Comments ~ 2004: June

Littlemore Blast, Sound Advice, The Whole Truth and someone at their Whits End - keep sending your comments to us.

A Littlemore Blast

May I refer to the recent Press Statement made to 4barsrest.com by Philip Biggs and Richard Franklin, the organisers of the hitherto All-England Masters Contest.
 
From the outset may I point out that I no longer have any formal or informal role within the Leyland Band; indeed I have not so much as attended a rehearsal for well over a year and a half.  I retired as Leyland Band manager nearly two years ago, on very amicable terms, having served them, and previously Fodens, for a combined total of over twenty-five years.  That is not to say that Leyland has anything less than my 100% support, especially when I see them maltreated, as they clearly have been, by the All-England Masters Contest management.  Even with their unreasonable action in not inviting Leyland to next year's contest, I kept my counsel. That I can no longer do now that the organisers have seen fit to go into print in such a vengeful way against them and me.
 
The contest organisers allege, without foundation as far as I am aware, that negative comments have been made about their action "some of which comes from the Leyland Band personnel or those with strong links to it".  I am a close reader of the Band Press and have noted critical comments from a number of representatives from other bands who have, nevertheless, been invited to the 2005 event.  Can we now expect to see invitations withdrawn from these bands because their comments may have upset the organisers?
 
Let us start at the beginning.  Leyland Band entered the very first All-England contest in 1989, when they were winners.  They have subsequently accepted an invitation to enter every single year since, including this year.  No other band can boast such a record.  Nothing less than a 100% record.  In return for this loyalty they get a kick in the teeth.
 
Over the years Leyland has been three times outright winners, and in the prizes on eight other occasions. It is reasonable to assume, therefore, that they have contributed immensely to the success of the contest, both musically as well as helping to attract good attendances.
 
If my memory serves me right, Leyland Band has been invited to play at the Gala Concert on at least three occasions.  What is fact is that Leyland responded positively to each invitation.  It is a matter of record that some bands, all of whom have been invited for 2005, have on occasions in the past declined such an invitation.
 
In attending these fifteen contests, and based on today's costs, Leyland Band has spent something of the order of £50,000 on conductors, coaches and accommodation.  In spite of the prize money earned over the years, there is still a massive financial deficit.
 
This is the Band whose commitment is being called into question by the All-England Masters organisers.  This is the Band in whom the organisers have " a low level of confidence that they will attend and compete on the day".
 
Among the bands invited is one, which has been invited every year since 1989.  For its own good reasons it has chosen to decline every year.  It now has preference over Leyland and is invited again for 2005.  What part of 'NO' do the organisers not understand?
 
Now may I turn to the issue of Leyland withdrawing from this year's contest with only nine days to go?  The organisers are very keen to see "balanced reporting", so here is the other side of the scales.
 
Coming immediately up to the contest, and for reasons beyond its control, Leyland found itself with an empty solo horn chair.  To find an available and appropriately talented deputy, for whom the organisers would undoubtedly approve, could only be achieved at an expense, which the Leyland Band, who has no sponsorship whatsoever, could barely afford.  Even so, recognising their responsibilities, they were prepared to find the funds somehow.  Then came the body blow.
 
As a result of a fall, principal euphonium Bill Millar was suffering from a damaged right hand and arm.  Being the conscientious person he is, Bill persevered for some days but the pain was getting no better and the contest was looming, so he visited his GP.  He was diagnosed as having a broken bone in his right hand.  He was consequently plastered from his fingers to his elbow and will be out of action for some weeks.
 
The band committee realised that they just could not contemplate the expense of a second deputy soloist, even if one could be found at such a late stage.  Leyland Bands financial circumstances do not allow them to buy themselves out of trouble.  After agonising for nearly an hour after rehearsal they came to the conclusion that, having consulted the players and conductor, withdrawal was the only course of action open to them.  This was not a whim but done with great reluctance since it meant the Band could not defend its title, and would be letting down the organisers as well as a lot of supporters.
 
Immediately next morning the contest secretary rang Philip Biggs to explain the Band's circumstances and decision.  He was told that Philip would not be available until the next day, when he spoke with him.  Philip Biggs does not dispute these facts.  Leyland Band acknowledges here that, with that wonderful benefit of hindsight, they could have called Richard Franklin.  Even so it would not have given the organisers more than a few extra hours of notice.
 
The Leyland Band officers made no announcement to anyone in the Press since, at that stage, the organisers had not yet been contacted.  Thus the allegation of Messrs Biggs and Franklin that "Leyland Band ran to the Press" is wholly without foundation.   The fact that it leaked out two days later was outside anyone's control in that nearly thirty people, the players, already knew.
 
Being the responsible group that they are, Leyland Band were mindful that a telephone call was insufficient and so the Band Chairman followed this up by writing to the organisers.  The organisers were, therefore, fully acquainted with all the circumstances surrounding the withdrawal.  I have now been made privy to that letter which concludes with a prophetic sentence. "We are at your mercy as to the future participation of the Leyland Band and that fact alone should indicate just how difficult a choice the band had to make".  The whole band world now knows how singularly lacking in magnanimity the All-England Masters organisers were to be.
 
The Press Statement from the organisers goes on to say "Leyland Band has been most vociferous on a number of issues in the past, and were very much 'shoulder to shoulder' with other bands in pressing for a later start time to the Championships and the abolition of the Gala Evening Concert".  Not altogether true.  I was the spokesman for the Leyland Band and I attended the meeting at Brighouse band room in 2002 with the contest organisers.  We asked for a reduction in the number of bands so that a later start could be introduced to save some bands having to meet the cost of an overnight stay. The organiser's response was that they were not prepared to reduce the number of competing bands, (their prerogative) but they were prepared to abandon the Gala Concert because attendances had been steadily falling and it had become unprofitable.  Thus the contest could start later and finish later since the Hall did not have to be cleared for the Gala Concert.  When the arrangements for the 2003 event were announced, that was the first inkling that there was to be a shortened Gal Concert immediately after the Contest.  Low and behold one of the two bands invited to perform at the concert was Leyland   Naturally they accepted the invitation.
 
For the record the other bands involved in the discussion at the Brighouse headquarters were Brighouse & Rastrick, Fodens, Yorkshire Building Society, Fairey, who have declined to attend the contest this year but have received an invitation for 2005; Grimethorpe who have not accepted an invitation to the All-England Masters for some years, but have, nevertheless, received an invitation for 2005.  Why has Leyland Band been singled out for vengeful treatment?
 
This same group also made plain their unanimous objection to bands from outside of England receiving an invitation. This was no act of xenophobia since these same bands happily contest against other bands from all over Britain at both Birmingham and London.  Their objection was founded on a Press Statement by the contest organisers themselves when they first announced the contest some fifteen years ago.  Asked what the justification was for yet another contest, they replied, "While other countries hold their own exclusive contest, there is no contest exclusive to English Bands".  The above group, and other bands who were not represented, saw the subsequent proposal to invite bands outside of England as going back on their word.
 
The organisers Press Statement concludes with an adamant posture that any prospects of a change of heart about the new set up will be met with a firm NO. That would seem to shut the door on Leyland EVER again getting an invitation.
 
Two thoughts occur to me.  The Press Statement says that "Entries are alredy starting to reach us from England and further afield for 2005".  I am sure they are, but a more pertinent point is 'How many of the top ranked bands have declined?"  Secondly, since Leyland Band is an amorphous body, who is actually being punished?  Surely not the individual players, some of who may have joined another band by 2005?  Surely not the conductor?
 
In all this issue the Committee of the Leyland Band has, thus far, deliberately chosen to respect the confidentiality of their communications with the organisers of the All-England Masters.  Their behaviour has been much to their credit.  I am proud to be a supporter of such a responsible group.  As far as I am aware, despite unfounded allegations to the contrary, no-one from Leyland Band, its Committee, players or Patrons has "gone to the Press" until weeks after the contest.  That is until now when a fulsome response had to be made to such extreme provocation and unfair treatment handed out to Leyland Band.
 
I have received very many calls from friends in the Banding Movement and all echo the same message -'How could they treat Leyland so badly?
 
Over fifteen years Philip Biggs and Richard Franklin have built up a good reputation with bands and an excellent contest.  In one fell swoop they have smashed all that goodwill to smithereens.  In the vernacular, it seems that this time the organisers of the All-England Master Contest have 'blown it', and in a big way.
 
Allan Littlemore


Sound Advice

Note to Bill Charlton. I am not a doctor. But, after my [happily minor] heart attack, my consultant, in whom I grew to have great trust, told me that, in his view, I should continue to play. He saw it as a good activity for lungs and heart!
 
His only concern was that I should not induce a blackout by indulging in playing high notes for too long. Something that I promised to avoid! Trust you are making a good recovery.
 
Derek Dunn


The truth, whole truth and nothing but...

It has recently been suggested that in order to ascertain the truth concerning bandroom gossip and player/conductor moves, we should explore the brass band websites.  May I suggest that far from reliable information emerging, we are more than likely to read distortions, one-sided personal diatribes and quite often anything but an honest rendering of the truth.
 
It is amazing how easily and naively some people can be duped into believing everything they hear and read. It is to be hoped that those with integrity will realize that there are always two sides to any controversy.

Wendy Millington


Whits End?

I am hoping that you may be able to help me . I was loaned ,by a friend, a copy of the 2004 Uppermill (Whit Friday) programme to have a look at but unfortunately my boss threw it away by mistake. The friend to whom it belonged was quite upset as he has collected them every year for a long time.
 
I wondered if you  might have any ideas about  where I may be able to get a replacement copy from...?? Or a contact address (e-mail etc) of someone who could possibly help me. Any help would be gratefully received and appreciated.
 
Zoe  Rainford

4BR Reply: Try the Delph Band Club, as the superb programme is published through them we understand. £1.50 and you get a tremendous programme.

Danes on Parade

Thanx for never letting us down on results and other nail-biting events at major competitions, when we have to stay back in Denmark to watch Bob the Builder and Pat the Post!

I have two reasons to contact you. First of all: Denmarks 2nd best band 'Silkeborg Blaeserne' is going on a tour from next Sunday and 14 days on, visiting Germany, Holland, Yorkshire and surroundings and Scotland. Would you be interested in advertising the venues for our concerts during the trip in your events list? Among other things we will be doing a fundraising concerts in Dobcross Band Club on next Tuesday and participate in two March and Hymn Tune contests in Diggle Band Club (July 3rd) and in Brighouse (July 4th - just before we are going to cheer for Denmark at the European Footie Finals!). Also concerts in Chester, Halifax Piece Hall, Bulls Hotel Sedbergh, Buxton, Stirling and Edinburgh Castles etc.

The other thing: How can Concord Brass Band from Denmark be higher ranked than Silkeborg in your rankings. We have been better placed than them in every competition since at least 1990, and the only competition they have participated in that we didn't was the European in 2002, when they got to go instead of Aarhus BB and us! And on that occasion they came last, as I recall it.

Perhaps you have missed some of our placings out in your rankings? As you might recognize, it's a spot on our vanity :-)

Please let me hear from you soon, and I will provide you with the information you may want.

Carsten Hering Nielsen
Tour Manager
Silkeborg Blaeserne, Denmark
Mail: TourMan@SilkeborgBlaeserne.dk
Tel.: +45 4033 1406

Here's Goff.
 
MaxMusic: - Publications and arrangements by Goff Richards
Maxmusic music publishers,101 Walton Road, Stockton Heath, WARRINGTON WA4 6NR
Tel: 01925 601112 Fax: 01925 860429
e-mail: goffrichards@maxmusic.freeserve.co.uk web site: www.max-music.net

Thanks e bay! (and 4BR of course)

Many thanks to those that responded to my search for the 1973 Yorkshire Imps LP with Graham Walker performing part of the Trumpet Concerto by Oscar Boeme  - I managed to get a mint copy on ebay!
 
Keith Barnett

Fodens Accuracy

As both an avid reader of 4BR and of my local press over many years, I must write with dismay over the recent report concerning the Fodens Richardson Band.

It is not often that a reader jumps to defend a newspaper or even internet publication for that matter, but I feel that the response given by the Fodens Richardson Band to the 4BR article concerning their possible move away from the town of Sandbach is inaccurate and misleading.

I initially read the stories concerning this matter in the local press with two separate articles written in "The Chronicle" newspaper on the 9th and 11th June. These clearly set out the position the band itself stated it was in, and included a number of statements to that fact from the band's Chairman of Trustees, Mr Stephen Sebire and Mr John France, Chairman of the new Support Committee.

This was accurately reported by 4BR in its news article in addition to the quoted figures expressed by the Band concerning a yearly income shortfall, and to this reader in particular it smacked of a thinly veiled threat to the people of Sandbach that if they didn't come up with the money to make up this shortfall, the band would be forced to leave a town which has given them immense financial support over 100 years. 

As someone who has a thorough working knowledge of the regional and local politics of the area, the salvation of the band through the creation of a "multi million pound arts complex" comes as amazing news to me, and I am sure the residents of Sandbach, as nothing of the kind has even been mooted or proposed to what I understand would be the local Literary Institute.

This local building is indeed in need of restoration, and for that to happen it would indeed take many millions of pounds. However, even a cursory enquiry to the Local Authority reveals that no proposal has been put forward, whilst those with local knowledge would vouch that it could not be turned into a 500 seat auditorium. Where as these so-called proposals coming from, as the very good (and accurate) local press for one hasn't reported anything of the sort?

In addition, I understand the Roberts Bakery Band already has rehearsal facilities at the Institute, so why couldn't Foden's find something in the town themselves?

The band has also held Patrons Concerts at the local Boys School for a number of years, which has a capacity of 500 plus, so why would there be the need for another venue in a small town to provide this? With local authorities absolutely hamstrung for money to refurbish local toilets let along multi million pound building restoration I for one feel that this is rather "pie in the sky" and a proposal that may look fine on paper, but has no chance of becoming reality.  

Foden's are a very fine brass band which has received substantial sponsorship support for the vast majority of its existence - much of it from the main employer in the town itself over many decades. For it to now make a veiled threat to leave the town as it cannot raise itself a further £20,000 to an already substantial sponsorship package to give an income of £80,000 a year is ridiculous. How on earth for instance has the number of their Patrons been allowed to fall, as they state, from around 500 to 160?

If these proposals do in fact come off it will not happen overnight - the process would in fact take a number of years to come to fruition, and with no indication in the bands press release of a timescale for the proposal, what do the band do in the meantime? Lets us all hope for Fodens that this proposal does in fact come off, but do not hold your breath.

The report in 4BR was totally accurate and I am dismayed that Fodens think otherwise. These were articles that reported the facts as given to them, including from the band itself. There has been no disclaimer from the band in the local press to suggest that the two separate reports were inaccurate, so I feel it is their response that falls short of factual accuracy.  Those responsible for the current bands management carry a heavy duty to all those who have served them and their community so well in the past, and this seems strange and somewhat shoddy response to an accurate piece of reporting both from the local press in their home town and 4BR.

William Richards

Music Choices

I have to say, I whole heartedly agree with his comments on choice of music, and why? As I said when I was interviewed last year by 4barsrest.

(http://www.4barsrest.com/articles/2003/art330.asp) The vision is too narrow in musical terms, and orchestral transcriptions for tests are (or should be) a thing from the last century when legitimate composers had little interest for the medium. Speaking as a composer who has now written three tests (2 champ, one 2nd sec) it makes my blood boil to see the same War Horses (but great one's I have to say) wheeled out for safeties sake of potential competing entrants.

After personally having great premiers of my new tests in NZ, and bands in North America asking for material, I now also have the top band in OZ is asking for the same test piece. I have to say, "I hear the movement screaming for new pieces" - so, one writes them, and then no one can be arsed to investigate them. Sure, some UK bands here have tickled them through and this is the medium where rumour should spread, but even if it did, I have to say, is the choice put to the people (banders), or the politicians organisers). But, if the politicians don't let the piece be played, how do the people know what it sounds like? This is a huge problem. How do banders get to hear new tests, this surely needs to be addressed!

So - Easy- book venue paid by the federation/organisers/sponsors, invite rep's from all interested parties (bands) of competitors for that years (or next) all over contests, invite individual panel of diverse quality, invite three bands to learn 10 new tests (ex's only for bands from Fed/org/spon's pocket) between them (some weeks before) that had been selected from composer entrants year before selected by a mixed panel of eminent, rep's and organisers. All pieces get played (but no composers names announced or piece (titles), all interested invited parties from the bands have a vote in favour of whatever pieces via ballot, and the panel have a small advisory percentage vote. Six are chosen for the following year for, The Nationals, The Open, Grand Shield, Masters & so on, the four that don't make it get into next years audition again with six new.

Now I know what all will say, all these competitions are run by various organisers or factions what ever you want to call them, but they are all brass band contests are they not, entered by the same bands that do it all
year round, so it becomes your choice then as you have to play it and stops it from being a choice to appease (or hook) the potential entrants by the organisers. Simple but effective, course it costs money, why not get all the contest organisers/fed/spon's to throw in a few quid to organise all of it, I mean, you pay to enter a contest? Not to mention, it could be another good day out to put in the banding diary! And lets face it, it gives other composers a chance to get their foot in legitimately.

Phil Lawrence
Elms Studios/Publishing

Where is Autumn?

Please can you tell me the publisher of Bill Geldard's arrangement of Autumn Leaves for solo trombone and band and perhaps where I can purchase a copy. 

Stewart Ivory

4BR Reply:
Try Just Music in Scotland or one of the many small retailers who do advertise their music services Stewart.

Where's Goff?

I have recently come across some interesting music by Goff Richards.  I want to try and contact him to see if he has any new stuff in the pipline for my instrument.  A search for him led me to your interesting site. Do you have a contact address/email/phone number you could let me have please?

Douglas Tate
President SPAH

What's up, Doc?

On a serious note to players not being well, can Dr Cooper like to give me his advise as to someone with heart failure (myself) as to wether he would advise if it is ok to keep playing a brass instrument with heart failure. I keep getting different advice from consultants etc some say keep playing others say no and to stop playing.
 
 
Bill Charlton

Vote for the Miners!

Newbridge Memo is the best surviving Art Deco theatre/cinema in Wales - a jewel in the valleys.

It is the home of the Celynen Collieries Institute and Memorial Hall and is a remarkable testament to the men who gave their lives in the Great War 1914 -18 and to the Miners of South Wales and their families who toiled to improve themselves through the social and education amenities that were to become world famous as the Miners' Institutes. The Memo is also the home of the Newbridge Celynen Silver band

The Newbridge Memorial Hall has been selected for the BBC2 RESTORATION series to be broadcast in July and August 2004.  For details consult TV listings.  Please watch the programme and Vote for Newbridge Memo.

We will be putting a link to 4barsrest.com on our new website and hope you would like to support our campaign to win the BBC Restoration competition by putting a link on the 4barsrest site.  Perhaps you could also do a news feature and encourage everyone in the Brass band community to watch the programme and vote for Newbridge memo?

http://www.newbridge-memo.net

Ron McCormick

GP Comments (and we understood his writing too!)

As a GP and a brass player I feel that I could probably make an educated guess as to whether someone is fit enough to play a brass instrument, however there are not many of us doctor/brass-banders around. 

Currently GP's have a dilemma with most "normal" sick notes as we have little idea as to exactly what most peoples jobs entail.  So we predominantly have to take the patients assessment as to whether they can perform their own job. Therefore the same would be said of brass band sick notes - most GP's would take the opinion of the player asking for the note. So not really a "gatekeeper" role for the GP.

Also, as I am sure most people are aware, such a certificate of illness is not an NHS issue.  GP's are legally obliged to provide certificates of incapacity for benefit related purposes, however GP's can (and rightly so in my opinion) demand a fee for such non-work related sick notes. Also they could charge a fee for the examination to determine if such a sick note is required. Currently GP's could charge £10 for a private sick note and £65ish for private consultation if they so desired.  This may discourage the practice of "dubious" sick notes however, as most GP's are busy enough, perhaps encouraging use of a GP's time for trivialities such as brass banding sick notes is not in anyone's best interests?

Dr David Cooper. GP
Aberdeen

American Civil War?

I would like to reply to a comment from the January 2004 comment about there being an American Civil War. I would like to know what all the hoopla that Mr. John Hershey is trying to create about the Illinois Brass Band or the Columbus Brass Band.  Mr. Hershey states that the Brass Band of Central Florida had never beaten either band at a "real" competition.  I'd like to know what Mr. Hershey has to say now?  I'd like to know why he does not call the U.S. Open held in the fall in Arlington Heights, Illinois a real competition.

Here's an update for him for when he crawls out from underneath his rock. The Brass Band of Central Florida had never lost to a band from the United States in over a year.  Had it not been for the "European invasion" of bands into U.S. competitions, the BBCF would have a NABBA title and a US Open title under their belts.  Where was Columbus at the NABBA where BBCF took second place to Stavanger?  Where was Columbus at the US Open when the BBCF handily beat the Illinois Brass Band.

Then came NABBA 2004.  In case anybody missed it, Brass Band of Columbus and Illinois managed to secure the BOTTOM two positions of the Championship section.  The BBCF managed to beat Illinois and Columbus by ten or more points in a head to head "real" competition.  What does John Hershey have to say about those results?  As a matter of fact, FOUR bands beat Columbus, and FIVE beat Illinois.

The BBCF is painfully aware that Chicago beat them by a mere six-tenths of a point.  I just hope that everybody realizes that Columbus and Illinois represent the standard of playing in the US from years ago and that some new bands (BBCF, Chicago, and others) are on the scene in the US and they can far outplay the "old guard" of a previous era.

I personally heard the performance of every single Championship section band at NABBA 2004.  I felt the top two bands were too close to call but it was pretty clear how bands three through six lined up. Personally, I'm shocked how Illinois managed to earn 258 points.  I know school bands who play with
better intonation, better sound, better blend, and more musically than that disastrous performance.  I hope Illinois took their results as a wake-up call that they cannot rest on the laurels that they used to have.  I congratulate Mr. Garasi and BBCF as well as Dr. Holman in Chicago for raising the bar for US Bands with their spectacular performances and I hope to see even higher achievements in the future!

Franklin Jennings
Milwaukee, Wisconsin
USA

Right place on the map!

Just a small comment, reading you,r remarks on the Swansea 4th Section. Holywell is not from Angelsey but is about two miles from the now defuncted Point of Ayr Band and 40 miles from Angelsey.  Thank you for your good site.

J. Cariad

British Contests in Turmoil

All England Masters

Following the recent changes to the Masters contests, I am disgusted in the extreme that bands who have supported the event over the years are to be cast aside in favour of bands from outside the peramaters of the originally conceived All England Masters Contest.

Many of these bands were only told of the new format after they had competed this year. I am sure if they knew this was going to happen they would not have spent the hard earned cash to attend.

How can the contest justify invitations to English bands such as Dyke and Grimethorpe who have shunned the event over most of the years in favour of established attendees.

The way Leyland has been treated is appalling. It just confirms to me that the organisers of this contest are not in the real world of top class banding. Lets all face it, we don't have enough players to go round and when, on top of this, we get players breaking bones, this sort of withdrawal has to be tolerated. Do they (Cambridge)  think Leyland decided not to go on a whim? I, for my money thinks it was probably one of the hardest things Leyland have ever had to do.

I feel for what it is worth that the Masters are trying to jump on the band wagon, in order to try and steal what is a perfectly run contest in the European. Two international contests in one month….see you in Holland.

British Open

Why the change? Couldn't they make up their mind which piece to pick. The thing with this system is that Dyke, Cory, YBS, Brighouse, Fairey and the others will all be trying like mad to find out what the other is playing in order to create a level playing field. So what is the point ?

Paul Welton
Bury

The Masters - live or die

I read, with interest, the comments of Mr Whitehead regarding the 'new' format for the All England Masters competition.

Does he REALLY mean that if the band in question had known of the changes, they would have been in a position to try harder, work more or put in a better performance? The competition is one of the UK majors' and as such should not be treated half heartedly or under estimated in any way.

It is also useful to say here, that the result is completely subjective and is in the hands of the 3 eminent adjudicators tasked with providing a result on the day, so even hard work may not guarantee a result. We live and die by the same sword. Some days it misses others it strikes. One has to be philosophical and aim to prepare better for the next engagement on each occasion.

Mike Norton
B Flat Bass

A Masters Sceptic

Surely it would have been fairer on the 2004 bands to have been told that this was going to happen? Or has this spur of the moment change just happened!!  Some cynics might say that because the Masters has lost a certain amount of "cred" over the recent years and some bands choosing to stay away this is an attempt to attract the "money" bands.

The audience was a a bit sparse this year (not surprising at £17 a ticket!!) players (as usual) not welcomed to the hall (unlike every other "proper" contest). By "proper" I am perhaps thinking of those contests that exist for bands and not purely for the enrichment (choose whatever meaning you like for that) of the organisers!!

Perhaps I am being too big a sceptic - but consider the rankings of the new bands to be invited and those to be arbiterally excluded - it does not tally with the top twenty two bands. Does the organiser want a great contest or one that makes plenty of dosh? You don't need to phone a friend to answer that one do you?

Perhaps a more philanthropic organiser might consider something - perhaps in the North for a change. I can say with certainty that I shall not trek down to Cambridge again with a band to line pockets - nor will my band struggle to attend despite great adversity and pressure in a clearly vain attempt to do the right thing.
Yes I am very bitter about this move, I hope it gets what it deserves

Gordon Eddison
Burley in Wahrfedale.

And the British Open?

Surely this year's choice of 3 tests for the Open is something of a desperate measure to sell more tickets.
It may get more people into the hall,(though this could be debatable) but I think the problem lies with the tests themselves.

"Contest Music" though a great piece has been done to death. Since it's choice as National test in 1982 it has been used at the Area in 1985, at the Open in 1988 and at Cambridge as recently as 2000. In fact I cannot think of another piece that has been set as frequently in modern times! - the best players, conductors know this piece inside out, and of course so do the most well known adjudicators - therein lies another problem. Again, "Montage" has been used still very recently at the Area (1998 - I remember spending hours working out the beating patterns) and before that at the Masters in 1994.

Finally, and I find this astonishing, we have "St Magnus" which was used only last month with several of the forthcoming Open competitors required to play it as set test for the European (including the winners). All this flies in the face of previous Open policy differentiating between the Nationals and European. We desparately need new music - if this is too expensive why not revive pieces that have not recently been used. e.g "Odin" if you want a real test! or what about "Harmony Music"?

I agree "The Maunsell Forts" was a mistake but so was last year's ridiculous butchering of The Planets and Enigma Variations I do not believe this is the way forward.
 
John Roberts
 
P.S I see the choice for the re-vamped 2005 Masters is "Cloudcatcher Fells" - here we go again etc etc

How to survive on £60K

I was interested in the article regarding the amount needed to help the band and agree that it would be sad to see them leave the Sandbach area. I have played with several bands over the years only one having the luxury of having a sponsor and not worrying if the band can afford to carry on or fold.

But it was the end of the article that does not give the full story:

"Things got off to a pretty good start just a week ago when they were triumphant at the Whit Friday contests, picking up nine first prizes and the overall Tameside Championship to boot."

As most people know the prize money from the Whit Friday is split between the band and this year was no exception. Would it not be within the bands interest to enter the Whit Friday contest like the majority of bands and go for the enjoyment it is and put the money raised into the building fund. I can hear people now saying well I had to take time off work so I should be compensated. Most people take time off work and never dream of asking to be paid for the evening. If reports are correct from this year each person received £200 with 28 people out on the night this is £5600. This would already be a 1/4 of the funds required.

Just a thought

Graeme Hall

Well done to Fodens Stars!

On Wednesday 9th June Glyn Williams, a Director of the Antoine Courtois UK retailer and wholesalers, Fred Rhodes Limited (Oldham), visited our band room to demonstrate the Courtois range of brass instruments.  Some colleagues from Foden's Ricardsons Band, who are also clinicians for Courtois including, joined him: Mark Wilkinson, Principal Cornet, and Martin Armstrong, Principal Horn. They sat in our rehearsal and had short one -to-one sections with players during the evening, which we all found very useful indeed.

Glyn is a virtuoso euphonium player who performs with many professional ensembles worldwide, and is a popular musician with Foden's Richardsons Band.  His appointment as solo euphonium for the Band in 1995 contributed to many contest victories, including The All England Masters and Swiss Open 1995, French Open and Brass in Concert 1998, North West Area Finals 1998/1999/2000 & 2002, National Brass Band Champions of Great Britain 1999 and most recently the title of The all England Masters again in 2002.  

We should like to thank Glyn and guest clinicians for making the trip down South from Lancashire. Your presence made for a very special evening
 
Clayton MacLean
Yiewsley and West Drayton Band



Battling through the pain - ouch!

I should have refrained from playing at the Regional Championships in Swansea, but I didn't, probably because I'm so fanatical about band.
 
I took my place in the line-up (bandaged and full of pain killers) despite under going an operation to remove an abscess from my bottom end three days before the competition. Even when I was discharged from hospital I wanted to go to band that very night, if it wasn't for snow I would have gone.
 
There was no way I was missing a competition I'd spent months rehearsing for and leaving down my fellow band persons, so it comes down pretty much down to the individual and how much you'll put yourself through.
 
Given the choice, I would do it time and time again.
 
Tim Malpas
Cwmaman Band

Freedom of Speech?
Due to rule changes by the SABBA the Kingdom Brass Band Forum in Scotland is to close.
 
SABBA will discipline any band or bandsperson who in their view post disparaging remarks about any other band, bandsperson, conductor etc. Does this mean the end of free speech in Scotland.

Danny Buchanan

Masters Joke

I think the proposed change to the Masters contest is a total joke and is probably an indicator as to what is going to happen to all our so called "Major" contests. In other words we will have a Brass Band Contest Circus, where the same old bands will compete year in year out at the same three or four contests. A bit like Formula One (or F1 as ITV like to call it, which makes the whole thing much more exciting doesn't it?) and who bothers to watch that anymore?

Yes, that's right I play for one of the bands that have now been excluded who because of this year's poor performance have been replaced by a band from Europe or yet another band from the North, who usually turn down the offer of this competition anyway. It would have been nice to know that so much was at stake before we played.

If progress is to have the same bands compete for every "Major" contest in the Brass Band calendar then I can't see much of a future because who, for more than a few years, is going to want to watch this pointless exercise. Isn't one "closed shop" contest (i.e. The British Open) enough?

Please note that these views are entirely personal to me and do not come from the band for which I play.

Alistair Whitehead. Cornwall


What about the Danes and Swedes then?

I know that you are not the organisers of the event, but I was wondering, why there isn't any invite for Swedish and Danish bands? Both contries have great bands. Perhaps you might be able to help me with an answer. Another thing is that we (Denmark) would like to improve our "banding" and one way would be to get to go to such an event.

Mads Lillelund
Concord Brass Band
Copenhagen, Denmark

Sub standard London Bands (tongue firlmy in cheek)

In response to Murray Aitken's comments regarding two London bands being placed in the top 10 at the Masters. Perhaps this does require a change in adjudication? After all, everybody knows that all southern bands are of a sub standard quality and that they are only invited to the Masters to make the numbers up. This should not be allowed to happen again!

However, it is strange that Aveley came off stage at the Grand Shield thinking we had performed really well and came 15th and came off stage at Cambridge extremelly disappointed and came 7th, off the number 1 draw too. The only parity was that 4bars rest didn't think we were very good on either occasion!!

Andrew Bannister
soprano cornet
Aveley & Newham

In Sickness and Health

Daft idea in your most recent Editorial! The usual waiting time for an appointment to see a doctor at my medical centre is anything from 5 to 10 days! If I still felt ill after that time, a certificate would probably cost me £20, and it would be too late for the contest anyway.

Ron Barnes


On the other hand...

Your June editorial was very interesting, thank you. I am sure that I am not alone, in the lowly fourth section, of wishing we could have non playing committee members to deal with the mundane yet essential aspects of the band management, indeed I was just discussing such a thing with our (playing) chairperson last night.

Bands such as ours often find it difficult enough to get people from within the band, and who one could assume to have the interests of the band at heart, to take up committee positions. How much more difficult it is to persuade a nonplayer to come along to rehearsals and jobs. An afternoon on a windswept London bandstand somehow doesn't seem to hold the same magic as the Europeans or the Grand Shield! Still if any one out there wants to help us out...

On your sickness issues, I think you are treading very dangerous ground. While I have absolutely no doubt that there are "diplomatic" illnesses at every contest, to ask whether or not someone is only unfit for their daily work as opposed to playing in the band is a. not really any of our business and b. asking players to jeopardise their livelihood. I for one, as a manager, would have quite a lot to say if a member of my staff had taken time of work ill and I saw them playing in a band contest. One only needs to look at the train driver who was sacked for playing squash while off work, despite being encouraged to excercise by his GP. Rules such as this will always be abused. The majority of cases are genuine, though, and I think, sadly, we just have to accept the chicanery as part and parcel of life.

Paul McLaughlin
MD Fulham Brass Band


When is a Scratch band not a Scratch band ?

I was invited to write in with this, and ask others for comment by Bob Hindley, organiser of Lydgate Whit Friday contest…

As a life long enthusiast of the Whit Friday I eagerly awaited the results on the internet and came across something interesting.  Salvo Brass finished 7th overall at Uppermill, 9th at Delph, won the 3rd section at Greenfield, and took the 4th section prize at Lydgate.  Impressed by the success of what had to be a 4th section band I was keen to find out more. 

A representative of Salvo Brass told me that they are not in the 4th section, or indeed a member of the Brass Band Registry.  Salvo are an ad-hoc group made up mainly of Salvationists from 3 bands in Leicestershire, Derbyshire and Nottinghamshire, together with other musicians in the area.  They compete only in the Whit Friday contest, entering as “unclassified” - in banding terms a “scratch band”. 

Intrigued as to why scratch bands were competing in the 4th section I spoke at length with Bob Hindley of the Lydgate contest.  He told me that he had put unclassified bands in the 4th section as he felt they may not have a chance in the Open section, but that scratch bands should play in the open competition, defining them as “A band put together for the contest from professionals and/or players who are members of other bands”.  Mr Hindley went on to state that in his opinion Salvo Brass were not a scratch band as they were “all from the Salvation Army” and, he understood, were “giving the money to charity”. 

This raises a number of interesting points :

The term “Fourth Section Prize” by definition must indicate one for those registered in the 4th section.  The registry was set up to ensure that bands of a similar standard compete on an equal footing, and the rules are clearly understood.  Everyone knows the odd player is borrowed for the Whit Friday, but out and out scratch teams should take part in the open section.  Allowing them to “compete” against 4th section bands is unfair and demoralising. 

If unregistered bands wish to compete in the 4th section they are at liberty to join the band registry, pay their dues, attend the meetings and abide by the rules governing numbers and transfer of players.  At a time when there is such a dearth of the lowest section bands (Yorkshire Area had only 8 in 2004), the ability to compete without having to register does little to encourage them to join the Brass Band Association. 

Finally, Mr Hindley’s assertion that Salvo Brass are not a scratch band, though clearly falling within his definition, is based on their origins within the Salvation Army and reported charitable intent.  It is true to say that the Salvation Army is a wonderful establishment, however the Salvation Army is not a brass band but a religious organisation, and the fact that most of a band’s members share the same religious beliefs does not, in my view, alter their status as a scratch outfit.  Similarly, the issue of what a band does with their prize money is, to my mind, irrelevant.  Many bands these days are registered charities, those in the 4th section being the most needy of all, and of course the famous “Navigation Band” always competes for charity in the open category. 

As far as Salvo Brass is concerned they beat a lot of championship section bands on the night and carried off 2 soloist prizes.  Coming from a family with strong Salvationist connections I would venture that they would always want to play against their peers in open contest, rather than being pitted unfairly against lower section bands. 

In closing, it is interesting to note that Greenfield contest places all bands in their own registered section, and unregistered bands of any kind in the open competition.  Having discovered that Salvo Brass are unregistered the contest committee has withdrawn their 3rd section prize as they were not eligible to compete for it.  Perhaps such clear cut rules adopted elsewhere would remove any ambiguity or apparent lack of consistency.  What does the rest of the banding fraternity think ? 

Owen Wedgwood


4BR Selling Out?

As 4BR becomes more and more commercial, I'm beginning to wonder if you have completely sold out. Take for example your review of the Superscope CD recording system. The reviewer proudly describes him/herself as having "legendary ineptitude with all things technological", and then raves about how big it is and how long the manual is. To cap it all, "harmonic distortion" and "output voltage" are described as "features".

There is no mention of the sound quality, probably the most important feature. How does its internal microphone compare with other mikes on the market? If you had any knowledge of this subject at all, you'd know you can get excellent results with a Minidisc player and a Sony £100 mike and that in total costs less than a third of what this monster you reviewed does. For the £800 you suggest "serious" bandies spend on this, you can buy a decent laptop, mike and recording software which will be a lot more more powerful than having "three tone controls" and an "octave-down feature". But you wouldn't be interested in that, because
you would't get paid to write it.

Come on chaps, at the very least do your homework on the articles you're getting paid for.

David Read (not the adjudicator)

Are old articles still available?

I'm a latecomer to the website & as a bass player I am interested in the above subject which is mentioned in the write up of YBS' recent contest success. Can it still be accessed on the site, & if so how? Thanks for your help.

Dave Walsh.

4BR Reply:
Yes - just look in the past years files and you should find what you are looking for.

Curates egg explained

From your past "on the day" adjudications and retrospectives the number of times you have stated "a bit of a Curates egg" ( most recently Rothwell at the Masters) has intrigued me to find out what is means (not very bright) and therefore please find the origin of this expression.
 
CURATE'S EGG - "Something which is part good, part bad; a mixed bag. The expression comes from a 19th-century cartoon in the British humor magazine 'Punch': A nervous young curate (in Britain, a junior-grade clergyman who is usually an assistant to a more senior member of the clergy) is served a bad egg while a guest at his bishop's breakfast table. Asked whether the egg is to his liking, he stammers: 'Parts of it are excellent!" From "Merriam-Webster's Dictionary of Allusions" by Elizabeth Webber and Mike Feinsilber (Merriam-Webster, Springfield, Mass., 1999).

Tim Malpas

Gracie Cole

I have been reading your comment pages with interest after my family's attention was drawn to your web site. I could not find out how to post my own comment so I am writing to you instead!
 
I have been interested to see the comments vis a vis female players with Grimethorpe. I would concur with James Scott that my mother Gracie Cole was often employed by Grimethorpe in the 30/40's as a soloist. Sadly my Mother is now ill with early Alzheimers disease and her memory not so good. However, she has always been extremely proud that she was a pioneer for women in banding. How sad I am to discover that there seems to be no record of this and that she seems to have been forgotten in the annals of time.

Until recently my Mother still played and could have still given most people a run for their money!! Certainly the young ladies in the 1990's were not the most recent.
 
To have achieved what my mother did in the 1930/40's was a spectacular feat and just shows what a prodigious talent she had. It was not easy for her as the prejudice against women in banding was extremely strong.
 
Kim Geldard

Time for change

Two london bands in the top 10 in the Masters. Surely it's time for a change in the adjudication system
 
Murray Aitken, Aveley and Newham

Morley Calvert
 
As I recall Morley for the years I knew him as our music director of the Weston Silver Band I never once
recall a trace of a Dutch accent. His accent was pure Ontario eh! He had a wicked sense of humour
and may even have been amused at having some Dutchman masquerade as him. It may work in
Holland but not many other places.
 
One of his most memorable lines was "Basses, do you really prefer what you are doing to music?"
 
As for the bit about the ale, he did enjoy a brew after rehearsal but it was Molson's Canadian not Grolsch.

Graham Young

^back to top