Comments ~ 2008: July

Yet more opinions from Preston and something quiet too...

Banish them all?

So it's time to banish all living SA composers from the contest stage
 
My God what next banishing all persons from wearing red jackets on stage because Mr Clarke only likes blue jackets.
 
Everyone is entitled to an opinion as is Mr Clarke who appeared was uninspired by the music- unlike him maybe others were inspired by the piece Christian or not.

Andrew Davies 

Reaching a new low

I've sat and read N. Cole's response to the letter from Mark Sellers.

I have to say in all my years of enjoying quality brass band music, and the movement surrounding it, I suddenly find myself feeling it’s reached a new low. It’s a very sad day for Brass Banding.

The vitriol is the letter is staggering, the arrogance outstanding, but to introduce the argument that N. Cole's Human Rights were infringed, well, at the very least its legally interesting, at worst just plain idiotic.

Firstly, N. Cole needs to read Human Rights Act 1998, CHAPTER 42 Section 12 and 13. These are the sections that put formally into UK law, the right of "Freedom of expression" and "Freedom of thought, conscience and religion". Please do not quote Human Rights when it is absolutely clear you have no understanding of the legal definition of current UK and European law.  Exactly what Human Right of N. Cole was Mrs Redhead infringing when she spoke. Some would say she was exercising her right "in law" as defined in statute, quod erat demonstrandum.

Secondly, I do find the comment "if SA officers can't keep their mouths shut regarding religion" extremely offensive. SA officers have a fundamental right in law (see above) but more importantly it’s a freedom that many people died to protect through two world wars. We live in a democracy, where free speech, religious freedom and right of assembly are sacrosanct. If readers feel this is rather emotive, it’s meant to be.

I cannot sit back and watch the Brass Band press publish letters (and snide remarks from Mr Fox) unchallenged. Especially when it reaches the level of a personal attack of this nature. Enough is enough.

I do wonder why the SA ever bothered to think that the brass band world would be ready to accept their music. Isn’t it a touch ironic that Col. Redhead (I believe) himself made the brave decision to open up the rich treasure trove of SA music to "outside" bands? Strange that his skills as a composer are coming under attack from that well known writer of quality brass music N. Cole.

As Voltaire once said "I may disagree with what you have to say, but I shall defend, to the death, your right to say it".

I for one enjoy a lot of SA music. I may not know the words or the spiritual associations, but I know the world of brass banding would be the poorer without it. So go on N. Cole.

Keep griping, make the UK banding scene a no go for SA music, composers or players.  Twill be a very sad day and a victory for the bigots.

Charles Williams
Harrogate
North Yorkshire 

Selling our souls...

The huge problem here is that the brass band movement has literally "sold their souls to the devil ". 

Who else out there has the money to put into brass bands?

Kath Stokes
Holmfirth 

Quiet endings?
 
"What is wrong with a piece of music with a quiet ending?" asks Jason Follett.
 
The answer is, of course, nothing at all.  There is not even anything wrong with a contest test piece with a quiet ending either.  What is wrong is the way a contest audience reacts immediately afterwards.
 
Musicians know that the silence immediately before and after a piece of music are an integral part of the performance.  I was reminded of this last Friday evening, listening to the LSO and Valery Gergiev give a performance of Mahler 9 on the radio.  When the last note died away, the silence which followed must have lasted a good 30 seconds, the stillness punctuated only by a couple of exhibition coughers.
 
At contests, this moment of repose is routinely wrecked by the guttural reaction of an insensitive audience more interested in tribal allegiance than music.
 
When I read that In Memoriam RK had been set as the test piece at last year's All England Masters, I just knew that I wouldn't be going.
 
James Yelland
Leicestershire

Majestic message of Infinity

I am really saddened to hear that the test piece at the English Nationals didn't meet the "standards" of a test piece, especially of previous test pieces. 

Can I say, what is wrong with a short test piece? And what is wrong with a piece of music ending with a quiet ending and not a thunderous ending, like in previous test pieces! 

It seems to me that the composer has in his mind areas where he thinks the band will be tested.  And I know that lower grade bands struggle playing soft or ending "to nothing", let alone playing slow hymn-like pieces.  Maybe the composer sees a test in the championship section bands to see if they can pull off a performance that ends "to nothing".  

I believe the composer writes "...this music is deliberately melodic in context, creating a sense of unity with the infinite, in tandem with the varying expressions of individuality.  It is not based on the Psalm but reflects some of the sentiment lying therein." 

So, Yes the composer does use Eugene Petersen's ‘The Message’ as an example of the Psalm.  And it does describe suckling babies to the moon and stars, the beasts of the field, the fowl of the air and the fish of the sea. 

But I think the main message that I can interpret, is how majestic is His name and the splendour of His works, which is Infinity! And composer expresses his "interpretation" of the Psalm as a melodic one in context. 

Now I do agree, that I was a little disappointed in the test piece, when I first looked at the score.  But every time I look at it, I see how this is a test piece - especially for Soprano and Xylophone players.  It was disappointing to hear that solo cornet players subbed the part when there was a soprano cornet player there on the day! Now, You can't do that with a Xylophone player???

I don't want to sound too negative, but again was disheartened to hear that Robert Redhead's piece didn't cut the cake. 

In saying all this, I must confess I wasn't at the English Nationals to hear any of the performances and I don't have a brass band with me, so I haven't heard the piece in performance. I only have the study score! 

I was very keen to hear that Robert Redhead was asked to write the test piece, and so wanted the score as a reference and study and possibility of working with it with a band.  Which brings me to a question, if Infinity didn't cut it as a test piece, would it make it a great concert programme piece? 

Robert Redhead is a fantastic composer who has retired from active service with the Salvation Army in 2005.  And since then has still maintained a busy life style, of appointments with the Salvation Army, his most recent one being guest conductor of the Melbourne Staff Band from February 2008 till July 2008. 

I think he is doing well for his age, composing challenging music both for SA and non SA bands.
 
If I can ask for a recording of this work (Infinity) or if you could lead me in the right direction, that would be much appreciated.

Thank you for your time, and for updating many across the globe with the latest of brass band news. 

Jason Follett
Sydney
Australia 

Secular not religious setting at Preston

In response to Mark Sellers, Co Durham:

I have just read your correspondence to 4BR, and I have to say that I have never read such an amazing amount of rubbish before. I am truly shocked - it is: Arrogant, ignorant, presumptive, and patronising. 

Your point that a SA officer, when given even half a chance, will grab the opportunity to preach at us is your choice - not ours. We don't ask to be preached to. Further to that, the composer is the person who should be speaking on the platform, and his primary focus should be music. 

You were nearly correct when you stated "It wasn't a religious setting as such" - I just don't think you have fully grasped it yet....It was a secular band contest. It wasn't a religious setting at all. 

And if you are convinced that SA officers will never miss a chance to preach to the paying audience, then you have made a very valid point: The time has come to banish living SA composers from the contest scene! 

If SA officers can't keep their mouths shut regarding religion, then again, I can only think that the only way to stop them infringing some of my basic human rights, is to stop you from speaking at secular events. This ties in nicely with my previous point too. 

Religion has always played an important part in music - as music has played an important role in sacred environments. However, you are missing the point completely.

A piece of music in a secular environment needs to stand alone as a piece of music - not as some poorly polished words from God. Of course, background to the piece will always be important -  but you don't need to know what scripture a work takes its inspiration from in order to enjoy the work. A good piece is a good piece -simple.
 
Your next point was that the review was "slightly sniffy". Does it have to be good because it spreads the word of your God? For me, and most others I spoke to, it was a shambles of a piece of music (loosely phrased). And what is the good reason that SA music is conservative - enlighten us all please!!! 

You go on to say that "...music...can still inspire and challenge".

I hope that is the case. In fact, I know that is the case. 45000 people singing ‘Never Walk Alone’ has proved to be the proverbial 12th man at many Liverpool games. Listening to a new work by a composer at the Proms is an exciting challenge too.

And how many people are inspired to start playing or carry on playing  when they hear a brilliant new piece of music, or a fantastic new arrangement?

You are right - it does inspire and challenge, but it doesn't have to be anything to do with any God that anyone believes in. And for the record - spiritual doesn't have to mean something to do with the Bible.

Also, there are non-Christian people involved in brass banding - do you really want to alienate those? Your sentence: "...audience at contests may too share Christian beliefs" is just plain ignorant. Letters like yours, and SA preaching, is the way you will alienate non-Christians in brass banding.

And to your final point: Yes let's criticise the SA for doing their chosen job.  I don't assume people will be turned off because the music challenges them about their faith - perhaps people are actually secure in their faith? Don't be so amazingly arrogant to presume they are not. 

4BR deserve praise for even printing your letter - allowing you the chance to have your fair say, and freedom of speech. Those who chose can read, those who don't, won't. We weren't offered that chance in Preston. 

And one last point - the piece was very poor, and really if there is a God, one can only assume s/he/it would use a better, and more competent vehicle to spread the word. 

N. Clark
Doncaster 

Level playing field- march/hymn tune contests 

I have much admiration for those bands and individuals who organise band contests of this type however some thought needs to be given to the rules in many cases.

If prizes are to be given for best 2nd/3rd /4th section bands then it seems to me that those bands should only have those national graded players or below in their playing ranks at the competition!
Otherwise what is the point!

My band has decided over the last few years that to play all your own players or borrow from similar graded bands is actually a disadvantage, when other bands turn up with championship players in their lineup. Therefore we do not attend these competitions.

Please give this some thought organisers and perhaps your contests will be even more creditable and successful.

Paul Wilkinson
Rotherham

Not too late Bob!

In reference to Bob Hanbury’s recollections of Brian Evans, I’m not too sure about the line saying “the late Bob Platt”.

If I were you I’d give him a call and ask him. 

Otherwise, I concur totally with the correspondent; in my opinion, the greatest player of my time in brass bands. 

John Hinckley
Westhoughton

Soprano great!

In reply to Bob Harwood Re: July Soprano Greats 

It wasn't an oversight at all. I was born well after 1973 so I wouldn't of got the chance to hear this gentleman play in his prime.  However I have recently purchased his cd "Dedications" and I'm well please with what I've heard recorded. It's a fantastic cd well worth the money paid for it.

In my band at the time the players that I mentioned where the one's that had cd recordings of themselves or either featured on a cd or even getting the chance to listen to them play live on stage several times.  They were and are still role models for any young and up and coming banders who wants to play soprano.

Having researched on Brian Evans - I should point out also that it was a unintentional oversight that I didn't include Charlie Cook, Emlyn Bryant, Tommy Waterman, Bernard “Buddy” Burns & Joseph Brooks - All fantastic soprano players I'm sure in their day.

Gareth McDonnell

SA Officer's primary focus

In response to Iwan Fox's comment on Gywneth Redheads speech following the English Nationals.
 
I do wonder what you should expect if you invite a Salvation Army officer of some standing to speak. I am also a Salvation Army officer and keen contest goer when work permits. I too get a little impatient when enduring the endless speeches that go with the announcement of the results.

However a Salvation Army officer’s primary focus is the communication of the gospel. And we do so unashamedly. If asked to speak about music inspired by faith and meant to communicate an aspect of that faith, I don't know how you can talk about it without getting even a little preachy.
 
It wasn't a religious setting as such. But the Salvation Army exists primarily as an evangelical movement. No Salvation Army officer worth their salt should miss an opportunity given to them. Gwyneth Redhead was in short doing her job!!! If you don't want to hear speeches of that kind don't ask a minister of the gospel to make them.

I recently went to a B&R concert conducted by Richard Evans who quoted scripture as it was relevant to the piece the band was playing. Should he have not bothered. If anyone knows how to communicate with an audience he does. 
 
4barsrest review of the test piece 'Infinity' was also slightly sniffy I felt. The SA has always been slightly conservative in its output for bands. With good reason.

However music, however conservative, can still inspire and challenge. The suggestion seemed to be that spiritual / biblical themes and test pieces should not mix because the average bandsmen won't appreciate the sentiments. Do orchestral musicians always go along with the sentiments of the Messiah or the other many orchestral works inspired by scripture.

There seemed to be a further suggestion that SA composers should not be asked to write for bands other than SA bands. It seems odd that a respected writer for non SA bands should advocate the reversal of the policy of SA music being made available for all to perform.

It was always die hard stick in the mud Salvationist bandsmen who in my experience spoke like this. And credit should be given to Robert Redhead for making the historic change whilst head of the SAs music department.
 
Any one who has heard the Essays CDs by YBS would agree that good musicians have the ability to move and challenge a listener whatever the motivation of the composer or their own personal beliefs. SA bandsmen are not the only Christian bandsmen around.

And a good deal of the audience at contests may too share Christian beliefs. Equally I'm sure many have no faith at all but nonetheless still appreciate the music.

Lets not criticise the SA for doing it's job, and lets not be as patronising to assume that people will be turned off because the music they hear challenges them about their faith.
 
Mark Sellers
Corps Officer
Consett, Co Durham 

Brian Evans remembered too
 
Regarding Gareth McDonnell s comments re: /July/Soprano greats comments, I am sure that it is a completely unintentional oversight not to have mentioned the late, truly great Brian Evans of CWS Manchester and Brighouse and Rastrick.
 
Ill never forget Brian when after the 1973 concert under Bill Relton at City Hall, Sheffield we ended up in some Indian restaurant and we shared a lift in the back of a mini owned by one of the trombone section [ about 5 of us in all dodging sheep in the middle of the night, somewhat rather worse for wear] and I was first to be dropped off at home in the home village of Delph, where, I was born and via the late Bob Platt who also taught me, recommended me to play for the B&R band.
 
Not realising until the next Day, I called Brian and asked him if he had hung on to my cornet.
 
He replied No, but did you pick up my soprano?
 
I replied "No".
 
A hurried phone call [ dont ask to who] and all was happily resolved but I couldnt resist asking Brian what his secret of success was: He replied in his typical manner " Lad, If in doubt, Read and hear the notes before you play em 'em, shut yer eyes, and blow like ***k"
 
God Bless Sops like Brian and thanks to the guys we have to day
 
Gone, but, surely not forgotten.
 
Bob  Harwood
Banbury 

Great Kev

Further to Mr McDonnells' e-mail regarding Kevin Crockford, I'd have to say I couldn't agree more!  I've always had a rather worrying fascination with the soprano cornet and hold Mr Crockford responsible for the fact that I now hold one in my hand (I'm loathed to say "play" when discussing soprano greats!) week in, week out. 

As a teenager back in the 90's, I remember vividly hearing the James Watson "Dyke" at St George's Hall with KC on sop and a rendition of Procession to the Minster.  Remarkable playing (& volume!!) and after been totally mesmerized by KC decided soprano was the instrument for me!  Crazy!!

It is really good to see him playing better than ever 14/15 years later, maintain such high standards with his solo and band playing. I am sure he'll inspire many other youngsters to take up the soprano!
 
On a totally different topic. 

I am just wondering if someone, who's far more knowledgeable about these things, could explain to me why the price of a latest release brass band CD is say 2 or 3 quid more expensive than say a new "chart release". 

I've recently bought a new Grimethorpe CD at a cost of £13.95 + £2.00 carriage (my local HMV don't seem to be stocking it?!!) so basically £16.00 for a CD.  If I wanted to buy the new Europeans highlights CD, which is a 2-disc one I'd be looking at the best part of £20.  Even brass band downloads seem to be more expensive than those not of a brass band nature.

Forgive me been the tight Yorkshireman, I’m merely interested as if anyone can shed any light on this for me.  I suppose I could be missing something very obvious, i.e number of people buying the latest Grimethorpe CD Vs number of people buying the latest Arctic Monkeys CD.
 
Matt Chiverton 

Brass at the Abbey

London based bandsmen may be interested to know that the 'Abbey' at Westminster have seven bands (including South London Fellowship) lined up to give Wednesday lunch time concerts commencing 16 July through to 27 August.

Details on www.westminster-abbey.org/pdf/band-concerts.pdf
 
Roy Horscroft
South London Fellowship

Streamline the level playing field...

In response to your comment on the anomalies of European qualification for British bands may I offer the following:
 
In order to level the playing field for all British bands a more streamlined approach should be put in place.
 
As things stand the Scottish and Welsh representatives are decided a full 14 months in advance, due to the proximity of their respective area competitions and the European contest itself  - too long a period in my opinion -  and, as you rightly state the English bands have to jump through two qualifications hoops based partly on one of the various “ranking” systems.
 
A qualification system which allows bands from any region in the UK  to progress on an equal footing already exists in the form of the British Open Championship, and its associate Spring Festival contests.
 
Invite the highest placed competitors in the British Open from the relevant countries to the following years European contest.
 
This brings me to the nub of my argument which is to question the need for the English Nationals contest at all, and before I am shot down this is not to question the intentions of the BFBB or its running of the recent competition, which I felt was one of the best run contests I have been involved in.
 
My main objection is the subjecting of all the competing bands to yet more expense, which most can ill afford these days, in money and time when the British Open already contains the cream of the bands from around the UK.
 
Without the carrot of European qualification one would have to seriously question how many bands would feel the need to continue to attend the Preston event?
 
….and a final point. Lets stick to one band from each country. If England supposedly deserves an extra place then who could argue against the same treatment for the Norwegian bands and perhaps others?
 
Sandy Smith
Holmfirth  

Winners only...

I thought the contest was the ‘English National’ and not the how many ways can we think of to invite another English band to the European. 

There is no doubt that Grimethorpe and Black Dyke are superb bands but inviting them both might start a precedent that will end up with two bands from each competing country taking part. Better still lets just have any band who wants to compete in it and be done with it.
 
There is far too much manipulation of rules to let so called named bands take part in this and that event going on. I am just waiting for a free world tour being added to the first prize along with an additional place at the National finals.
 
Actually the amount of money involved to just take part in the European (never mind have a chance of winning) is becoming prohibitive and bands like Grimethorpe and Black Dyke may be the only ones able to afford it in the future.
 
I have no idea how the true champions of England can be determined but until that time, surely the winners ONLY can be considered for an invite to ‘The European’. 
 
Iain Fleming 

Kevin Crockford - soprano idol

Kevin Crockford has always been an idol that I looked up to in the art of soprano playing. 

As a young boy with a raw talent thrown onto the hot seat by my mentor at the time I needed guidance, so I listened to the best on tape or cd, from Peter Roberts to Alan Wycherly, Nigel Fielding to Tracey Redfrean - and came up with Kevin Crockford.

I also heard him play in Strabane a few years ago with Black Dyke - after this I wanted to meet this guy.

Finally, I had the great pleasure to meet Kevin at the 1999 British Open. He was with another great band back then - Williams Fairey. The beautiful soprano solo in the ‘Nativity’ was played exceptional well, and I even managed to get a photo that day of myself with Kevin, who was very obliging and took time to receive the plaudits.

Recently last year I heard him in the RAH playing "Music for Battle Creek" and was amazed with such talent that was on display. This man oozes class and finally we are all getting to hear him play and see him enjoy his own playing and getting the results.  I look forward to hearing him play again in October at the RAH.

We all witnessed on the Brass in Concert dvd from 2005 Kevin playing in the octet off stage the piece’ A Quiet Place’. As the camera pans away from the band to the audience you can see that reaction from a member who surely was amazed by Kevin's playing.

Long live Peter Roberts but surely Kevin is now ‘King’ Kev - finest soprano cornet player in the world. May it long continue.............

Gareth McDonnell 

Names for the places anyone?

Your results archive is a fantastic source of information when it comes to placings for the major contests over the years, which is why you are my first port of call.
 
I'm working on a project at the moment which requires that I establish the names of the band members who played in the winning band only (Championship level), for the Nationals, British Open, European (when it started) and World Championship (while it existed). I would need to go all the way back to approx 1960.
 
No mean feat I know!  I appreciate that to hope that you would have that information on record is grasping at the proverbial straw, but as I said - got to start somewhere!
 
I'm guessing that in the long run I'm going to have to contact each band individually to request they search their own archives for the information to help me, but fingers crossed that a wonderful establishment such as yours............ is that enough flattery yet!
 
Any assistance would be very, very greatly appreciated.
 
Nicky Jeffries
nicole.jeffries@homegroup.org.uk

4BR Reply:
If anyone can help, please get in touch with Nicky

Bleak future in Wales

As one of the tutors of the Cory Junior Band I am increasingly concerned that not enough support is given to the youngsters who we all hope will carry on the brass band tradition that we all love.

I am worried that bands in Wales will have no future if the attitude of bands of all sections change and stop ignoring the fact that junior bands are our future.

It is my opinion that tutors within the local authorities and many higher graded bands are teaching for profit and not to benefit the children.

I and my colleagues give our services free of charge, as traditional bandsmen have done for years. Our aim is to provide future players for bands of all sections,

 I have myself been fortunate to play with successful bands such as Cory/Parc & Dare/Lewis Merthyr/Cwmaman and Treherbert. In my opinion many of these bands will not survive unless they give opportunities to our youngsters and forget that a music clef looks nothing like a £ sign.

I obviously understand that it would be impossible to expect our youngsters to progress to our senior band, therefore when we feel that a child is competent enough we aim to introduce them into lower section bands to further their future within the brass band movement.

This also benefits the lower section bands within our area and beyond. As an example, we arranged for two young sisters who were relocating to Blackpool to continue playing by putting their mother in contact with Blackpool brass. We are pleased to say that these children are now settled with that band.

I must emphasise that the opinion stated above is my personal view and is not intended to be representative of anyone else connected with our organisation.  

Paul Samuel
Cory Junior Band 

Sit back and enjoy

Your July editorial had it spot on when the last sentence commented "let's sit back and enjoy brass band music" whether originally composed to further  the gospel or otherwise.

William Booth is also attributed to have said; "Why should the devil have all the best tunes" although far be it from me to suggest that non army music is that of the devil.

Music will be interpreted by the listener as he or she sees fit.   Only recently while preparing a young cornet soloist for a slow melody contest with an SA piece I was surprised (but pleased) to hear the parent's comment that
it did help with the interpretation of the solo to see the actual words associated with the tune which I happened to have at hand.

So let's all take advantage of the freedom to explore and enjoy all brass band music no matter the source or original intentions of the composers.

John Gilmour 

Ilkley Moor answers...

Re John Potters search for a purely brass arrangement of the unofficial Yorkshire anthem "Ilkley Moor".

I seem to recall that there is an excellent example of this in Thomas Keighleys "Northern Rhapsody" - an ancient but worthy test piece of yesteryear.

I remember playing it before I had enough whiskers to warrant a shave!!

It was an excellent contribution to the early Brass Band original archive.

Ian Wilkinson 

And here...

I'm not sure whether Mr. Potter requires the music or the track of a brass band playing this piece but I have a recording of this piece at home on cd & I'm very sure it's a non vocal arrangement.  

I have supplied a link to view the arranger, where to purchase the cd, & the price.

http://www.ukcd.net/details.asp?ref=148

Gareth McDonnell 

Just seen the judges...

Just seen the adjudicators (judges?) for the Yorkshire Area.

Oh dear!!!!

Now I know why I packed in playing (amongst many others!) . . .

Sigh!!!!

Roger Thompson 

 What future now for the Masters?

Having been at the English Nationals on the weekend, I have to agree with 4BR that the contest is now starting to flourish and has a solid future.

What will become of the All England Masters though? It seems that with the English National now a more important contest as it has European qualification the Masters could wither and die.

Perhaps the English National has heralded the end of a once great contest?

Paul Lincoln 

No recording?

After listening to the enjoyable 4BR podcast from Preston, I wondered why you didn’t have any recording as you usually do of part of the winning performance? 

Was there a recording done I wonder or will this be a test piece that will sink without trace into Infinity…

Justin Gould  
Wrexham

4BR Reply:
We were not aware that an official recording on the day was being made, but you never know - Grimethorpe may well record it in future. 

Soli Deo Gloria?

Iwan Fox was not  happy  with the words of Mrs. Redhead in the Guildhall last Saturday. 

Meanwhile every one knows that all composers of the Salvation Army have in making music the same intention as J.S.Bach: praise and seek the Lord. 

Bach wrote above every composition: Soli Deo Gloria. Not simply the words of Mrs. Redhead but the music itself is a subtly preaching.

Mrs. Redhead has said aloud what the intention of the composer was. In the opinion of Iwan Fox there is one way to stop such remarks of Mrs. Redhead: Playing music of all composers of the Salvation Army is for every contest forbidden.

But it should be a great disaster for the world of brass banding.
 
Alko Driest
The Netherlands 

Importation

The growing "importation" of players for contests can be put down to many things:
 
Shortage of home grown players often caused by young members going away to further their education. 

Lack of training facilities to produce players perhaps through shortage of skilled tutors.
 
The win at all costs syndrome.
 
I feel the relaxation of the rules to allow professional players was a retrograde step in the long term.  The growing trend of importing stars from abroad should be stopped now, look at the effect it has had in football by restricting the opportunities for UK players coming through the ranks.

I cannot accept the argument that this improves a band long term, in fact it has the opposite effect in banding as in football.  How many players, over the years, have grown into their chair when given the chance.

Where are the future Garsides, Shepherds, Baglins et al who started at the bottom made their names and have become legends in our movement? 
 
The growth of college education for players seems to have little effect on our movement except at the top.  Players cannot be criticised for wanting to play with a better band, but not all who graduate are future stars and their skills could be harnessed for the good of the movement while we still have one!

Many may think my views are those of a dinosaur. I started with a youth band and played eventually with top section bands helping to train young players en route. 
 
Perhaps my views will provoke more to get involved in the future strength of our movement.
 
Mike Hughes 

Well done Brighouse
 
As an ex bandsman now living over here in the good ‘ol USA, I try and keep in touch through your pages as to what’s going on in the banding world nowadays.

I recently had a visit to family over in England near Ipswich and decided to go to the Brighouse & Rastrick concert. Quite simply it was fantastic. !!!
 
Its definitely one of the best concerts I have ever been to. The band was on great form and Alan Morrison was a great host.
 
Each half of the concert had something for everyone. There were the more traditional brass sounds and some good comedy moments too. Mr Sandman, All Night Long and Bare Necessities brought the house down! All the soloists were top drawer.
 
There was one piece in the first half I had not come across before, called Irish Blessing, which featured flugel, horn, baritone and euphonium it was simply great. The guy on the flugel was a class above, it was truly one of the best sounds I have ever heard.
 
Second half was more quality just like the first, with the soloists again doing well. The band has a big sound but it was controlled and never overbearing as you sometimes can get with other bands. Throughout, the flugel sound was very distinctive and I would liked to have heard more.
 
In summary an awesome concert!! I would suggest it’s probably the best I have ever been to. Congrats to all involved with the band
 
Mark N. Pagdin 

Trumpet help

I wonder if anyone can help me find out about a trumpet player called Herbert (Berrtie) Barr.

He was playing from around 1912 in London. Any history, info would be great.
 
Ian Smith 

Carmina Burana

In response to the message from Wout de Vries

"Do you know if there are arrangements for brass band and choir from the Carmina Burana from Carl Orff."

I was in The Halls Oxford Concert Brass when we performed the piece at the Oxford Town Hall with a massed choir from Bonn and Oxford. We had to hire the music from, I believe, the Carl Orff Society.

If I remember correctly there are parts for two Soprano Cornets in it.

Paul Uzzell 

On Ilkley Moor anyone?
 
I am trying to obtain a non vocal version of “On Ilkley Moor Bah T’at” played by a Brass Band. Please can you help me?
 
John Potter 

Thanks

Abigail Harding from Wigston Band (Leicester) would like to give a big thank you to all the bands and thier members in the Midlands Area who helped with her research dissertation for her BA Sociology degree.

All the responses helped to provide important insights into the social nature of brass bands and the banding world, enabling her to obtain a 1st class degree.

Abigail Harding

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