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2003 Butlins Mineworkers Championship
Skyline Resort , Skegness
29th/30th November
4BR Retrospective
Our man Malcolm Wood was at Butlins for the weekend and
gives his report on what seemed to be a great occassion.
The words of Butlins’ Resort Director, Chris Baron said
it all on Saturday evening prior to the announcement of the results
of Sections 1 to 4. ‘The Mineworker’s Festival will
be staged once again in 2004, meaning that the traditions of this
competition continues.’ It was perhaps the most welcome announcement
of a fine weekend of banding.
Butlins in effect have a USP (Unique Selling Point) from a banding
perspective. The opportunity to have competitions in different venues,
whilst having everybody on site at the same time is something for
them to build on for the future. The weekend itself was an overwhelming
success and this was just the starting point. Butlins are used to
catering for various tastes but this was the first time they had
held a fully fledged brass band competition and the one thing they
are determined not to do is be one hit wonders.
Over the course of the weekend, the hosts had invested the best
part of £50,000 to cover entertainment that ranged from Keith
Harris & Orville the Duck, Tony Fisher, The Blues Brothers,
Bucks Fizz, and Versatile Brass, and within that fifty grand, almost
seventeen was allotted for prize money (including that £5k
top prize in the Championship Section). Next year, the intention
is to build on this event, and there is no reason why they can’t,
and hopefully the prize money will be equalled if not improved.
The traditions of the Mineworker’s Festival will continue
with affiliated mining bands having first refusal to compete. Their
after, the contest will be ‘opened up’ to any other
band that wants to compete in any of the sections, meaning that
bands like Black Dyke, Fairey’s, Fodens, Leyland & YBS
can enter if they so wish in the Championship Section. (Grimethorpe
will no doubt attend next year having had a clash of dates that
stopped the attendance) The complex can accommodate eight thousand
people, giving ninety bands (yes ninety) in principle the chance
to compete over the weekend. The accommodation is fine and you have
everything you need on site, and no real need to stay outside. (As
some bands found to their cost this time around)
Many bands dug deep to find the funds to attend and were rewarded
for their efforts. Should next year the cost again be around £35
per person, it is more than acceptable. Band members become residents
for the entire time they are on site, and get the benefits. With
regards to the people that were complaining about having to pay
£12 per day to enter the complex, because they stayed off
site, yes, the organisers understand your concerns, but they are
a business and are entitled to ask those who chose alternative accommodation
to pay.
A solution could be to have people on site as a condition of entry,
hence removing the problem (probably a legal loophole that stops
it somewhere though). Should Steve Walker’s band (Skegness
Town) want to enter that would seem pointless of course, but as
they act as stewards, they are on the site, but most other bands
will travel for at least one night. In addition, for those that
attended for the day, an incentive to come in for both days might
not be a good idea, perhaps full price one day, half price the next?
The organisers also made the announcement that they will do everything
they can to ensure the event does not clash with Brass in Concert,
The Scottish Open (and various other events) to gave everybody the
chance to participate. The dates as yet are being finalised, and
news is expected shortly. The date for 2004 is going to be important
though. If November is chosen, the calendar has Spennymoor on the
21st, The Scottish Open a week later, and thought needs to be given,
to give the bands decent preparation on the test pieces.
It is not beyond the possibility that the contest may move into
early December, which bands might not be so keen on as Christmas
approaches. Remember though, that Butlins have a full schedule of
events which mean finding the most suitable weekend initially might
not suit everybody.
Butlins and NEMBBA are now actively encouraging dialogue and feedback
on what the participants thought of the weekend. Taking into consideration
that all concerned did so much in such a short space of time, things
appeared to run smoothly. The major negative was that from the outset,
fifty-eight bands committed, and this dropped to forty-two. Clash
of dates, cost implications of attending, amongst the reasons for
non-attendance. For those that did not attend, talk to those who
did, and see what they have to say (not just us here at 4BR).
A final thought on the dialogue and feedback - it has to be constructive,
and to be fair, any criticism’s should only be minor, but
if you have some, help by offering a solution. NEMBBA will have
done everything possible to advise Butlins of what was needed, and
hopefully nothing was overlooked, but if something was not to your
liking, then communicate it, and hopefully it can be taken on board.
Steve Walker knows it was cold in The Reds Theatre and hopefully
should the same theatre be used next year, something can be done
to make it comfortable for everybody. Those involved do look at
4BR (and other banding media) and the dialogue should create one
objective: a Win:Win scenario making sure organisers and bands are
happy, otherwise not much point having it.
So what about the competitions, the music, and the decisions that
were made? Sadly for you the reader, 4BR will not be releasing our
lottery numbers, as our predictions did not quite go as we thought.
We were right with the winners in the first and second sections,
and the odd placing elsewhere, but we will try and do better next
time. The selected judges were asked for thoughts on suitable test
pieces. With men of the calibre of Alan Hope, John Maines, Dr Roy
Newsome, David Read and Barry Thompson, it was no surprise that
the selection were pieces full of good music that really tested
the bands.
Timeless classics such as “Judges of the Secret Court”,
and “Rhapsody in Brass”, two Peter Graham pieces (“Dimensions”
and “The Haslemere Suite”) and Philip Sparke’s
“Tryptych For Brass Band”, all had plenty within them
to give conductors and players food for thought prior to the event
- and so it proved. The entertainment contest also worked - it just
needs more bands, which would obviously mean an earlier start time,
but that is something we are used too. With having large numbers
on site, it is an incentive for people to stay instead of heading
home, and it should be included if possible next year.
Championship Section
Sadly only five bands ended up competing, but nevertheless it was
not all about the test piece. Split over two days, the winners were
chosen for their performance of Belioz’s music, and their
entertainment programme the following day. In effect, solid performances
in both areas would bare fruit at the end and so it proved.
Desford under Garry Cutt proved unstoppable and
judges Dr Roy Newsome, David Read & Barry Thompson, had no doubts
over the two days that they merited the first prize of £5,000.
Their test piece performance was real class, with principal cornet
David Smith and soprano player, Martin Britt in great form. “Judges”
tests sop players to the full, and no one got away without the odd
blip. Desford’s performance had a strong opening, some lovely
phrasing, and they did not falter on stamina which the Berlioz music
always demands.
Desford won the own choice and followed this up the following day
by winning the entertainment contest with a programme that maximised
every ounce of quality within the band. An ensemble of players were
on stage, at the beginning of “Four French Renaissance Dances”
by Michael Pretorius, with other players being scattered in and
around the stage. The sound was strong and precise, and you knew
that what Desford would produce throughout their programme would
be full of real quality. “I’ll Walk with God”
featured the lovely euphonium playing of Mike Kilroy, and Mike was
featured as soloist in “Be My Love” which sadly did
not convince the judges to give him the solo prize.
Strauss’s “Freikugen Polka” (loosely translated
as the “three shooters”) was top notch playing, and
music featured by Evelyn Glennie, entitled “Robin Harry”
featured a strong percussion performance on xylophone and vibraphone.
Desford closed with a corker of a performance of ”A Manchester
Tale”. Arranged by Andrew Duncan and used by Grimethorpe at
Brass in Concert in the past, it’s a typical Duncan composition.
Plenty of lyrical stuff, followed by volatile, aggressive sounds,
but Desford pulled it off superbly. It was not the end of the contest
when Desford played, but they had done enough to take the title.
It is a weekend Garry Cutt will not forget either. Working with
Desford on the run-up to Skegness, he conducted the Midlanders on
the Saturday morning, then took charge of a three-hour rehearsal
for the entertainment contest on the Sunday. After that, a drive
to Sheffield, where Garry conducted Grimethorpe, bringing the curtain
down on his twelve-year association with the band. The concert featured
a number of pieces close to Garry’s heart, and was described
as ‘emotional’ for band and conductor alike, before
he then made the journey back to Skegness, and conducted Desford
on the Sunday morning. It is ironic the way things worked out. Grimethorpe
have been associated with the Mineworker’s Festival, and Garry
Cutt has been involved in some memorable performances with the band.
It was perhaps meant to be that he should be the man directing the
band who took Grimethorpe’s title.
Carlton Main were the only other band to produce
a solid performance in the set work, and the will be pleased to
have come second overall. Their entertainment programme though lacked
that killer touch to give Desford a serious run for their money,
and despite an impressive “Folk Festival” to open with,
and some nice euphonium playing of “Pantomine” by Ian
Wright, their programme did not come off for them. Kirsty Abbott
on cornet did produce one of the most divine moments of the whole
day with her playing in the Irving Berlin hit, “It’s
a Lovely Day Tomorrow”, but as the “Symphonic Dances”
from West Side Story came to a close, they perhaps knew that their
programme was not as clean and tight as it could (and should) have
been.
Thoresby Colliery, under Major Ian McElligott produced
a purposeful performance in the set work which had moments of real
quality, but slips which meant they came third in that section were
redeemed with a solid and convincing entertainment programme which
gave them second in that section, and third overall. Commencing
with a “Ceremonial Fanfare” by James Curnow, the band
moved into some music by Tchaikovsky, before euphonium player David
Belshaw took home the soloist award for a terrific rendition of
“Fatherland”. It really was a performance that was very
lyrical, some nice phrasing, and left no one in any doubt, that
David had taken the award with real aplomb.
James Horner’s, “For the love of a Princess” was
followed by Ian Raynor’s “Sea Breezes” which features
a trio of cornet players, and other members of the band wearing
silly hats, and having fun. Strong in the music department, and
with a touch of humour - just what the contest was looking for.
Thoresbury finished the whole event with “Pines of Rome”,
and will have gone home pleased with their efforts, and will almost
certainly return in 2004 for another crack.
The most disappointing performance over the whole weekend came from
Ever Ready under Ray Farr. They came fourth overall,
and will no doubt have been kicking themselves on the journey home.
“Judges of the Secret Court”, just did not happen for
them, and they rarely got into second gear. Too many errors cost
them dear, and it was a surprise, as many expected better. On the
Sunday, the band took the award for the most entertaining programme
with a reprise of the programme they played up in Spennymoor two
weeks early. Whilst overall it was entertaining, the music making
was not as strong or precise as it had been at Brass in Concert.
An up-tempo “Saber Dance”, “A Short Ride in a
Fast Machine”, “Jeg Elske Deg” (translated means,
I love you), and the Finale from “Enigma Variations”
just did not come off. The reason they took home the entertainment
prize was for stage presence in “Saber Dance” and Ray
Farr’s “Post Horn Pandemonium”, which featured
Bryan Tait and the comical, David Reed, causing mayhem with his
playing of the post horn. Your eyes had to be everywhere as all
kinds was going on, and it was the highlight of their programme,
and they got third in the entertainment section and fourth overall.
Newstead Welfare under Duncan Beckley will have
also gone up home disappointed that they did not give a better all
round show than they did, but please folks, don’t get too
down about it.
Coming last in both sections was unfortunate, but the band perhaps
knew in their hearts that it would be a tough one to crack to win
with some quality opposition. Along with Ever Ready, “Judges
of the Secret Court” lacked the conviction and quality that
the men in the box (it was a table protected by a curtain in reality)
were looking for. They also commenced their entertainment programme
with “Four French Renaissance Dances”, followed by “Autumn
Leaves” as a flugel solo. Sousa’s march, “The
Thunderer” had a very hard and aggressive sound to it, although
music from Ralph Vaughan Williams restored peacefulness with his
“49th Parallel”.
Who remembers a good few years ago at the Granada Boy a flugel player
playing into Syd Wood’s bass for “Loves Old Sweet Song”?
Well, Newstead had four cornets playing into the bells of the basses
in a Sandy Smith arrangement of music called “Recuerdos De
La Alhambra” (sounds a like the name of a Real Madrid football
player to me), but translated it means “Memories of a Thousand
Moons” and the effect worked well. Newstead concluded their
programme with the “Fugue” from Philip Sparke’s
“Graduation Day”.
Initially only four prizes were to be awarded in the Championship
Section, but with only five bands competing, the organisers made
sure everybody went back with something in their pocket - a tremendous
gesture. John Maines was the compere for the Sunday morning event,
and as usual, was informative, and kept things ticking along at
a good pace.
First Section
David Read had no problem in selecting the winning performance of
“Rhapsody in Brass”, by Sir Dean Goffin. BHK (UK) Limited
Horden Colliery under Wilf Beddell, have had a cracking year, and
their performance was competent, extremely confident, and with good
tempos.
Throughout the three movements, many bands suffered in numerous
ways. The combinations of not having three good movements together
proved costly. It was a case of the first movement not being right,
and the last two working or some other variable, but you kept your
fingers crossed that a good performance would arrive somewhere,
and it did with BHK and they were worthy and very clear winners
indeed.
It was surprising, considering it was the first section, how many
bands suffered from tuning problems. Pontardulais Town who came
second was the only band out of the first five who did not suffer
too much. Granted, the hall was cold, which did not help, but nevertheless,
too many bands had off days and it was not until Gresley Old Hall
(drawn seven) took the stage followed by Riddings Band (and then
BHK) that we had a contest with a bit of bite. In the end, though,
BHK, pulled out the stops, and their performance was such, that
if they had been drawn earlier, they still would have taken the
title and £875 back home.
Second Section
The adjudication of Philip Sparke’s three movement, “Triptych
for Brass Band” was in the capable hands of John Maines. Once
again, a number of bands struggled with one, if not two of the movements.
The first movement has metronome markings of 168+ and a number of
the bands were not up to speed. The second slower movement, caused
problems for everybody, and John had too wait till the last band
took to the stage, Snibston & Desford before finding that winning
performance.
Again, their second movement was not perfect, but they came closest
to what John Maines was looking for, and the Midlanders went back
home with £750.00 and the title. Hopkins Blidworth and Felling
Brass battled it out for second and third respectively with Strata
Brass coming a creditable fourth. John Maines should be applauded
as well for voicing his concern at the number of sharp intakes of
breath when players made mistakes. Nobody goes onto a contest (or
concert) stage intending to make a mistake, and it should be remembered
that everybody is human, but there is no need for anyone to react
like people in Centre Stage did.
Third Section
Dimensions are all about a measurement of extent in a single direction
- either length, breadth or thickness. (What are we talking about
here? Editor) Adjudicator Alan Hope, said the top four were four
good bands that stood out. With his beloved Newcastle United dropping
a couple of points earlier in the day, Alan was lifted by these
performances and he emphasised the need for the music to be extracted
and played as a whole, just as the composer intended. Drawn number
two, Dearham, under Michael Condron produced a winning performance
that had plenty of light, shade and space. Shirland Welfare Training
might be a young band, but just like Dobcross Youth in the North
of England, they are a very capable outfit, and rightly deserved
their runners up spot. Third place went to Whitwell Brass, and the
fourth place was taken Wansbeck’s Ashington Colliery. 4BR
gave Lochgelly Brass the kiss of death, by predicting them as winners,
and they had a day to forget coming ninth – sorry folks. One
of the most impressive things about all of the lower sections, was
the enthusiasm that they created within the performances they produced.
It did not matter that they might not win, it was the taking part,
and the contest exposure, and the experience achieved from it, which
will stand them in a good stead.
Fourth Section
Only seven bands did battle, but nevertheless, this was a thoroughly
enjoyable contest. Peter Graham’s piece, “The Haslemere
Suite” is written in four movements. The first is in the style
of a march, the second is entitled Beside the Way, it is again up-tempo,
with the third movement bringing a religious feel, in the style
of a hymn tune, but the march style comes back again in the final
movement. The piece is widely acknowledged as one of the finest
test pieces ever written for the fourth section and was used at
the Regionals in 2000.
No band got away unscathed, and everybody seemed to struggle in
the first couple of bars before the march tempo and tune came in.
Kirkby Colliery Welfare took the title and £500 home with
them for a performance that had just about everything right. It
was confident, controlled, with plenty of nice phrasing. The third
movement really stood out in this performance, with some lovely
melodic sounds from within the band, not hard or harsh, but bringing
out the religious feel that the composer intended. The runners up
spot went to the band drawn number one, Dinnington Colliery, conducted
by YBS Bass Trombonist, Toby Bannan. On another day, this performance
would have won, but without doubt, you can see in Toby’s conducting
style, that having been under the guidance of David King and Garry
Cutt (to name just two) that he has learned an awful lot and that
was evident in his band’s performance.
Dinnington were confident and seemed very much at ease, and the
music came easy to them. Third place went to Grange Moor Brass.
Based in Last of the Summer Wine country, under Matthew Roebuck,
a confident performance was produced with the odd glitch that denied
them a higher placing. Fourth place went to Thurcroft Welfare who
were drawn number two, but just did not have some of the tightness
in their playing that was evident in Dinnington’s or Grange
Moor. Mention must be given to Cresswell Colliery Welfare and MD,
Adrian Wood. One of the oldest names in banding, they have had numerous
successes down the years, but rebuilt itself in 2002 and is now
aiming to get back to former glories. The mineworker’s competition
was their first contest since rebuilding. They should not have gone
home despondent by any means, as they were going for the experience,
and it will have been invaluable.
Alas that was that, the first Mineworker’s Festival under
a new name, and at a different venue. Congratulations should go
to Chris Baron, Steve Walker and all the Butlin’s staff for
making everybody welcome, and by investing an awful lot of money
into a venture they wanted to succeed. Brian Eggleshaw and his team
within NEMBBA deserve credit for the foresight in finding a way
for the contest to carry on, and that also includes Stan Lippeatt,
who is not only part of NEMBBA but Advisor for the competition.
The ex-Grimey stalwart spoke with the kind of passion that those
who started the whole thing off in the 1950’s would be proud
off today. The determination that part of British Heritage will
not die, and the organisers should be congratulated for having the
foresight to realise for things to continue long term, a few changes
do have to be made. Traditionalists might not be that keen, but
you have to move with the times, and see what happens. Whatever
2004 may bring, if its anything like this year, it’s an event
well worth making the effort to compete and attend.
© 4BarsRest
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