Reviews Editor: Jane Salmon news@britishtrombonesociety.org Advertising: Jane Salmon advertising@britishtrombonesociety.org Design: Sian Nowley sian@hmca.co.uk

CONTRIBUTORS IN THIS ISSUE: Ryan Watkins Helen Minshall Josh Cirtina Jeremy Price Denis Wick Jane Salmon Roger Argente Liam Kirkman

Matt Gee Mark Templeton Barney Medland Hannah Stell Ross Anderson Audun Breen Tom Dunnett Sion Jones

PAGE 26-27

PAGE 18-19

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SUMMER 2017 THE TROMBONIST

PRESIDENT’S COLUMN Dear Readers, Welcome to the Summer issue of The Trombonist. In a couple of months time at the November AGM at Oundle, I shall be hanging up my presidential gown and passing the reigns to vice-president Dávur Juul Magnussen. It has been a pleasure and an honour to have occupied the hot seat and to have helped steer the society towards an electronic magazine which will introduce interactive features as well as offer links for advertisers and generally offer you the members a more modern platform with seamless integration with the BTS website, audio examples, repertoire for download and purchase as well as past issues, up to date information about events, competitions etc, etc… not to mention freeing up available cash for more regional events including the upcoming Salford trombone day on 16th September. Dávur, along with Scottish rep. Simon Johnson has been

responsible for an incredible event in Glasgow which you can read about on page 8. There are more comings and goings as we welcome my old teacher and ex-Halle principal Andy Berryman as South West rep. but unfortunately say farewell and many thanks to Kerry Baldwin in her role as North West rep. who after several years of fine service is stepping down due to an ever increasing family. If any North Western members are interested in the position please get in touch.

Thanks also go to Simon Minshall who will shortly be stepping down as editor and whom has played a huge part in the running of the society over the last few years.

Also farewell and thanks to Ross Learmonth who also steps down as co-editor.

I am pleased to announce a brand new jazz trombone competition “The Mark Nightingale Award” is in its final stages of planning and we look forward to a unique opportunity to attend the Royal Marines School of Music for a regional event in early 2018 so watch this space.

Many thanks to all the members for the helpful feedback regarding last issues electronic copy and please continue to send in your suggestions for content and events.

So, that’s it from me, I shall look back over the last two years fondly and think “Nostalgia’s not what it used to be” Liam

president@britishtrombonesociety.org

BTS OFFICERS & STAFF MAGAZINE CONTACT LIST British Trombone Society www.britishtrombonesociety.org

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

Administrator: Chris Sowerby 1 Ullswater Road, Dewsbury West Yorkshire, WF12 7PH Tel: +44 (0)1924 437359 administrator@britishtrombonesociety.org MEMBERSHIP ENQUIRIES: membership@britishtrombonesociety.org

Please submit news and events items for the website to: Jane Salmon news@britishtrombonesociety.org Advertising: Jane Salmon advertising@britishtrombonesociety.org

REPRESENTATIVES: Scotland: Simon Johnson 07973 861623 scotland@britishtrombonesociety.org Wales: Jo Hirst 07729 144690 wales@britishtrombonesociety.org

North East: Peter Chester & David Thornber northeast@britishtrombonesociety.org North West: Vacant northwest@britishtrombonesociety.org Midlands: Martha-Ann Brookes 07966 416198 midlands@britishtrombonesociety.org

Northern Ireland: Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org South: Bones Apart south@britishtrombonesociety.org

South West: Andy Berryman southwest@britishtrombonesociety.org

East Anglia: Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org Wessex: Robb Tooley 07713 093193 wessex@britishtrombonesociety.org

Yorkshire: Jonathan Beatty 07966 214362 jbeatty70@icloud.com Brass Band: Ryan Watkins 07801 955297 brassband@britishtrombonesociety.org Jazz: Jeremy Price 07850 685784 jazz@britishtrombonesociety.org

Young People: Hannah Stell & Daniel Higham youngrep@britishtrombonesociety.org Military Bands: James Howard 07906 392992 military@britishtrombonesociety.org

NEWS

TROMBONISTS BBC RADIO 2 ACCEPT THE YOUNG BRASS ACROBAT AWARD CHALLENGE We are delighted to learn that 17 year-old Isobel Daws has been named the BBC Radio 2 Young Brass Award winner 2017.

Isobel is currently studying at Chethams School in Manchester and hopes to go on to one of the London music colleges.

Isobel is the daughter of renowned Salvation Army musician, David Daws and currently plays with Fairey Band.

As part of her prize, Isobel has the opportunity to showcase her talents at the Gala Concert following the British Open Championships at Symphony Hall this September.

Trombone players from all over the world have come together in the last few months to show their support and help raise funds for Stephen Sykes, a young trombone player who was diagnosed with Hodgkins Lymphoma in February 2016.

This year’s BBC Young Brass Award competition was held at Manchester’s RNCM and was presented live on Radio 2

by Clare Teal and Frank Renton. Each of the soloists was accompanied by Foden’s Band under Michael Fowles.

Isobel was up against three brass players, including fellow trombone player Ellena Newton, 17, who was the first to perform with Philip Wilby’s White Knuckle Ride and Bolivar

by Eric Cooke.

Stephen had undergone numerous different chemotherapies, but none were successful. His consultants concluded that Stephen’s only hope of reducing the cancer enough to be able to receive a life-saving stem cell transplant was to treat him with a new type of drug called a PD1 blocker.

Unfortunately, the cost of this drug is above the NHS funding threshold and Stephen’s family was told they would need to raise the funds required urgently.

Jayne Murrill, of Bones Apart, had the fantastic idea of inviting musicians to join the Acrobat Challenge, encouraging anyone to upload snippets of John Greenwood’s much loved The Acrobat to help raise both funds and awareness of this situation.

Stephen’s journey continues and the family encourages everyone to consider registering as stem cell donors.

Please visit the DKMS charity website now to register.

Please visit Stephen’s Go Fund Me page to make a donation; www.gofundme.com/StephenSykes DKMS – see if you are a match www.dkms.org.uk/en

photo: www.goldy.com

This has proved very popular and the challenge’s Facebook group quickly has grown to thousands of members. The story and a selection of the fantastic contributions reached the BBC News in early April, and the £90,000 fundraising target was reached shortly after.

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REVIEWS SUMMER 2017 THE TROMBONIST

BY DAN EDDISON

GLASGOW TROMBONE WEEKEND A great week for trombone playing in the UK! The ‘Glasgow Trombone Weekend’ began on Thursday 22nd June, with the BBC Scottish Symphony Orchestra concert featuring the simply amazing Christian Lindberg conducting Rossini’s Thieving Magpie overture from memory.

Lindberg’s enthusiasm really brought the music to life and the trombone section springing to their feet for the final section certainly encouraged a chuckle from the audience. Next up was Simon Johnson, who along with Lindberg performed the fiendish Echoes of Eternity, the concerto for two trombones

by Sandström. The concert concluded with Beethoven’s Fifth Symphony, where once again the trombone section was particularly acknowledged.

Day two of the long weekend saw another BBCSSO concert. Lindberg brought new colour to Wagner’s overture Die Meistersinger von Nürnburg to open the evening. That was followed

by Jörgen van Rijen, using both tenor and alto trombones, as soloist in Kalevi Aho’s Trombone Concerto. Respighi’s Pines of Rome suite was stunning and could well have closed the concert but Christian Lindberg reappeared 8

to conduct the UK première of his composition The Waves of Wollongong.

The required nine solo trombones, standing in firing squad formation in the choir stalls above the orchestra, was an unforgettable sight and sound.

Saturday brought three of the UK’s finest conservatoires to the Royal Conservatoire of Scotland to compete in the first intercollegiate trombone ensembles competition.

The quartet competition started the day in tasteful style with the competing ensembles performing Defaye’s Four pieces for 4 trombones and Saskia Apon’s First Trombone Quartet.

ClydeSlide, made up of current students at the RCS finished in 3rd place. In 2nd place was the Horizon trombone quartet from Trinity Laban College of Music.

Slide too Far ‘Defaye’d’ the odds to win the competition despite having the dreaded number 1 draw.

The afternoon session saw the final of the second BTS Ian Bousfield Tenor Trombone Competition. Tom Scaife performed Daniel Schnyder’s Sonata for Trombone and Piano exquisitely.

Siravith Kongbandalsuk, from Thialand, played the first movement of Ewazen’s

Sonata for Trombone and Piano and the first round audition piece, Choral, Cadence et Fugato by Henri Dutilleux.

Ian Sankey began with the Peter Maxwell Davies’ piece Judas Mercator, before serenading the audience with Jørgensen’s Romance. Ian finished with a flourish, playing Bolivar.

The judges decided that the winner was Tom Scaife who walked away with a new Getzen ‘Ian Bousfield’ trombone.

Ian came in a close second with Siravith coming third place.

The next class was for ‘Trombone Choir’, performing two set pieces: Osteoblast by Derek Bourgeois and Bruckner Etude fur das tiefe Blech by Enrique Crespo.

First prize went to the Trombones of the Royal Conservatoire of Scotland conducted by Simon Johnson.

The day finished in spectacular fashion with a truly superb concert by Mnozil Brass. Following the concert several of us moved to Bar Soba, where Kyle MacCorquodale with some help of musicians from the RCS gave us a fantastic treat with a re-run of his George Roberts tribute night which took us into the wee small hours of Sunday morning.

REVIEWS

Roll up! Roll up! For Matt Gee’s Amazing Sliding Circus!

Following our massed warm up led by Simon Johnson, Matt Gee dazzled us with some stunning avant-garde music.

He began with the pre-recorded A Most Grand and Marvellous Spectacle, complete with clown costume and big boots, in which if you listened carefully you can hear strains of The Acrobat.

Matt continued with Berio’s Sequenza V and a ‘full- mashings’ version of Stravinsky’s Pulcinella.

In “Keeping up with The Jones’s” Christian and Katy Jones shared an hour-long recital, with music for alto

trombone right down to the beast of the contrabass trombone. Showing off all the voices of the trombones, the programme was varied and often serious, certainly when Christian played excerpts from Prokofiev’s Romeo and Juliet, in a splendid arrangement by Charles Vernon.

Gordon Campbell followed on with a masterclass and anecdotes on vibrato and plunger-mute playing before moving on to play with Slide Rule at the Afterparty.

In the afternoon the whole trombone cohort, students and visitors alike, took part in a massed blow flash mob, outside

ITF 2017 The 2017 International Trombone Festival was held in Redlands, California on the historic campus of the University of Redlands, from June 28 to July 1 this year. Look out for a review of the festival in the winter magazine.

Due to time constraints it has not been possible to feature the Festival in this edition.

on the RCS steps and doing our bit for the “Acrobat Challenge” to fund the cancer treatment of fellow trombonist Stephen Sykes, and “Happy Birthday” to mark June Emerson’s 80th.

The weekend was brought to a close with a Scottish twist by RCS’ Braw Brass a fusion of Traditional Scottish music and the 10 piece brass ensemble presenting a farewell concert, prompting a standing ovation to complete a fantastic weekend.

Massive thanks to the mastermind of the events, Simon Johnson (BBCSSO & RCS) assisted on the day by Dávur Juul Magnussen.

BLACK DYKE FESTIVAL 2017 The recent Black Dyke Festival, held at Leeds Town Hall on Sunday 4th June, was rounded off with a special afternoon concert featuring virtuoso trombonist Peter Moore.

Read more about Peter on page 18-19 of this magazine.

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SUMMER 2017 THE TROMBONIST

AN APPEAL

BY JAYNE MURILL

Stephen Sykes was born in Cornwall to musical parents Joanne and Steve.

He initially, and reluctantly - it wasn’t a trombone! - started playing the cornet, moved onto a wrapped up trombone (baritone), then at age 8, Father Christmas finally delivered him his dream instrument albeit with an instruction that he had to wait until he was a little older to start playing it.

A grade on the baritone later he switched over and it soon became apparent that he was destined for great things. He studied at Wells Cathedral School, Chethams School of Music and finally gained a place at the Royal Welsh College of Music and Drama studying with Kevin Price. This was where I met Stephen, coaching him one afternoon with Bones Apart. He won many competitions, BBC Radio 2 Brass Soloist of the Year and the Don Lusher Trombonist of the Year to name a couple, and was a brass finalist in the BBC Young Musician of the Year. After leaving college Stephen freelanced with orchestras such as the BBC Philharmonic, BBC National Orchestra of Wales and Welsh National Opera as well as maintaining links with the brass band world, playing in Tradegar, Cory and the Fairey Bands.

Then in 2016, aged 26, he was diagnosed with Hodgkins Lymphoma, an uncommon cancer which develops in the lymphatic system. Six rounds of different chemotherapies followed but none of them were successful. It became clear that the only drug that might reduce the cancer enough for Stephen to receive a stem cell transplant would be a new type of drug called a PD1 blocker.

This treatment is not available on the NHS. Stephen’s family immediately set up a crowdfunding site to raise the estimated £90,000 it would take to see Stephen through the treatment.

A massive campaign was started to encourage people to sign up to the blood stem cell register through the charity DKMS. This campaign was enormously successful. Swab centres were set up at all brass band regional competitions and many other concerts and contests all over the country. People shared the charity details across social media and encouraged as many as possible to get 10 10

all helps. I couldn’t have predicted how quickly and how much people would take to the idea. Within the first few hours there was a video from someone I didn’t know at all – that was when I got my hopes up that we could really help here.

swabbed and hopefully be a match for Stephen.

The Acrobat Challenge came about after a discussion with a friend of mine who had previously achieved massive fundraising success with the Three Peaks Challenge, taking a full brass band up the national three peaks of Ben Nevis, Scafell Pike and Snowden three years ago to raise over £20,000 for the MS Society. We were trying to think of fundraising ideas to help Stephen’s family achieve this enormous amount of money. The thought that I had was to use the internet, much like the Ice Bucket Challenge, but something targeted towards trombonists, feeling that people were likely to want to help their own.

I have no idea why but the Acrobat Challenge just popped into my head.

Within two weeks there must have been up to a thousand videos and the total on the fundraising site hit the £90k target. It was an absolutely amazing achievement by all involved. By then it wasn’t only trombonists, we had all other brass instruments but also a wide variety of others including a carrot and a mooli! People were coming up with fantastic arrangements and as many different ways to perform it as possible, cycling, up trees, trampolining, the list was endless. We had so many children wanting to get involved also, some learning it especially for the challenge.

We had videos from across the globe, managing to reach the US and Canada, Australia and NZ, China, Hong Kong, Africa and most of Europe.

After the target was reached many people wanted to continue on with the challenge and continue to raise as much as possible as costs for Stephen are to some extent unknown. The total reached is currently just over £111,000 – a testament to the generosity of so many people, most of them completely unknown to Stephen and his family.

I immediately got in touch with the rest of Bones Apart to see if they were on board with the idea, and to see if they would help by using their wealth of contacts to spread the word around.

Becky, Helen and Sarah were fantastic, sending their ideas and support.

But after the fun is over the search for a close stem cell match is still ongoing.

It is vitally important to keep pushing for people to get swabbed and see if they are suitable, for Stephen, but also for the thousands of others who need this treatment.

The idea was that you videoed yourself playing an excerpt from The Acrobat then uploaded it onto social media with a message that this was raising money for Stephen, donate minimum £5 to the gofundme page and nominate others to do the same. We set up a Facebook group so that everyone could share their videos and enjoy those of everyone else.

To become a potential donor you need to be a UK resident, aged between 18 and 55 and in good health. You will be sent a cheek swab in the post, which takes about two minutes to do and then you post it back. That two minutes could save a life. To find out more, visit www.dkms.org.uk.

Posting the first video was slightly nerve wracking, not knowing if any others would follow. I figured that at best we’d probably get a few videos and make a couple of hundred pounds, and at least it

If you would like to follow Stephen’s progress then his mum has set up a Facebook group, Stephen’s Journey, and if you would like to donate then please go to his gofundme page, www.gofundme.com/StephenSykes.

SPRING FESTIVAL

BY RYAN WATKINS

With another spring season come and gone and now entering one of the hottest summers in history, the banding movement was entertained with similar hot showers of brass band competitions which certainly kept audiences entertained throughout the end of the first half of the contesting year.

With a multitude of area competitions, the BBC Radio 2 Young Brass Award and European Brass Band Championships in Oostende, audiences young and old were left finally with the fantastic Spring Festival at the start of May. Held at the Winter Gardens once again, there are plenty of facilities at the disposal of the listeners: the choice of three halls, the option to quickly run over the road for a quick Greggs, or to enjoy a small (expensive) beverage at the Spanish bar. Plenty of room for the trades stands as well, which was a successful day for many companies, in particular the DKNS stand, which collected 93 swabs in the search for a suitable donor to help fellow trombonist Stephen Sykes.

The competition is laid out in three sections: the Grand Shield, Senior Cup and Senior Trophy. The results sees the top four of the Senior Cup and Senior Trophy move up to the next section, whilst the bottom four of the Shield and Cup are relegated. The big prize, however, is the battle to claim the top

two spots of the Grand Shield, which promotes the bands to the British Open Championships, the competition that is regarded the best in the whole banding movement.

A selection of reflective, new and old music was on offer over the three sections, which saw wins from Whitburn, Filton Concert and Dalmellington.

Aptly named Salute to Youth, 82 year old Richard Evans showed just how far experience can go as he claimed his first win since 1981 at the festival off a number 1 draw with Dalmellington in the Senior Trophy. With a youthful band at his disposal, and 20 year old principal cornet Rebecca Wilson, who took the best instrumentalist prize, Dickie Evans was able once again to show his energetic flair and musicianship to captivate the audience and judges, present a winning performance, take the spoils and give a real, musical salute for Scottish banding.

After winning the Senior Trophy in 2016 and qualifying for the National Finals this year, a third major successive victory for Tom Davoren and Filton Concert Brass showed how things are certainly heading in the right direction.

Known for their excellent entertainment programmes with Tom and associate conductor Glenn Van Looy, Filton produced a secure, rapid performance on Peter Meechan’s A Fragile Oasis, where their playing was anything but fragile. Always keen to produce a modern take on pieces, Filton’s special performance was enough to battle off tough competition and see them through to the Grand Shield, with a possibility of entering the British Open in 2018 for the first time ever in the band’s history.

own referendum to make a return to the British Open since their relegation in 2010. Conducted by Nicholas Childs, the band had a clear mission on their minds and produced the most well-balanced, stylish and enjoyable performances of the whole weekend.

The level of confidence brimming from the red jackets will certainly keep some of the big boys looking over their shoulders as they head to Birmingham this year.

Whitburn’s delighted bass trombonist and band manager, Charlie Farren, commented, “The band are delighted after seven years to be back competing at the British Open. The band is enjoying a positive run of results, which we were fortunate to continue in a strong, competitive field. We now look forward to revisiting Fraternity, which we enjoyed performing at the European Championships in Lille last year and working with Florent Didier. It will also be great for the band to see many past friends at the contest in Birmingham and we are excited for our return”.

Whitburn will be joining by North-West band Wingates, as they produced a strong, tight performance under Paul Andrews, along with some fine playing from the experienced Andy MacDonald who claimed the best instrumentalist prize, which was just enough to beat close thirds Reg Vardy, who will be left in the contest for one more year.

The competition was successfully run by the back room staff, and has already got tongues wet for the British Open and National Finals, both which are only a few months away.

Full results can be found via www.4barsrest.com

With many eyes on which two bands would take the promotion spots for the British Open, a Celtic war cry was heard from the Opera House as Whitburn had finally taken the first prize and held their 11

SUMMER 2017 THE TROMBONIST

JAZZ BY JEREMY

THE SWEET TROMBONE OF BILL WATROUS BY JEREMY PRICE

“In Love Again - William Russell Watrous with Richard Behrke Strings.”

“When this record came out, the birth rate went up.” So claimed Bill Watrous during his UK visit in 1982. I had been given a day off school, aged 12, to go and see his trombone clinic at the Alfred Beck Centre in Hayes, Hillingdon, by recommendation of my then teacher Melvyn Care. I was the only kid in the audience and while all the other trombonists guffawed at this comment it was then very publicly noted by Bill that this point was going to be lost on me. Most of the masterful instrumental advice was equally lost on me that day, but no doubt this was one of the triggers for a lifelong obsession with the trombone.

Bill Watrous was born in 1939 and this recording was released in 1968 which means he was playing at this incredible level aged just 27. The famous and still untouchable cadenza on Fourth Floor Walk Up from Manhattan Wildlife Refuge was recorded in 1974 and perhaps the next most well known Watrous record in the UK is on the Mole Jazz label “Bill Watrous in London” recorded live at the Pizza Express Dean Street, the day after the aforementioned masterclass, with a fantastic British rhythm section of Brian Dee, Len Skeat and Martin Drew.

But now for the transcriptions and the recordings. We’ve chosen the title track In Love Again and Theme from La Strada. This issue you see jazz reaching out to the brass band world by producing the first transcription in Bb treble. (Add a couple of flats and read as tenor clef for the rest of us.) But the second is written in bass clef concert as per most lead trombone parts with all the ledger lines. You can access the recordings with a YouTube search, but I 12

would recommend you use versions that have complete Side One and Side Two in separate posts, as the ones as single tracks are a bit out of tune to play along to. I couldn’t find the real album to buy so if you want it, you may be interested to know that I managed to download the album to iTunes through soundike.com for just £0.12 per track and the quality is pretty good. Incidentally, if anyone has the original vinyl, I would love to buy a copy so do please get in touch if you are in the market. And just to be clear, I have three children so I only require it for listening and practicing.

I’m now wondering how this recording is going to be received by a 2017 audience. It’s definitely on the “easy listening” spectrum and perhaps millennials will find it hilariously cheesey. Okay, it’s a little schmaltzy, but the playing is incredible, technically and musically, and I think Richard Behrke’s arranging is superb. You would be hard pressed to find a better example of specifically writing for the unique talents of a particular soloist. Behrke has clearly taken a lot of time to research the range of expression, pace and musical facets of Watrous so that he knows exactly how to present him at his best, and the craft of the orchestrations and voicings puts many contemporary arrangers totally in the shade. Richard Behrke was composer, arranger and conductor for Bobby Darin, Frank Sinatra and Tony Bennett among many others, so he has quite a pedigree.

For playing along to, let’s be honest that this will be a struggle for many of us.

It is virtuosic after all. I’ve found the benefit to be that it’s a really enjoyable chops work out. Long notes and range, going the distance on the breath control,

setting the embouchure in a similar way as you would for Maggio or Caruso are all great practice challenges brought out by playing along. The biggest advantage of doing technical practice in this way is that in aiming to emulate that incredible sound you are putting music first before technique. Technique has to be driven by a musical reason, rather than just pursuing it for it’s own sake or because your teacher says you need to sort something out. I’ve been amazed at how quickly those top E flats are becoming easier, mainly because I’m trying to imitate the Bill Watrous sound in the mid and sensible high range, rather than practicing the E flats themselves.

Imitating the sound links you in to the right embouchure and breath support for the more extreme range. If you listen closely you’ll hear how important the alternative positions are for the phrasing and that slide direction and room for the slide vibrato is always considered; so many traditional first positions are played in fourth for instance.

For closing thoughts, where did the so-called “sweet” trombone sound come from? Tommy Dorsey pre-dates this recording and Urbie Green is also a precursor but also contemporary.

Did Tommy Dorsey invent it? Why did it fall to the trombone to impersonate the crooning tenor of the musical Broadway shows? What’s the connection between the Italian operatic Bel Canto tenor and this record? A little research project for somebody there perhaps.

13

14

JAMES BUCKLE ROSL 1 PRIZE

BY JOSH CIRTINA

ST

JOSH: First of all, I’m sure trombonists across the country would like to wish you a huge congratulations for winning the final of the Royal Over-Seas League competition. You weren’t just the first bass trombone player to win, but the first-ever brass player to win this hugely prestigious competition. How did it feel when your name was announced on stage at Cadogan Hall?

JAMES: Thanks! I have to confess I was shocked. I’d heard bits of the others performing and was ready to let them pass me to go up on stage!

JOSH: Competing against pianists, string players and singers is difficult for us and it could be argued that we have less serious repertoire from ‘mainstream’ composers. Tell us about your choice of programme and why you chose to play it?

JAMES: Programming was really important and it can be a hard balance choosing between original pieces and arrangements. I felt I should play a trombone piece in each round but that it was also important to display the range of styles and characters the trombone can perform. Bozza’s New Orleans is

one of the best openers we have, so I decided to go for that and Schumann’s Adagio & Allegro is such a great finisher, it’s impossible not to feel great after it both as a listener and a player.

I always knew I wanted the middle piece to be a song, but I underestimated how long it would take me to find the right one! I had initially thought I’d find a Schubert song and spent days going through practically every album on Spotify. In the end I couldn’t find anything that contrasted enough with the Schumann so I changed tack and went to Mozart and Haydn. It was a great decision, one that in hindsight was fairly obvious, and I came across a song that I’ve fallen a bit in love with.

JOSH: Obviously, preparing for a competition such as this is quite an undertaking. How did you practice for this, and was there anything you did differently to your usual routine?

JAMES: I’ve become used to preparing lots of solo music now. The category finals had about 45 minutes of music and I recently had an audition with 70 minutes to learn so I actually found that the hardest part of preparing was

discipline. I am a huge sport fanatic and I was finding myself doing low-quality practice due to having three screens showing whatever was going on that day! It wasn’t until 2 days before the final that I actually banned sport and suddenly my playing started to fall into place!! Who would’ve known that TV doesn’t help practice...?

But to answer the question more helpfully, I had two and a half weeks to practice for it. The first 10 days I spent memorising the pieces, practising technical passages and just doing general sort of practice (with the sport on!). Then in the last week I met a couple of friends to play to, practised visualising the performance and working out roughly what I wanted to do musically with the pieces. I also had two rehearsals with Alison Procter before the concert.

JOSH: Since you left the Royal Academy in 2015, did you go for any lessons in the run-up to this competition, or do you still regularly see any teachers?

Continues on following page...

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SUMMER 2017 THE TROMBONIST

JAMES: No, I haven’t had a proper lesson since I left but I would like to thank my old professors Bob Hughes and Keith McNicoll, along with a number of friends, who gave up their time for me to play to them leading up to the category finals. I have a book with all of their comments in, which is a bit like my bible now!!!

JOSH: You are very busy freelancing across the country with orchestras such as the Philharmonia, Royal Opera House and Hallé and so on - how do you manage to balance practice for big competitions such as ROSL and working professionally?

JAMES: I actually find my most productive days are when I’ve got orchestral work on because it automatically gives your day a structure.

I tend to try to give 2-3 hours to warming up and general flexibility and technical work and then 2-3 hours on pieces. This is usually pretty doable if you have rehearsals or a show.

The only days that become harder are out of town dates or rehearsal-concert

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days. Then it’s just a case of deciding what your priority is. Disclaimer: All timings include watching Joe Root smash 6’s over extra cover.

JOSH: Some of us find performing without music a real challenge and incredibly nerve racking, yet you performed your entire programme at ROSL from memory. Is this something you find comes naturally to you, or have you had to work it and if so, how?

JAMES: I’m not sure if it used to cause me problems, but I’ve tried to perform from memory as much as possible since about sixth form. Personally, I find it helps me as it gives me the freedom to express myself more and perhaps more importantly it helps me engage with the audience. I don’t have a set way that I memorise things. If it is a piece I already know then I usually find it’s there anyway. If I’m learning a new piece straight into my memory then I’ll probably take it one section at a time.

That’s what I did with the Mozart song and it took me about an hour and a half to have the piece memorised. Of course,

the next day there were a few blanks so it’s just about cementing it in over a few days.

JOSH: Is solo performance something that you would like to do more of, or would you rather maintain a largely orchestra-based diary?

JAMES: I would definitely like to increase my solo opportunities. It’s something I love and want to get better at. I’d like to try and change people’s preconceptions of the trombone and display all of its characteristics, showing that serious music and repertoire can be played on it, and perhaps more importantly, written for it.

If someone asked me what my favourite thing to do is, I would struggle to be able to answer them. Perhaps chamber music is the most all round fun but the adrenaline and freedom of solo playing is something you can’t beat and the team work and strength of orchestral playing has given me some of the best moments of my life.

James Buckle has his debut professional recital in St James’ Piccadilly on 20th October at 1.10pm

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SUMMER 2017 THE TROMBONIST

In the front room, David Moore was playing Moon River on his trumpet.

The sound of Mancini’s great melody carried through the house.

One note before the end something made David stop playing, leaving the tune unresolved. In the back room someone sang the tonic, completing the cadence perfectly.

Jane and Grenville Moore, both professional horn players formerly in the Ulster Orchestra, looked up startled.

Their small son was in his high chair.

He couldn’t yet talk, but he’d just revealed his innate gift for music. In 2008, this prodigious talent was revealed to the rest of us when a stunning performance of the Trombone Concerto by Henri Tomasi saw Peter Moore became the youngest ever winner of the BBC Young Musician of the Year award, aged just 12.

The prize launched a solo career with a debut recital at the Wigmore Hall in 2008. In the same year he took part in the London Olympics Handover Concert. In 2009, Peter was a featured soloist at The Slide Factory trombone festival in Rotterdam and did a solo tour of Australia and New Zealand, countries he has since revisited several times. Over the next few years, Peter went on to perform at venues across the UK and abroad, including Manchester’s Bridgewater Hall, The Cadogan Hall,

The Royal Welsh College of Music and Drama, and the Newbury, Chester, and Manchester festivals.

Peter recorded Edward Gregson’s Trombone Concerto with the BBC Concert Orchestra on the Chandos record label in 2010, his debut CD recording. The CD was lauded by critics with Gramophone Magazine declaring it “gloriously played with the abandon of youth”, while the International Record Review called Peter “a soloist of the first rank”. Over this period, as a concerto soloist, Peter performed with the BBC National Orchestra of Wales, the Northern Chamber Orchestra, and in both Poland and Germany with the Polish Chamber Orchestra. In 2013 he won the wind section of the Royal Overseas League Competition, and later that year performed Mark-Anthony Turnage’s trombone concerto, Yet Another Set To, with the BBC NOW. At this point, readers would be forgiven for forgetting that throughout these years Peter was still at school, studying full-time at Chetham’s School of Music, with Philip Goodwin and later Ian Bousfield, as his teachers.

Peter was accepted on to the London Symphony Orchestra’s Brass Academy scheme in 2012. The LSO Academy accepts up to thirty emerging professional orchestral players a year, and provides several days of intense training through masterclasses and workshops with players from the LSO. Every year it rotates between each of the four main sections of the orchestra - strings, woodwind, brass, and percussion. This year it’s the percussionists’ turn, I’m sure their showcase concert on the 19th of July will be a memorable one. Philip Cobb, the LSO’s principal trumpet, and Alex Edmundson, who plays co-principal

horn in the orchestra, are also recent graduates of the LSO Brass Academy.

The next LSO Brass Academy isn’t until 2020, so aspiring trombonists have plenty of time to prepare!

In 2014, Peter was appointed coprincipal trombone in the LSO; he was the ninth graduate from the LSO Academy to become a member of the orchestra. Aged 18, he was also the youngest ever player to be appointed to be a member of the orchestra.

This appointment undeniably elevated Peter Moore to the ranks of the world’s leading trombone players. While much of his time is now spent in London and around the world playing in one the world’s greatest orchestras, his solo career continues apace. He has played concertos with an impressive list of orchestras, including the Lucerne Symphony and the Thailand Philharmonic. He has returned to the Wigmore Hall for several recitals and I remember well a brilliant lunchtime recital he gave to a packed LSO St Luke’s.

The most recent Wigmore Hall recital Peter gave included two intensely romantic pieces originally for cello: Schumann’s Fantasiestücke, Op. 73 and Rachmaninov’s Cello Sonata in G minor, Op. 19. Peter also played an arrangement of the song La vie antérieure by the late Romantic French composer Henri Duparc, and the attractive Romance for trombone, by Axel Jørgensen. Jørgensen remains a relatively obscure composer, but his trombone works, primarily this Romance, Op. 21 and his more substantial Suite, Op.22 are both fine additions to the early 20th century trombone repertoire and are worth investigating.

Photograph by Kaupo Kikkas

PETER MOORE

BY BARNEY MEDLAND

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Alongside this Romanticism was a world premiere, Urban Variations by James Maynard. This programme shows us Peter’s love of the Romantic music at which that the trombone excels, but also his championing of new music and his desire to keep expanding the trombone repertoire.

In the past couple of years, Peter has been recognised as a BBC Radio 3 New Generation Artist. This has seen him frequently record trombone recital repertoire for BBC Radio 3; often these recitals will be broadcast live as he performs them. It has also seen Peter perform concertos, for radio broadcast, with the BBC NOW, BBC Symphony Orchestra, and the Ulster Orchestra.

Despite his high-flying career and extraordinary achievements, Peter remains remarkably humble and easy going. I tracked him down and we discussed his life and work: You famously rose to prominence at a very early age. Could you tell me a bit about your musical background and who and what were some of your early musical influences?

My musical background and early influences lie in the brass band world. My family and I moved over to Manchester from Belfast in 2004 and within a few years I was playing for Wingates Band, conducted by my first main teacher and then principal trombone in the Halle Orchestra, Andrew Berryman. I look back on this time very fondly, for what playing in the band did for me in terms of my musical development and also for the never-ending band camaraderie!

Wingates focused on delivering fantastic concerts, rather than contests, and we did some hugely entertaining concert programmes, filled with many different styles and genres.

Around this time I had the success in the BBC Young Musician competition, which gave me a platform to go and stand out the front playing solos in many different capacities, which is something I’ve loved doing and something I always will, so long as I am still playing. I enjoy my orchestral work immensely, but it is solo playing where I am most in my element.

Readers will want to know what it’s like to be a member of one of the world’s greatest orchestras. What does the job of co-principal trombone in the London Symphony Orchestra entail? What rewards does it bring? And what are some of the challenges that come with the job?

The LSO is a unique place to work and I am very fortunate to be surrounded by playing and musicianship of the highest level on a day-to-day basis, which I try not to take for granted! It’s an incredibly varied job in which we encounter many different scenarios, be it in the Far East on tour, at the Barbican playing huge symphonies, or in the film studio recording some light music.

In regards to the challenges that come with the job, the main one would be making sure you’re in top shape for whatever comes your way. What I find most hard at the moment is spending a week playing Mahler, Bruckner, etc. and then doing a full two-hour solo recital the day after. It is doable but requires lots of planning and organisation in the run-up to it, or so I’m told anyway!

It’s a constant challenge and one which I love, and usually means I am doing lots of playing so never feel unfulfilled musically.

As you’ve already mentioned, alongside your job in the LSO you have a busy solo and chamber music career. Could you tell me about some of the solo and

chamber work you have coming up over the next few months?

This summer I am away doing solo tours around China and Colombia in addition to some recording with the wonderful group, Septura. It’s going to be a very busy summer but luckily I planned for this and have already taken my holiday in June! Towards the end of June I’ll also be coaching around 10 trombonists as part of the faculty for the Dublin Brass Week. Then looking ahead to the autumn, I’m doing a concerto with the BBC NOW and a Wigmore Hall recital, among other engagements with piano around the UK. That sounds like a packed schedule!

If you manage to get any time away from the trombone, what do you like to get up to?

Away from the trombone I’m a sports nut so I’m spending days off on the golf course trying to improve my handicap of (*cough) 4, I think... I also play footie, tennis or anything in the sunshine!

When winter comes I’ll be returning to the indoors of pubs, for darts and snooker!

The overwhelming impression I’ve got from writing this article and talking with Peter is that whatever his playing career may throw at him, he has an amazing ability to take things in his stride. Peter approaches his busy solo and orchestral career with the sort of relaxed focus that allows him to stay level-headed no matter how complicated or high-pressure everything gets. He is passionate about raising the profile of the trombone through his performances on the radio and in concert. It also looks like we shouldn’t underestimate the importance of finding time for our favourite pastimes – round of darts down the pub, anyone?

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SUMMER 2017 THE TROMBONIST

‘PLASTIC OR NOT?’

BY HELEN MINSHALL

Back in the dark ages of 1985 when I began my career as a brass teacher, instruments were ridiculously expensive, and beginners at the time would sometimes start off on the oldest, smelliest of school or band instruments, all dented and in battered cases.

Some 30 years later, here I am constantly reflecting and adding to my experience of working with young brass players, and how times have changed!

As with every other gadget or toy, old and battered simply doesn’t cut it with the children of today. The instruments have to be attractive to look at, clean, bright and shiny. Going back about 10 years ago, there was a phase when the latest trend was coloured plastic mouthpieces, and my students were turning up to lessons with these in every colour under the sun, including dayglo pink, electric blue, bright yellow and siren red, carefully chosen to reflect

individuality; often these were unsuitable in size and didn’t enhance their sound or the appearance of their instrument, although the colours made them very popular. It wasn’t long before plastic instruments came along, with varying degrees of success, and of course children found these colourful instruments very appealing.

Last summer I bought 50 pBuzz’s for my company, Minshall Music Ltd, to use in primary schools in Bolton, Salford and Cheshire, and also with cubs and scout troops, and what a fantastic investment they’ve been, at less than £20 each. I’ve had such fun experimenting with them. At first I thought they would work best with the younger students in the 6/7 age group, but at one school I used them for a 6 week block of lessons with every class from year 1 to Year 6 (age 5-11), using a variety of appropriately challenging lesson resources, and they all absolutely loved learning to play them. Of course, it’s essential to boil the mouthpieces out between classes. Head teachers, governors and those managing ever diminishing school budgets expect to see fast results these days, and there’s quite a bit of pressure and expectation for us teachers to achieve something of quality in a relatively short space of time, but I reckon pBuzz’s tick all the boxes for making this possible.

At the start of each lesson I usually hand them out and let the children have a few minutes of free blowing, before progressing to the proper lesson warm up. Their mellow tone doesn’t cause ridiculous noise levels, and is much easier from a class management aspect. We warm up with call and response exercises with backing tracks in a variety of styles (this always adds excitement to the experience) leading to simple tunes; often a tune with one or two notes can sound very effective in a relatively short space of time.

My daughter Samantha Raisbeck and I have on several occasions worked with 2 classes at the same time – 60 children

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in total, with half on pBuzz’s and the other half on samba instruments.

The excitement and energy this creates using a simple two-note pattern and samba accompaniment has to be seen to be believed. In a very short time you can have a full class of children playing simple 1-5 tunes by ear. A lot of our work is full class Brass Wider Opportunities, and I use pBuzz’s for the first 6 weeks of lessons, to establish good basics such as breathing, posture and note production without the added complication of valves. We sometimes sing a new tune first, then try to play it, and the pBuzz’s range of F-C is in a perfect register for young voices. I find that after 6 weeks on pBuzz’s, once the children move onto metal instruments, they make progress much more quickly.

Regarding pBones, I own two – a black one and a pink one. I work regularly up and down the country with a Bavarian Band, the Blue Barons, and find them so light and easy to use, as part of my job is charging round the audience getting everyone swaying and clapping along. Dancing around on chairs and tables with a light plastic instrument is so much better than worrying about damaging a slide. My pBones have paid for themselves over and over again.

They are fairly robust and this makes them an excellent beginner instrument for children; easy to assemble and transport around. The pBone Mini in Eb is accessible even to the youngest of beginners, and a full class set of 30 of these will be my next investment.

I’ve rarely had problems with the slides, and the lightness of them makes them very popular indeed. Of course, you’re never going to get the sound you would from a metal instrument, but as a cost effective and attractive instrument for beginners, you can’t go far wrong.

‘…PBUZZ’S TICK ALL THE BOXES FOR MAKING THIS POSSIBLE.’

BBC WIN FOR ISOBEL

BY HANNAH STELL

On the 21st of April this year, 17 year old trombonist Isobel Daws was crowned 2017 BBC Radio 2 Young Brass Award winner at the RNCM in Manchester.

When it was announced, I didn’t process it at first as it was so unexpected but I was obviously very happy!

I played Rhapsody for Trombone and Brass Band by Gordon Langford.

It’s my favourite piece for the Trombone so as soon as I found out I got into the final, I didn’t need to think!

What are your hopes and plans for the future?

The competition encourages young brass musicians between the ages of 16-21 and this year’s final featured four talented musicians including two tenor trombones, a flugel, and a tenor horn.

(Sadly Gordon Langford passed away shortly before the final. He was a prolific composer and arranger who has influenced both the brass band and light orchestral world greatly. He will be sadly missed)

Thanks to Isobel for the interview and congratulations again from all at the British Trombone Society on winning the award!

The finalists were Ellena Newton Tenor Trombone, Siobhan Bates – Tenor Horn, James Nash – Flugel, and Isobel Daws – Tenor Trombone.

The final round of the competition was held at the Royal Northern College of Music, and the soloists were accompanied by the Foden’s Band.

The competition judges were David Childs, Philip Harper and Becky Smith and the evening was presented by Frank Renton and Clare Teal.

Isobel is currently studying in Manchester at the Chetham’s School of Music and I recently spoke to her about her success.

Where are you from and what inspired you to start learning the trombone?

I’m from North London and I used to play the cornet under my dad’s direction, but I was too loud so moved onto the trombone!

What was it like to take part in the BBC Radio 2 Young Brass Award?

It was quite overwhelming. I was a very late entry to the first round so it all came pretty quickly! Also it was a very good experience to play with the Foden’s Band and to record the semifinal at Media City in Salford Quays.

When you were announced as winner what was it like?

Can you tell us a bit about the piece you played and why you selected it?

and I have Katy Jones, who is the principal trombone of the Hallé Orchestra, and Rob Burtenshaw, who is the second trombone with Opera North, as my teachers.

I hope to study at the Royal Academy of Music in London and play my trombone as a career!

You now get to play at the Gala Concert at the British Open Championships at the Symphony Hall, Birmingham.

What are you most looking forward to about that?

I’m really looking forward to playing a solo in the Symphony Hall. I’ve played there before with various different groups such as the NYOGB, but I have never played a solo there so that will be a good experience, especially with the support of the Cory Band conducted by Phillip Harper!

What musical ensembles are you part of?

I’m in the Fairey Band, and I am a former member of the NCOGB, NCBBGB, NYBBGB and NYOGB. I’m in a trombone octet at Chetham’s School of Music and also the school’s Symphony Orchestra.

You play with the Fairey Band. What is that like?

Playing with the Fairey Band is obviously a great experience, with constant rehearsals and the professionalism you are surrounded with.

‘IT WAS QUITE OVERWHELMING.’

Where do you study and who is your teacher?

I am a boarding student at Chetham’s School of Music in central Manchester 21

SUMMER 2017 THE TROMBONIST

WITH AUDUN BREEN

BY ROSS ANDERSON

THE NEED TO DOUBLE In the ever-changing world that we musicians live in, there is a constant need to adapt in order to survive.

People seem to be adding more strings to their proverbial bows in order to find more opportunities. Learning to double, on related instruments, has become an increasingly useful tool.

Reed players do it, so why are we brass players not expected to play more than just our single instrument? I spoke to the new Principal Trombone of the Oslo Philharmonic, Audun Breen, to see what he thought.

R: What advice would you give players who are thinking about starting to learn a ‘doubling’ or second, related instrument?

A: If you are considering starting to learn a doubling instrument, you should do so because you think it would be fun - not because you feel that you have to.

Let’s say that one doubles on alto, tenor and bass trombone. There isn’t one way to do it, but I personally prefer 22

basing everything around the tenor trombone, which is my main workhorse.

But remember, the most commonly used register of the trombone (alto, tenor or bass) is mostly the same notes on each instrument, especially if you have an alto with a valve. Extreme low pedal notes are totally possible on the tenor, and the alto doesn’t give you superpower to be able to play much higher notes than usual. The difference is that it is more appropriate to play low on a bass, and to play high on alto, but not always. So in truth, if your register, articulation and sound are in good shape, from very low to very high, on the TENOR, the transition to either alto or bass is fairly easy. It is just a different colour of sound.

R: In terms of technique and gear, it must be quite different when swapping between instruments?

A: The real challenge is the usage of different mouthpieces, most notably because of the different widths. I use a massive bass trombone mouthpiece, a 5G on the tenor, and at least three different sizes on the alto, depending on the repertoire and sound I want.

In general, the way you produce sound doesn’t change when you switch mouthpieces, but it will take some time for the muscles to accommodate the new given width. It is like adjusting the length of a vibrating string. If you pick up the alto, with a smaller mouthpiece, after not having played it for a couple of months, it is probably not going to work as well as when you play your beloved 5G tenor mouthpiece every day.

The same happens when you approach the bass trombone. But it only takes a short time, about two days for me, before my face is more used to whatever mouthpiece I will be playing on. So, if you know that you are required to play several instruments over a longer period of time, you just have to practice the respective instruments accordingly – not surprising really.

R: Could you give us an example of how you would go about practising changing from instrument to instrument?

A: OK, let’s use a Bordogni étude or something simple and melody-based.

On the tenor, play the étude in its original form. Then play it an octave

down. Depending on the tessitura of the tune, you could even go up an octave. Afterwards, do the same on bass trombone: first the original form, then an octave down, then maybe two octaves down, if possible. Then, when you pick up the alto, play the same étude.

Sometimes, you are required to double on different instruments during the same concert, even sometimes within the same tune. If you give all your instruments equal love and attention, it will be just like riding different bikes. However, to accommodate the change itself, for example, between tuba and bass trombone or whichever combination, just practice the change.

Play something very tuba-like for a number of bars, then instantly jump to the bass trombone, then back and forth until the change itself feels natural.

You just need to get used to the mental, technical and muscular changes between the different instruments.

R: Has being able to play more than one trombone helped you to find more playing opportunities?

A: The question does logically answer itself, in that if you master several instruments, you will have a wider appeal. However, you have to be very good at it. Very often I have had the impression that people, orchestras and administrations get surprised or even frown upon the fact that you play another instrument, other than what is expected. Sometimes people are jealous or can be worried you are taking their jobs.

I am now a principal player most of the time, but I also enjoy gigs on alto, bass trumpet, euphonium and bass trombone.

It is very satisfying, and a challenge from which I learn.

R: What would you consider common doubling combinations?

A: As a principal player, but also alternate/co-principal, you are in most cases expected to double on alto trombone. Sometimes, doubling on bass trumpet or euphonium is quite common. In more and more orchestras today, especially in German orchestras, it is quite common to have a ‘wechsel’ trombone position (2nd/tutti & bass trombone). I used to work as coprincipal in the Gothenburg Symphony Orchestra, where I also played bass

trombone a number of times. The section in the Norwegian Opera does it, as do those in the Berlin Philharmonic, and the Danish Radio Orchestra. It gives greater flexibility to the section if it is done the right way. Otherwise I know a number of people who double on bass trombone and tuba, although it is not as common in symphony orchestras. It is, however, more useful in musical and theatre productions.

R: In your opinion, how important is being able to double?

A: Again, only do it if you find it interesting, inspiring and valuable to you. I have played piano, guitar & drums, very often for most of my musical journey, because it is fun.

One instrument teaches you about the other, and you get to test your brain. Practising and refining my bass trombone playing really enhances areas of my tenor trombone playing, especially when it comes to breathing.

But, what I find most important is what I learn about the roles of the instruments I double on. Playing bass trombone makes me more aware of what that role consists of, having to closely cooperate with the tuba and carry the foundation of the harmonic atmosphere in an orchestra. This makes me a better leader and principal player, because I know and can understand what my colleagues have to focus on. Also, with different instruments come different styles and genres of music, making me feel educated when it comes to making music. Doubling definitely makes me a better player, listener and musician, which is indeed very important.

R: Any final advice you can think of?

A: You should double because you enjoy it and because it is beneficial for you, not because you feel that you have to. And don’t necessarily listen to what people tell you, and what you should be playing, especially when it comes to makes or types of equipment.

For instance, when I double on bass trombone, I play on a much bigger instrument and mouthpiece than most regular bass trombone players use because it works for me, and creates the sound I want. Don’t be afraid of trying things “out of the normal”, such as bigger or smaller equipment. Actually this applies to all brass playing – just do what is best for you.

Ross Anderson.

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SPRING 2017 SUMMER 2017THE THETROMBONIST TROMBONIST

BY DENNIS WICK

THE MOUTHPIECE JOURNEY… PART 2 More than thirty years later, Bill’s son Clive, who by then had made my mouthpieces for many years, told me, rather embarrassed, that Bill’s sole motivation for the concave outer shape was that he would be able to make a few more pennies from the swarf (metal shavings).

What he did not know and I had not then realised was that subtle removal of metal from that part of the mouthpiece gave it an additional brilliance, particularly in the high register.

Bill and I agreed to have my name and ‘London’ put on the outside of the mouthpiece and his next question was, “What are you going to call it?”

Another blank look from me.

“What about ‘A’? Then you’ve got the chance of 25 more models!” I thought this mildly amusing, as it had never occurred to me to make other types!

A week later and I was the proud possessor of 95 identical mouthpieces.

I should point out that it is almost impossible for any engineer like Bill to make an exact number of anything; there will always be some casualties, 24

and what might begin as 105 (to allow for failures) would end up as either 102 (on a good day) or 95 (on a bad one!).

I showed them around to my colleagues who, I was relieved to discover, absolutely loved them. I still have a note of some of my earliest sales from this first batch. Over the next months I suggested some new ideas to Bill, who was very interested to try them out after I had placed a subsequent order, the first 95 having been sold. I often had what I described as refugee students from the Royal College and Royal Academy.

Several brilliant young students who were not getting the teaching they needed. John Iveson, Roger Groves, Peter Harvey from the RCM all needed the help that I was happy to provide.

There were also some from the RAM. One of these was using a mouthpiece that seemed familiar. It was a preWW2 Bach model, the Clarke Large.

It transpired that Sid Langston, who had now taken up the bass trombone, had lent it to this lad, who, about to leave the RAM, realised that there were still many aspects of playing that were unknown to him and he needed to take drastic action. Realising that this old mouthpiece was something really special, and might even have been a contributory factor to Sid’s marvellous playing, I managed to borrow it, take to Bill Cox and have it carefully copied, testing it on an old Conn 6H which I had borrowed. It worked well, but armed with the knowledge I had so far gained,

I managed to improve it still further by taking out some more slivers of metal.

We agreed that this should be the “B” model. “Still 24 to go!” Bill said. So without realising it or actually doing anything, old Sid had made a major contribution to my life.

A week or so later and we made a slightly smaller version, by scaling down all the measurements. This was not as easy as it sounds – it took a whole day of trial and error, spoiling several versions in the process. Clive, Bill’s son, who was now becoming involved, still remembers our feeling of achievement when we got it right.

Then there was a legendary jazz trombone mouthpiece that was regarded by some of the old stagers as the greatest ever. This was also added to the collection. By now I was beginning to think that our alphabetical numbering system had its limitations, so after some thought I decided to re-christen A as 4AL The 4 was a cup diameter reference, the A meant a deep cup and the L related to the fitting. The B model became 6BS, using the same logic, with the smaller version as the 9BS. The jazz model was to be a 12CS…

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SUMMER 2017 THE TROMBONIST

Thank you for taking the time to tell the BTS about yourself and your life as a musician.

Chris Stearn

ner’s Ring trombone, which is real fun. As well as Wag and Puccini i Cycle, I often play the bottom parts in Verd work as slide k operas, which involves some pretty quic lucky am I nts. the parts were written for valve instrume R YOU UT ABO BIT A US lop, TELL deve YOU Rath CAN HI CHRIS, to have a great contra that I helped Mick e piec r supe a is it D? d; BACKGROUN easy to play with a real contra soun years 40 t abou for nally essio prof ing work I’ve been of kit. ugh of now. I started my studies in the London Boro OR s, then the DO YOU TEACH AT A REGULAR COLLEGE Redbridge, in the music school Brass Band ted talen and ing ? teach UNIVERSITY Orchestras. There was great d The t on to Since 1991 I have taught at what is now calle young musicians all around me; many wen with d the music Royal Conservatoire of Scotland. Working become top professional positions. I love at I love this k crac a have ld wou I ght thou I so talented youngsters is a real privilege and and the social side, many have to y aspect of my career. I have been luck doing it full time. ers like play : door exceptional talents come through the OPERA? TTISH SCO JOIN TO E ald COM Don YOU Mac a DID HOW Alan Mathieson (BBCSSO) and Lorn Scottish for tion audi te minu 15 a l, all did I derfu 1984 won in all are Back (Bones Apart). The current crop the end, they I ers. play bone Opera and was given a two-week trial. At trom rounded musicians, not just bass s today. thing than r faste the lot use A that job. s the ician me mus ed lop offer feel it important that we deve have s ician mus y’s Toda e. bass trombone as their voic WHERE DO YOU LIVE? ration was my with gow Glas of north to be so much more versatile than my gene ge, villa l I live in a smal coached have I s are year who few last sons expected to be. For the wife Louise and dog Ralph. We have two s Band Bras h Yout to onal ed Nati mov the We the trombone section of married and live in Italy and America. as sure plea ial there spec a been been have has and of Great Britain. This our little cottage when I got the job bass first the was I think I . band an ex member of the ever since. something trombone player to sit on the top seat with G BEIN AS OUT D DO ANY EVENTS STAN other than a G trombone!

EER? PARTICULARLY MEMORABLE IN YOUR CAR n my son WHO ARE YOUR TROMBONE HEROES ?

My proudest time in the orchestra was whe n I heard ed in Well, first up has to be George Roberts. Whe Tom came in and played with us. Tom train changed d worl d soun my ic.

LP lar mus him on a Nelson Riddle classical guitar, though his heart is in popu bass the of d soun the n ly Seve forever. To me, he is simp We were scheduled to play Kurt Weill’s ‘The hour chat half a have to the r gh cove enou y to trombone. I was luck Deadly Sins’ and he was perfectly fitted , gentle kind a was He . the 2004 that in ent ans agem with him in New Orle guitar and banjo part. I told the man I was able to really tenor), and inspiring man. Growing up in London trombone part was for bass (though it was very best sneak into orchestra rehearsals and hear the so we got to work together, simply magic! were in the flesh. Ray Premru and Frank Mathieson AT WH LF ITSE NE MBO TRO S BAS in my THE ing play AS WELL AS my favourites and I still try to keep their ?

PLAY YOU the DO and ENTS ube OTHER INSTRUM head. Kids today can hear so much on YouT nts ume instr y man ed play ing have hear I s for Over the year download sites, but there is no substitute pet and even a of including euphonium, tuba, Tibetan trum great players live. Recordings only tell part contrabass the is lar regu the but , pipe drain of th leng

26

The Bass Bone Files : TOP SECRET

BASS BONE FILES

BY ROGER ARGENTE

The Bass Bone Files : TOP SECRET

Cillian O’Ceallachain, Alan Pash, Josiah Walters,

Chris Stearn

the story. The player who inspired me to study tromb one more than any other, you will not have heard of.

George Arthur was retired when he came to coach the trombones of Redbridge Youth Brass Band in the late 1960’s. He was self taught and had been a performer in the 30’s, 40’s and 50’s. What he could not play wasn’ t worth playing. His approach to playing the trombone is still at the heart of everything I do, though I still canno t belt out super Bb’s as he did. I remember him keeping me back after a rehearsal and showing me, in less than an hour, all the skills that I have spent a career chasin g.

That was the most valuable lesson of my life.

WHAT DOES THE FUTURE HOLD? I think I am now the oldest bass trombonist in a regular gig in the UK, so I just want to keep playing and teaching, enjoying the music and trying to pass something on.

HOW DO YOU RELAX AND ENJOY LIFE AWAY FROM MUSIC? I like cooking and enjoy the odd beer. My wife and I try to go to see our sons in Italy and America every year, lucky they live in such beautiful places. I have alway s had an interest in old cars, for many years they were the only ones I could afford. Land Rovers have been part of family life for as long as I can remember, though I am now down to only one, a nice 1956 model. I am trying to find time to restore the second Jensen that I have

owned, a 541 model from the 1950’s, but progress is slow.

WHAT TYPE OF TROMBONE DO YOU USE AND WHY ?

I have always been a bit of a gearhead. My students never know what I will walk in with next, but I think I have enough now. For many years I have preferred older trombones. They seem to have character (and quirks) that is less obvious in modern instruments. I suppose the old Conns and Holtons are my favourites. I have a couple of Holton 169’s that I love; they take me back to my youth, sneaking in to hear Ray Premru and Frank Mathieson. Nobody seems to play Holtons any more, but I love that sound, a bit more grit and interest in the sound. Of the modern stuff, for me, Mick Rath’s instruments stand apart, much easier to play than the old trombones, but I learnt on those Conns and Holto ns and they just feel an easier fit. I have tinkered with trombones for years now, taking instruments that are not quite right and attacking them with a torch until I get a better result. There are quite a few ‘Frankenbones’ out there that are down to me. I find it satisfying to impro ve things, trial and error at times, but you learn as you go.

I recently finished a project for Wessex Tubas, to build a really good mid price bass trombone. The prototype works well, so I hope they can bring it into production.

I’ve been very lucky to work at something I really love.

How many people can say that?

27

SUMMER 2017 THE TROMBONIST

President’s Problems

Dear President,

Dear President,

I find myself at a career defining moment and am unsure which way to turn. My first choice is to pursue a freelance career as a commercial trombonist as I have always enjoyed the glamour of variety shows and television house bands.

Alternatively I could join the army as a bands-woman. I particularly like dressing up and also have a soft spot for men in uniform. What advice do you have for me.

Tu ba or not Tu ba, that is the question.

Yours Christine Lawrence Dear Christine,

I’m afraid my advice would be to take an entirely different path altogether! One of your choices involves working in extremely hostile territory, being frequently shouted at by your superiors and regularly performing tired old arrangements of cliched repertoire. The other option of course is the army… You will no doubt need to learn additional trades such as professional driving skills, surveillance, communications, survival techniques, interrogation and of course how to fire a gun. In fact all of which would serve you well in the music business after you’ve bought yourself out after 3 years!

Dear President, With Britain’s imminent departure from the European Union, I believe we should be promoting a more “home-grown” approach to our musical activities here in Great Britain.

Perhaps our British Orchestras should be showcasing more repertoire from Vaughn Williams, Elgar, Tippett and Walton. We could limit places at our conservatoires to British students only (there’s not enough jobs after all) and we should all be playing trombones from Rath and Boosey and Hawkes.

Lord Dampnut Dear Lord,

I can see where you may be heading with this. Our culture and traditions have indeed become somewhat diluted over the centuries and its about time we took a firm stand. Firstly lets make the British Trombone Society the Great British Trombone Society. We should make some colourful T-shirts saying “ Love Great British Trombone Society” or LGBT Society (hmm, that looks familiar…). Lets temporarily ban any jazz musicians from entering the country until we can figure out exactly what they’re playing. We should be investing heavily in military music so that it’s so big and so great that nobody messes with it. Finally, lets build a wall along the South coast….and make France pay for it.

28

It seems the current trend in the land of La La (musical theatre) is that us bass trombonists now need to play tuba.

I regularly demolished the tuba solo whilst with the touring show “Barnum”.

Pitching the opening high Bb was like searching for a black cat in a dark room whilst wearing a blindfold.

The ensuing splits thereafter only matched those of the on stage acrobats...thank goodness it was a circus show. If I’m honest, my musical tastes are largely in the areas of classical music, jazz, folk, baroque, rock, pop, avant-garde, new-age, old-age, brass band, wind band, chamber music, ballet, opera, panto, film music, electronica etc. I know this seems a little narrow minded, perhaps even elitist but I’ve never quite accepted the idea of actors spontaneously combusting breaking into song. Should I sell my soul to the showbiz devil or stick to my musical principals and leave the tuba well alone?

Andre Swelter Well Andre,

I think I may have even witnessed your tightrope tuba solo and would ordinarily offer words of conciliation. Having occasionally been responsible for the odd musical car crash, I know only too well how it feels. The introduction of the tuba into a bass trombonists tool bag however is a serious matter and you are not alone in having some misgivings. Apart from the obvious musical “restrictions” the instrument may have, you must consider the wider social implications. Have you ever taken one onto London Underground at pre show time?

Even worse is post show on a Friday/Saturday night when “Mr I’ve Never had a Drink Before” needs the toilet……

Proceed with caution Andre !!

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SUMMER 2017 THE TROMBONIST

D N U O R A G N I SLID ER IN T S A E TERDAM… ROT STER ER CHE

BY PET

To reduce a four-day European Trombone Festival to a few words is never easy, especially when it is a festival so wellorganised and packed with gems as are Slide Factories.

At the centre was the New Trombone Collective, that team of Dutch players who have been together for several years and seem to go from strength to strength. They have always been ready to innovate yet have not lost sight of the importance of making music that does proper justice to the trombone.

Individual players like Jörgen van Rijen and Brandt Attema are internationally renowned but it is the collegiate spirit of the Collective which drives what they do at Slide Factory and comes out in a friendly and inclusive experience for all.

Slide Factory always provides an enjoyable range of musical styles.

New Collective members are themselves very flexible players, but add in special guests then the range multiplies. In one direction there was the Funk music of Nils Landgren, a huge contrast to something like the Trombone and Harp combination of Duo Attema Haring, especially enjoyable when they were joined by Dutch Jazz maestro Bart Van Lier for gently rhythmic music from South America. Christian Lindberg was 30

a prominent guest soloist, managing to be both admired and challenging, and certainly a musical and aural contrast to two distinguished bass trombonists from the USA, Randall Hawes and George Curran. That very rare beast, the contrabass sackbut, standing well over two metres tall (!) made a dignified appearance in Wim Becu’s ensemble Ottremontano and, speaking of the depths, it was wonderful to hear how rich the sound can be of four contrabass trombones playing together. As the teacher of the players looking on, the ITA’s next President Ben van Dijk was indeed very proud.

Best personal experience? A “surprise lesson” with Alexander Verbeek, Principal Trombone of the Rotterdam Philharmonic. The surprise was in not knowing which of the Collective players I would get – some very thoughtful observations on my playing – must keep working on slide technique!

Most spectacular concert? The “Bacchanale Royale”, which featured the Collective, in costume, joining a soprano soloist and harpist around a decadent banqueting table, with drinks and nibbles for the audience as well.

Varied and clever music followed, and culminated in a trombone-led parade from one venue down the street to another, for part two of the evening – a late night jazz session! Bizarre but fun and some wonderful playing en route.

Unexpected pleasure? A recital called Le Chat Noir – trombone (Sebastiaan Kemner), soprano and accordion playing very evocative French café music of the early 20th century.

Favourite piece? Almost impossible to pick, but listen out for the Two bone Concerto by Johan de Meij, played at the Festival by Jörgen van Rijen and Alexander Verbeek; Daniel Schyder’s Cubac, played by the Collective, was somewhat spectacular as well.

Loudest piece? 150TBNS; The New Collective is very keen on musical education, and Mark Boomstra as Mr. pBone is very active in promoting the instrument in Dutch schools. The final fun concert comprised all performers, 30+ children and the New Collective in a piece especially written for choirs amounting to 150 players.

Useful thought? During warm up, play soft to loud as much as up and down and most importantly think of ff and pp as colours NOT decibel levels.

Look out for the next Slide Factory.

I don’t think you will be disappointed.

PS: Rottterdam is an interesting place too - well worth a visit!

As the teacher of the players looking on, the ITA’s next President Ben van Dijk was indeed very proud.

REVIEWS ALBUM REVIEW: BIG BAD WOLF, POND LIFE

(OWEN DAWSON TBN, MICHAEL DE SOUZA BASS, ROB LUFT GUITAR, JAY DAVIS DRUMS) POND LIFE

“Big Bad Wolf is a London based band featuring washy guitars, ambient vocals, brassy hooks and deep grooves..” so says their website.

In being asked to review this album I had no idea what to expect….

Apart from some pretty exceptional trombone playing. I’ve known Owen Dawson since 2014 when he won the Don Lusher Award and have sat next to him in a number of big bands more recently. I was not, however, prepared for the refreshingly different sounding ensemble of the band Big Bad Wolf which from track one is driving, infectiously groovy and modern in a very accessible way. The opener Canary starts with some nice trombone/guitar rhythmic interplay until the drum and bass groove really grabs you. It’s fair to say this track is more “groove/ambience” and doesn’t show you what all these fantastic players can do….that’s later.

If I were forced to categorise the style of music here then comparisons with Pat Metheny Group would be most obvious but with a slightly more rocky edge. I really like the melodic vocal lines over a driving rhythm

section. This is not a trombone and rhythm section album and very much a whole ensemble effort.

There’s little in the way of “instrumental pyrotechnics” here, favouring melody, rhythm, harmony and grooves throughout. That being said however, its clear that all these guys have serious chops. A stand out track for me is track 4 Quiet Coach.

Owen’s approach to the improvised section is inventive without any obvious licks/language and yet hearing him cover the whole range of the instrument, it sounds incredibly relaxed and easy. Another highlight track is the closer The Plight of the Typewriter. This couldn’t be any further from Don Lusher’s similarly titled solo and to my ears reminds me of 80s/90s Chick Corea Elektric Band. Rob Luft particularly sounding like Frank Gambale. If I had to make any criticisms of this album then perhaps some of the compositions sound a tad dis-jointed but really this is an admirable debut album for a very inventive bunch of highly accomplished musicians, matched with a very glossy production quality.

I look forward to seeing them play live.

REVIEWED BY SION JONES

ALBUM: RIOT JAZZ – ‘LIVE AT BAND ON THE WALL’ Riot Jazz Brass Band released their third album ‘Live at Band on the Wall’ earlier in June this year, which was recorded over two sold out shows on the 26th and 27th January at the iconic Manchester venue.

Riot Jazz are a hugely talented group of musicians with a vast amount of energy in their performances, arrangements and original compositions. It is brilliant that they have released a live album as we get to experience the raw and unique live sound they have, through 19 tracks in total which include a few Skits with the crowd along the way.

The first track Cregged is a perfect example of this energy, a heavy hip hop feel to open which transitions to quicker grove with different melodies and backings keeping the band seriously busy.

The next track Escobar is a Riot Jazz latin infused original and to quote the press release features a ‘fired up trombone riot’ where Kieran McLeod and Ed Horsey do not disappoint.

Moving on a few tracks to a great arrangement and dubstep take on Britney Spears’ hit Toxic - nothing usually beats an original...i’ll let you decide.

Sexy Sexy is one that stands out with a dirty bass grove played by the lower brass with Rich Mcveigh on Bass Trombone and Pete Robinson on Sousaphone.

Sousamaphone is the next track and clearly well known among the crowd as they sing along with the excellent MC Chunky, which is great to hear on an album. More of the class fiery blowing from Kieran McLeod and Ed Horsey on this track also and can be heard throughout the album.

This live album gives you everything there is to know about Riot Jazz - the musicians, the sound, the compositions and arrangements, and what kind of experience you’d have going to see them, as the Riot Jazz fans on this live album will tell you through the sheer noise of a good time. Therefore a perfect buy for fans and those new to Riot Jazz alike.

Visit the website at riotjazz.com where the album is available to buy.

Find them on Facebook and Twitter.

Make sure to catch them at one of their upcoming tour dates: 28/07/17 Manchester Jazz Festival

(Manchester Album Launch) 19/08/17 Canary Wharf Jazz

Festival, London 26/08/17 Moovin’ Festival, Stockport 28/10/17 Brixton Jamm, London 17/11/17 House of Fun Weekender, Minehead 31 33

Photography courtesy of Betina Skovbro

G&T WINTER 2016 THE TROMBONIST

BY MATTHEW GEE & MARK TEMPLETON

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA, SYMPHONY HALL, BIRMINGHAM The first of two appearances for the CBSO, a kids concert enticingly titled ‘Myths and Legends’. The CBSO are looking for a new first trombone player and this programme - including Stravinsky’s Firebird, music from Harry Potter, and Wagner’s Lohengrin - is going to provide a fantastic opportunity for some lucky trialist. Sunday 22nd October, 2:30pm

HALLÉ ORCHESTRA, USHER HALL, EDINBURGH Making a trip with their principal conductor Sir Mark Elder to the Edinburgh Festival, the Hallé tackle Hector Berlioz’ monumental La damnation de Faust.

Aside from the famous March, there are plenty of moments to keep Katy and the low brass on their toes. Berlioz really understood the trombone and in his own words his idiomatic writing will surely ‘awaken the dead or doom the living’.

Sunday 20th August, 7pm ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA, LIVERPOOL PHILHARMONIC HALL, LIVERPOOL Bernstein’s suite from On the Waterfront and Holst’s The Planets frame the UK premiere of Legacy for Solo Horn, Harp, Percussion and Strings by Aaron Jay Kernis. If you can get over the fact that the new work is for solo horn (perhaps imagine it is an alto trombone!) it will be a great night of music. Thursday 19th October, 7:30pm

We have decided not to focus exclusively on the BBC Proms this summer, although there are a good few inclusions. Instead we are bringing you the best of the rest where you are.

at the BBC Proms - it truly is one of the greatest classical music festivals.

Saturday 12th August, 7:30pm

Thanks Matt. Here are my trombone highlights.

CBSO, SYMPHONY HALL, BIRMINGHAM AND ULSTER ORCHESTRA, BELFAST WATERFRONT A lot of people only hear orchestral music at the cinema or the TV. When John Williams started writing the music for Star Wars, he and George Lucas envisaged an opera set in space.

Taking inspiration from Wagner, Strauss, Mahler, Holst, Prokofiev and others, John Williams created a sound world for these films which is instantly recognisable. Both the CBSO with Michael Seal and the Ulster Orchestra with Stephen Bell play all your favourites from the Star Wars saga.

Friday 3rd November, 7.30pm (CBSO) and Saturday 21st October, 7:45pm (UO) BBC SYMPHONY ORCHESTRA, ROYAL ALBERT HALL, LONDON. Mahler’s 2nd Symphony, ‘The Resurrection’ is still one of my favourite pieces to play. It has everything. You can’t help but get caught up in the beauty and grandeur of it. Hear Helen and the team at the BBC Symphony on Friday 18th August at the Proms. 7.30pm

the Royal Albert Hall at 7.30pm PHILHARMONIA, ROYAL FESTIVAL HALL, LONDON. It’s been featured in G&T before but we can’t miss an opportunity to hear Mahler 3. I find the solos in the 1st mmt quite nice to play but with all the tutti playing mixed in, it is a lot more of a blow than just the bits that are asked in auditions; it takes so much control to hang on to the final middle A after powering through all the previous material. I’m sure Byron will be superb though. The Philharmonia will be performing Mahler’s 3rd Symphony at the Royal Festival Hall on Sunday 3rd October at 3pm.

BOURNEMOUTH SYMPHONY ORCHESTRA, POOLE AND EXETER. Talking of strong themes, Prokofiev’s Romeo and Juliet packs a tuneful punch taking us from high flying love themes and the innocence of youth to the depths of despair and heartache. This will be a warm up for the ears though before they play Shostakovich’s Symphony no.5.

Check out the BSO at the Lighthouse in Poole on the 6th at 7.30pm and on the 7th December in the Great Hall, Exeter at 7.30pm.

This concludes our little skip through the orchestral trombone world but there is bags more to see and hear out there.

Thank you for reading.

Follow Matt by visiting www.matthewgee.info or on Twitter LONDON SYMPHONY ORCHESTRA, @Geetrombone ROYAL ALBERT HALL, LONDON. Follow Mark on Twitter Gurrelieder is a monumental work for @mbonetempleton large orchestra, choir and solo voices.

BBC SCOTTISH SYMPHONY ORCHESTRA, It is fantastic fun for trombones.

ROYAL ALBERT HALL, LONDON The section consists of bass trumpet, The BBC SSO come down to London alto, 3 tenors, bass and contra bass. with Schubert’s ‘Unfinished’ Symphony, Schoenberg wrote the first two parts and Mahler’s Symphony No 10. before he moved on to atonalism and Follow BTS on Twitter: @britishtrombone andback Liketo uscomplete on Facebook to receive They arethe enjoyable to play, but far better came the third in the regular dates for your diary. to be on the other side of the stage, same style, so don’t be put off if Schoenberg MT MG especially with the atmosphere you get isn’t your thing. Saturday 19th August at 32

REVIEWS ORLANDO DE LASSUS: REQUIEM A 5; MOTETS

BUDDY RICH BIG BAND RONNIE SCOTT’S, SOHO

REVIEWED BY JANE SALMON

Tickets were limited for this exciting week-long run at Ronnie Scott’s. Andy Watson and I were fortunate to get tickets for the very last sitting of the Buddy Rich Big Band on Saturday May 27th at 11pm.

Toccata Classics #TOCC0397 £9.50 – £15.50

The Choir of Girton College, Cambridge, Historic Brass of Guildhall School, London (Jeremy West, leader) Lucy Morrell, organ and Gareth Wilson, director.

This project reveals Orlando de Lassus’ less familiar Requiem for five-voices as a deserving centrepiece, completed by his own plainchants and motets along with a new arrangement for organ of John Bennett’s madrigal, Weep, O Mine Eyes.

With direction from Gareth Wilson, a 5-piece brass ensemble made up of musicians from the Guildhall School of Music and Drama connects each work and supports the magnificent voices of Girton College Choir.

The penultimate track, amongst others, highlights the great skill of Girton’s Organ Scholar, Lucy Morrell.

Lassus is regarded as one of the most influential composers of the Franco-Flemish late Renaissance and his music, especially his motets, brought him fame across Europe.

This selection of Lassus’ motets shows the full variety of his style and confirms why he went on to be known as of the most diverse composers of the Renaissance.

The historical connections of the sackbut with the afterlife and the underworld have been recognised and put into focus throughout this project. Lassus’ motets have been turned into instrumental respites, rightfully trusting the brass players - Adam Crighton, James Harold, Ian Sankey and Peter Thornton (Sackbuts) led by Jeremy West on Cornett, to deliver the appropriate colours where the texts would sound.

This brass playing is expressive and effortlessly supports the voices. Vocal interest is carried throughout the programme, even the instrumental numbers show such careful consideration of the text. This is outstanding playing, especially from the ensemble’s leader, cornettist Jeremy West.

With such thoughtful programming, the album plays as a ‘Requiem for the Dead’, exploring themes of death right through to the final piece, the brilliant Levavi oculos meos; an uplifting conclusion to this journey.

This ensemble forms a very interesting colour, displaying a sometimes hauntingly close connection between voice and instrument. This is a celebration of vocal music through fine brass playing and distinguished singing. Together they make for a satisfying listen.

REVIEWED BY TOM DUNNETT

An exciting line up of talent awaited on stage. Eric Miyashiro, Simon Gardner, Andy Greenwood and Craig Wild made up the trumpets. The saxes were Bob Bowlby on alto, Rob Fowler and Nigel Hitchcock on flanking tenors, and Jay Craig on Baritone, and a heavy rhythm section of Lawrence Cottle on bass and Matt Harris on piano. (We’ll get to the drummers shortly!) The most important section was a formidable team of Trevor Mires, Mark Nightingale, and Andy Wood on bass trombone.

To open the gig we were greeted enthusiastically by drummer Greg Potter, Cathy Rich’s husband, and there was certainly no shortage of energy as the band steamed through the first half. There was some fantastic playing and great solos all round the band, especially in the swinging up-tempo version of Norwegian Wood, which had the most important section starting proceedings with some roaring solos from maestro Mires.

Bassist Laurence Cottel was grooving as Cathy Rich appeared, joining the band for a few numbers and giving a great rendition of an old favourite of mine, The Beat Goes On. She preceded the number with the story of how on her first performance with her Dad’s band, she was 12 and a bit drunk!

This was, perhaps unsurprisingly, a little how me and Watson felt as the second half loomed, and the promise of hearing the legendarydrummer Dave Weckl stirred us into a state of jazz-and-wine infused excitement as the whole kit was changed round.

Weckl came on, and the band seemed to kick into a new gear. There was more great playing with solos all round, including some outrageous playing from Nigel Hitchcock.

In this half, the most important section deployed Mr. Nightingale, who was as exciting as ever to listen to. Along with some fantastic noises coming from Andy Wood, it really was a very inspiring section.

The evening came to a close with an amazing rendition of Love for Sale, arranged by Pete Myers, featuring an amazing solo from one of the original British members of the band, Simon Gardner on trumpet. Other original members from last Buddy Rich Band from 1986 included Jay Craig on Baritone, Bob Bowlby on lead alto and the effortless Eric Miyashiro on lead trumpet. After an intense dose of Bowlby, Weckl took over with a stunning drum solo that propelled the band into a big finish.

33

T’S WHA ON

SUMMER 2017 THE TROMBONIST

WHAT’S ON 7 SEPTEMBER 9TH 201

SEPTEMBER 16TH 2017

S BAND COMPETITON BRITISH OPEN BRAS ingham Symphony Hall, Birm k www.thsh.co.u

BTS DAY Salford University www.britishtrombonesociety.org

SEPTEMBER 16TH-17TH 2017 NATIONAL CHAMPIONSHIP OF GREAT BRITISH (FIRST, SECOND, THIRD AND FOURTH SECTION) Cheltenham www.nationalbrassbandchampionships.com

OCTOBER 4TH 2017 THE BIG SHAKE UP Pizza Express Jazz Cl ub 10 Dead Street, Lond on, W1D 3RW

OCTOBER 1ST 2017

OCTOBER 8TH 2017 RIOT JAZZ Brixton Jamm, London

BOLSOVER ENTERTAINMENT CONTEST Bolsover www.bolsover.gov.uk/leisure-and-culture/ extreme-wheels/61-leisure-and-culture/arts/ 234-brass-festival

OCTOBER 14TH 2017 NATIONAL CHAMPIONS HIP OF GREAT BRITISH (CHAMPIONSHIP SECTIO N) Royal Albert Hall www.royalalberthall.com/

NOVEMBER 5TH 2017

NOVEMBER 7TH 201 7 RIOT JAZZ House Of Fun Weeke nder,

BTS DAY & AGM Oundle School www.britishtrombonesociety.org

Minehead

NOVEMBER 19TH 2017 BRASS IN CONCERT CHAMPIONSHIPS The Sage, Gateshead www.sagegateshead.com

NOVEMBER 20TH 2017 THE BIG SHAKE UP Royal Albert Hall www.royalalberthall.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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specialist Trombone and musical instrument ‘Harmonic’ insurance products

and Museicssories acc WARWICK MUSIC 10% DISCOUNT on all Warwick Music publications purchased from Warwick Music.

PROZONE MUSIC An automatic

10% DISCOUNT

on accessories online, plus preferential rates on selected instruments in-store

MAURICE WARD ASSOCIATES

specialist mortgage advisors who are particularly experienced in working with musicians

PLATINUM ONE DESIGNS

create websites, logos etc. with

10% OFF any new design.

TAILSHOP 5% OFF your first order

MICHAEL RATH 15% IMAGE 1ST DISCOUNT discount on professional photography on all trombone repairs and WORTH £50 servicing

s Memberslihcip ons ti and pub a

GRAMOPHONE 10% DISCOUNT on subscriptions.

THE BRASS HERALD 10% DISCOUNT

on any purchase including subscriptions, current issue or back issues.

Q-PARK prebooking code for an additional

10% OFF prebooking

discounted rates in car parks across the UK.

Health ainngd well-be HEARING RESOLUTION 10% DISCOUNT

JAZZWISE 10% DISCOUNT on subscriptions.

INTERNATIONAL TROMBONE ASSOCIATION a special reduced MEMBERSHIP RATE OF £21.00.

on RRP’s for protection products

HMCA DISCOUNTED RATES

for medical plans, dental plan, hospital cash plans, personal accident plan, travel plan, life cover, income protection and vehicle breakdown products

For details of how to obtain these exclusive discounts, please visit our website – www.britishtrombonesociety.org/membership.