Comments ~ 2009: March

More views and opinions from around the regions and we head for the final trio this weekend in Darlington, Stevenage and Dundee.

The Good old days at Bradford?

In response to Malcolm Wright Re: ‘Good Old Days’ at Bradford.

I agree Mr.Wright, it wasn’t a return to the good old days, to be honest I can never see them returning but we did have a paying audience of well over 1,000 plus guests and free band member seats. In the current credit crunch climate I don’t think we can complain at those figures for what is after all a regional contest.
 
‘Yes’ unfortunately the computerised ticketing system crashed which caused the delay to the start of the Championship Section but ‘No’ to all the cynics, it was not because Black Dyke had No.1 left in the bag for them, whichever band would not have made any difference, it was because the circumstances were beyond our control and I wanted all the audience to have the same opportunity to hear everyone competing.

In response to Peter Jennings who suggests “all listeners who buy a ticket for the top section to be given a free study score to go with it”

What !!!!  You buy a ticket for £6 cash or £7 by any other means due to the levy applied by St. George’s, which incidentally is out of our control, to listen to the top 12 bands in Yorkshire, 7 of whom are in the top 20 in the current world rankings and you want a free study score as well – I’m speechless, you’ve taken my breath away.

On a lighter note, huge thanks to everyone who supported the Yorkshire regional this year, bands, audience and everyone involved.  See you all next year.

Peggy Tomlinson
Yorkshire Regional Secretary 

Not that out of date

N. Garman writes that the detail on the new Leyland Website cannot be easily read as the writing is in pale yellow.  He is quite right, but only if his computer settings are as out of date as he alleges the photograph of the Leyland Band to be.
 
Allan Littlemore
Chairman – Leyland Band 

Excellent service

I hope you are able to publish my letter for the excellent service I had from Band Supplies Leeds on purchase of the new Prestige Baritone.

On Tuesday 3rd March I sent an email to them to enquire if they would have any on show at the Yorkshire Area contest. Within in 15 minutes I had got a reply from David Beal saying that they would have.

I went to Yorkshire Area on the Sunday had a good chat to David &Chris about the Prestige and was given a very professional service.

I was very impressed. I had the chance to have a blow with the baritone that they had got for sale on the trade stand and said that I would have it.

I was given a great deal on my old Sovereign baritone as part exchange when I went up to the shop in Leeds and came back with the Prestige as well, having only going up thinking I was to get a price for the part exchange.

I will say now anyone who is thinking of buying a new instrument from Band Supplies I would recommend them as I was so impressed by the quality of service I received from them.

Ian Perks 

The number of bands

In the general introduction article to the forthcoming London and Southern Counties Regional Contest the following statements are made:

"The region could still do with a bit of a grading sort out (12 true top section bands?) There is little doubt that having 12 bands in the top section is plainly ludicrous"

I find these comments strange and in want of justification. Is L&SC unusual in having 12 bands in the Championship Section? No, evidently not:

13 in Midlands
12 in Yorkshire
11 in North West
11 in South West
10 in Wales
10 in Scotland
9 in North East

The L&SC region stretches from Milton Keynes and Northampton down to the South Coast, from Oxford across to the East Coast. Geographically the region is as large if not larger than other regions.

There are a great number of bands in the South and many of them play to a high standard yet even today this fact is either ignored or disputed. The tone of those introductory statements suggests that 'the 'North' is somehow allowed to claim top class bands whereas 'the South' is not.

I think that - as acknowledged elsewhere on your excellent site – the earlier results from Butlins show that southern bands are more than a match for their northern counterparts.

Steve Earley
MK Brass / Royston Town Band

Contest eve concerns
 
I read with interest your recent response to Mr. Stock, Yorkshire (Comments: Jan 2009) in which you replied:
 
“That's what we [4BR] thought we have been doing for the past eight years - asking the questions, initiating the debate, giving the ideas, setting out our opinions and reporting on the outcomes. We will keep trying though.”
 
Can I therefore ask if you would consider the following situation concerning the West of England Championship Section?
 
Before I go any further, please note:
 
I am transmitting this comment to you on the day before the contest.  I write, not as a representative of Bournemouth Brass, but on my own initiative, and at no point will I doubt the professional integrity of the named individuals.
 
The scenario is as follows:
 
Yorkshire Area: Nigel Boddice and Steve Sykes sat jointly to adjudicate the Yorkshire Area on ‘Salute to Youth’. 

In carrying out his duties, surely Steve Sykes would have gleaned how Nigel Boddice likes this piece to be played and what he is looking for in the ideal performance.
 
South-West Area – 7 Days on: Nigel Boddice will sit with another panel member to adjudicate the West of England Championship Section. Amongst the bands to perform – Lydbrook Band conducted by Steve Sykes.
 
As is the case, like every conductor, for every band, in every contest, Steve Sykes will do his utmost to prepare his band to impress the adjudicators.
 
Whilst 11 conductors in the championship section can only surmise what Nigel Boddice may be looking for in the ideal performance, Steve Sykes (having spent 5 hours in the box with him) will have benefited into exactly what he is looking for.

Is this fair? I think not.
 
Am I alone in expecting every adjudicator and regional association, not only to be fair and reasonable in word and deed, but also be seen to be fair and reasonable - to conduct and organize themselves, and do everything they can so not to give rise to any suspicions of unfairness and calls for closer scrutiny?
 
I understand that when the adjudicator’s names were released, several bands raised concerns informally and formally to the South West Area Association.

Each received a rebuttal; the official response being that the adjudicator would be accompanied by another panel adjudicator.
 
So, when an adjudicator is in the box on his own, it is not acceptable for a conductor to know what he might require of the piece, but when someone else accompanies him, it is acceptable!!
 
Not only does it trouble me that this situation endorses what many band committees feel to be unfair, but as an organization responsible for appointing adjudicators, they are clearly unaware of the dynamics of the personalities of two people working together - in such cases one individual will nearly always rise to have influence on the other.
 
As for tomorrow’s contest – I am sure there will be more than the usual interest in Lydbrook’s result.

But my concern is that if this situation is seen to be acceptable practice, it could create a precedent in other sections and in other area contests.
 
Stephen Didcott
Bournemouth

(4BR received this correspondence on the eve of the West of England Championship Section Contest) 

Thoughts from the Midlands...

I don’t often feel compelled to write but after attending the Midlands Areas I felt I must do so. I’ve been attending contests for a number of years and have experienced a wide range of performances and adjudicating decisions.

However few have been as baffling as yesterday.

I have no affiliation to any of the bands, so listening as a neutral I cannot understand how the adjudicators came to their decision.

The winners, Desford, by their own admission, didn’t play to anywhere near their own high standards, with individual errors in a couple of the solo lines.

The last movement, in my opinion, felt rushed and detail was lost (it does say ‘As fast as possible’ but this shouldn’t be to the detriment of clarity). Nevertheless, the overall quality still shone and so a top 2 place was probably deserved.

However, it did seem that a number of members of the band were embarrassed to win after some of the mishaps!

Having listened to all 13 bands, I have to say that the only band for me, who came close to playing the piece convincingly were GUS, whose performance was most assured, both musically and rhythmically, with touches of class in the solo lines.

This seemed to be the general consensus and it was quite astonishing how so few bands were able to measure simple rhythms, particularly the triplet and semi-quaver figures prevalent in the 1st movement.

When the result of GUS coming 4th was announced, there was a gasp around the auditorium. Without wishing to take anything away from the bands who finished 2nd and 3rd, there was no doubting that they were not in the same league as GUS.

After yesterday’s contest, several thoughts come to mind:

Full credit to the adjudicators for coming out and explaining what they were looking for - but this seemed to contradict entirely the actual results they gave!

The best bands are the best bands because they have the best players. This sounds obvious even on an off day, and so bands who don’t have that same quality of personnel, even at their best, are still not on the same level.

It does seem that adjudicators have a habit of placing the loudest bands highest.

We all know that bands drawn near the beginning have less chance of winning, but if adjudication is supposed to be a fair process, why should this be the case?

There are some elements in music that are subjective and others that are objective. For example, tuning, split notes, tempi and rhythmic accuracy would be regarded as objective, whereas phrasing, musicality and interpretation conversely would be considered subjective.

If the adjudicators were unable to tell the difference between a top band and one that is clearly, to most listeners, several levels below, then one must question why they are in the box in the first place.

One has to ask the question, is it time for new blood in the box?

Alan Houghton
Nuneaton 

Welsh wonders...

Further to your comments about the lack of bands competing in the Welsh Regionals this year.

The simple answer lies with the insistence on holding the contest in Swansea, which makes it a very expensive ‘day out’ for those bands based in the North when coach hire and hotel accommodation are taken into account. 

The sooner the contest comes up this part of the world then the sooner some ‘missing’ names will re-appear in the contest programme!
 
Brian Mottershead
Menai Bridge Band 

Congratulations

Just a few words to congratulate my good friend James McCabe on winning the soloist prize at the Yorkshire Regional Championship.

It was a great achievement and one to be very proud of.
 
Brian Connolly 

Scottish David not the Welsh one!

According to your article St David's Brass in the Scottish 3rd section is named after The Welsh St David.

Nothing could be further from the truth we are named after the Scottish St David (St. David I of Scotlandc. 1080-1153) - who is not related in any way to the Welsh Saint.

John A Dickson 

Leylands hard to read website

Thanks for the news of Leyland’s new website.

It’s a shame the front picture is about 7 months out of date and that none of the detailed text can be read due to it being pale yellow.
 
N. Garman 

What ever happened to Rowntrees?

I was reading an article from area countdown 2 days to go and noticed you mentioned the Rowntree Cocoa Works Band.
 
From 1930 to 1965, this was the band’s name, and then in 1966 it changed to Rowntree Works Band.

In 1977 they changed their name to Rowntree Mackintosh Work Band, and then in 1990 they changed their name to Rowntree Brass Band. In 1999 it changed again to Nestle Rowntree Band.

That sponsorship was lost however and now the band are sponsored by Shepherds in York and are now called The Shepherd Group Brass Band.
 
The band celebrated their 100th anniversary in 2003.
 
Richard Peacock 

Bad memory

Having just read the article on 4BR about the regional round up, I would like to point out that your memories obviously are not that good!

The comment read: “In the Third Section it was Cubbington Silver who leapt up the results table from 17th to victors this year, to gain their second trip to Harrogate in the past three years, whilst they will be joined there by Bakewell Silver who qualified for the finals for perhaps the first time in living memory!”

If you would like to check you archives you will see your mistake.

Bakewell qualified for the National Finals of the 4th section in 2003 (a mere 6 years ago!) that were held in Dundee. As a current Bakewell Silver Band player, I and the rest of the band would be grateful if you could correct this mistake, and maybe also include the fact that this result now takes us by promotion into the 2nd section!

Helena Wardle
Flugel - Bakewell Silver Band 

Plinth project

The artist Anthony Gormley has a project for Trafalgar Square. 

He wants ordinary people to bid for an hour slot to stand on the fourth plinth and represent Britain. This will last for a total of 100 days.

So how about a brass band player to stand and play (if noise is aloud!) or pose to represent the British Brass Band Movement?

Championship down to 4th & non competing bands must be an important part of life for a lot of people.

Check out the website and if it is a good idea.
 
Sally Edward
Gawthorpe Brass '85

Refreshing Rothwell

After reading 4BRs interesting article about the finances of top bands a few weeks ago, wasn’t it refreshing to see Rothwell Temperance win the Yorkshire title on the weekend. 

They don’t have the money to burn like Dyke or Grimethorpe, Brighouse or Hepworth and rely on hard work and a great conductor.

Perhaps they will now get the recognition they deserve for their efforts from 4BR and everyone else.

Mark Harper

Good Old Days?

4BR reports that the Championship Section contest at Bradford was like the ‘Good Old Days’ – with people queuing up to get in. 

Unfortunately the truth of the matter was that the ticket machines broke down in the box office so people had to wait longer than normal to be able to get in.

It didn’t help that Black Dyke was on number 1 (would they have stopped the contest if it was one of the lesser name bands I wonder), but my wife assured me that it wasn’t as bad as the crush when there is sale on at the local branch of ‘Poundland’ as you so wittily stated!

Malcolm Wright 

Mauling

After the mauling you gave some of the bands at Blackpool last week, I was suspecting more of the same when I started to read the retrospectives from Bradford, but it seems 4BR had a better time of it in Bradford.

I found the postcard very amusing and the report of the Championship Section was fair and accurate – especially about Black Dyke. Their performance was brilliantly played, but did take risks in interpretation.

Those who had scores (and there were not that many) picked them up immediately. Perhaps the time has come for all listeners who buy a ticket for the top section to be given a free study score to go with it. Then we will really know who did what and why.

Peter Jennings
Leeds 

Whiners!

It seems that as soon as 4BR tells it as it is, then all the whiners come out of the woodwork to complain. 

The reason why I read 4BR and not the British Bandsman anymore is because of that. They are not afraid to say when the playing on stage is poor from the top section to the 4th.

Bands do struggle to get players to come and rehearse twice or three times a week on terrible test pieces, but they can only be judged on how they perform in stage.

Keep it up lads – don’t let the miserable sods get you down!

Peter Finch
Rotherham 

Bradford ignorance

First Section Bradford. So the adjudicators decided to ignore the Composer's tempi markings? 

Did the Composer know this beforehand and more importantly did the competing bands know this when given the piece to rehearse.  

I doubt it.  It's rather like a football referee and officials deciding to ignore the offside rule but not tell the players till after the match.   

Adjudicators remarks for one band apparently stated, ''Fine performance but 2nd. movement too slow''. What perameters were used for this judgement. Surely tempos are part of the test and easily and quickly checked with modern electronic devices. 

The expression ''Level playing field comes to mind''.  Anyhow congratulations to all twelve bands for playing this difficult but very enjoyable and challenging music. 

I look forward to the composers future contributions.  

R. Knowles 
Sheffield  

Scottish ancestors

I thought the following may be of some interest to you. Looking back on the results (see attached) of the last time Salute to Youth was used at the Scottish regional championships in 1962 there are some interesting points to note;
 
Kinniel Colliery with a meteoric rise through the sections won their first Championship, having won the 4th Section just 7 years previous.
 
SCWS under Alex Mortimer in 2nd place in the Championship.
 
Whitburn unplaced in the Second Section
 
Kirkintilloch, 4th place in the 3rd Section under Peter Wilson prior to Peter taking over as Editor of the British Bandsman.
 
Cowdenbeath (now Kingdom Brass) 1st in the 4th Section.
 
Dalmellington 4th in the second section.
 
Aberdeen City (now Bon Accord) - 1st in the Second Section
 
All seven bands will be competing in the 2009 Championship Section to be held in the Caird Hall, Dundee. Not so interesting perhaps but this was also my first Championship on 3rd cornet but unfortunately I am not competing this year.   

Jim Ferguson 

Negative comments

I have to agree with both J Wardle and M Smith.  4BR does an excellent job and runs and excellent site, but is it any wonder that the numbers of brass bands are in decline when you make such negative comments. 

By all means use constructive criticism, but please try and give some positives. In many cases some of the bands you took apart have very young players.

Just look at some of the photographs in the championship section (Roberts / Timperly) where there are bands with several teenagers, how do you think they feel having put in many hours of practise to receive your comments?
 
P Smith
County Durham   

Bradford answer

In answer to your question in the "2 days to go - Bradford" artical:- So what ever happened to these bands…? 

In the early championship years Birdwell Brass and Leeds Model were strong contenders as well as Moderna Blanket Works, Butterfields Tank Works and YEWCO (Idle).

Birdwell Brass Band formed in 1906 became the Barrow Colliery Band in the early 1950's and then the Barnsley Building Society Brass Band in 1989, and as far as I know we are still alive and kicking, and ttok part at Bradford again last Sunday.

Martin Bland
Barnsley Building Society Brass Band.

Model still going strong...

In your "Two Days" to Bradford Area item you mention demised Yorkshire Bands including one of my old bands, Leeds Model.
 
I can confirm that the band is now a highly successful non competing 10 piece brass group operating under the banner of the "Yorkshire Evening Post Band"
 
The band, formed in 1857 and coming in the top three and beating Dyke at the British Open in the 1860s, accepted sponsorship from several companies from the late 1970s onwards operating as :-
 
Cameron Ironworks Band
John Waddington Band
Yorkshire Relish Band
Yorkshire Evening Post Band
 
It has operated as the YEP Band for at least 20 years to my knowledge.
 
I have great memories of playing with the band in the early 1960s under Peter Kitson. We won many own choice contests playing "Le Roi D'Ys"
 
Happy days !!  

Ian Wilkinson 

Interview highlights problems

May I say how pleased I was after listening to the interview with Philip Morris from Kapitol Promotions on 4BR. I must admit that the questions asked where exactly what I would have asked, given the chance.

One question regarding rules brought up the discussion regarding the lack of bands entering this year’s contests, and also the lack of players. The answer given by Mr Morris, though brief, included a comment about the necessity for the correct selection of test piece. I wonder if this mention is as a result of this year’s selections.
 
Regarding the lack of entered bands, I feel that bands will not enter if, (a) players cannot be found or (b), bands do not have the quality of players to give, in the conductors opinion, a suitably competitive performance.

The point regarding the lack of players has two answers, the first is relatively easy to answer for example;

In the North West Area 2nd Section this year there weree 12 bands entered, therefore to fulfil the percussion parts that up to 48 percussionists. In the average test piece, 2 percussionists are required - that’s 24 players unavailable to play for the other lower section bands.

The second part is a great deal more difficult to answer, but in my opinion could relate strongly to the youth side of our movement.

Problems here mainly revolve around some  (not all)  school teachers and music centre instructors for not allowing their student to join  ‘Senior Bands’.

My own personal experience of this, is that I get told that they have to ask their teacher who is the only person who can give them permission, and every time they have return with a negative answer.

I know personally that several have been left in no doubt whatsoever that if they do join they will not be able to play with the school band and enjoy related benefits.

When the truth is known, we are not destroying our movement. We have no need to as there are numerous others called Music Teachers, who are doing it very well without our help.

There are excellent young brass players who were at Blackpool last weekend but unfortunately were not be playing because ‘Sir’ says so. I know this for a fact because I am met with them in the Winter Gardens.

If we can perhaps address this problem by the correct channels and at the highest levels, we may have a chance of rebuilding a great movement which is presently crumbling all around us.

David W Ashworth 

Regional diatribe...

I did promise myself that I would not start again writing the usual diatribe about the area's this year, but what the hell, I am going to say it anyway. 

Firstly, my band was robbed, well to be honest, while we may not have been up there with the top 6, we certainly did not deserve to be in the lower half. 

What this means to us as a band is relegation down to the 4th Section which, considering the way the band has been performing lately that due to a couple of bad results over the past 2 years our band will be out of the 3rd Section based upon the old chestnut of a problem here in the NW which is – one adjudicator!

This alone is reason why so many people/bands are getting apathetic towards the area's because it is the only result that matters when it comes to relegation/promotion. 

This brings me to my main points.

Just when are we goig to have a level playing field as the other area's who all have 2 adjudicators per section?  Surely the NW can afford it?  I for one would gladly forego the prize money just for a cup and what would be more like a true result.

Secondly, if the powers that be cannot run the contest fairly, then we need to scrap the whole process of one contest for relegation/promotion.

Over the years, this wonderfull institution of ours has waned year after year, and the fact is that our local contests have also suffered too.  With local contest falling by the wayside and fewer attendees, why not simply allow points to be allocated from each contest entered and the band with the most/least points be dealt with accordingly.

The end result would be, more bands at local contests, better system of relegation/promotion, and the stronger support from more band throughout the whole range of sections.

Jim Owen 

No thanks to 4BR!

I just want to say thank you to 4BR.
 
I am one of those players that you felt it appropriate to slate as a result of my bands performance on the weekend.  After reading your comments I must say I cannot wait to get my euph out and give up another 2 hours of my time on Thursday night! 
 
My band didn't play that well on the weekend but you people must understand that we've been put in the section we're in not by ourselves but by forces we have no control over. 

If my band aren't up to standard what do you want us to do, appeal to go down to the 4th section so we can give a rendition of the test piece that 4BR are happy with?
 
You didn't say one positive thing about our performance.  Now I'm sure out of the 15 minutes we were playing there were one or two little things you could have picked out that weren't totally useless! 

Our placing shows to everyone that we're rubbish so I was expecting a little bit of positivity from you gents and even a small pat on the back for having a go.  For goodness sake my band (along with countless others no doubt) considered it a small victory to get a band on stage in the first place.

There just aren't players about who want to contest (maybe due to the fact folk like yoursleves are intent on classifying us as worthless if we don't get to grips with the test piece).  And its not as if we didn't work tooth and nail just to get the piece anywhere near standard.
 
You have duty to point out exactly what went wrong and thats fine, but dismissive and wholey negative comments without any positivity will not do anything to endear players to play in bands. 
 
I'm even considering giving up myself... After the ribbing you've given me and my band, I certainly wont by rushing to enter the next contest opportunity that comes my way. 

Yeah yeah I should be big enough to take it... But then again, why the hell should I put myself through all that only to be told that me and my mates are useless and go on to feel like the last month of my life has been a waste of time?
 
Yeah thanks again 4BR!
 
J Wardle
Cheshire 

Show a bit of mercy...

Firstly may I say what a fantastic job you guys are doing in the face of recession, a dying hobby and irrate readers!  Your coverage of the areas so far has been fantastic and I look forward to more of the same over the next few weeks.
 
I do not envy you or contest judges!  You face one of the biggest challenges of them all... striking a balance.
 
I sat through every single championship band on the weekend in Blackpool (yes its the first time I've not felt the need to avail myself to the bar during ANY performance) as well as many of the other sections (what a great piece 'The Once and Future King' is!). 

I heartily congratulate all who took part and had a crack at this old workhourse of a piece which clearly still has bands facing many many challenges.
 
As usual there was a mix of the good, the great and not so good.  Having heard the judges comments after the contest and having read your retrospective I have to agree!

There were some performances that were clearly not as good as Fodens or Fairey, dobcross, Wardle or Blackburn....and how very dare they! How dare they make mistakes in a contest... I mean it is clearly their fault that they didn't play well and they all deserve all the harsh criticism and punishment that they get don't they?!!!Because you guys certainly dished it out!
 
Of course I am wrong. No one means to play below parr and the promotion a bands gains to the top section is based on rules set out by the orginisers  But that is what these lesser bands got from you and the judge... punishement.
 
I am the first who gets irritated when I hear angry readers complaining of your criticisms. 

You HAVE to tell it as it is and we all know this. But why can't judges and indeed yourselves strike the balance? Yes Mr Reed, we value judges comments.  But why so droconian? It seems to be either we get nothing or a servre dressing down. 

As for 4BR, well you have been trying to strike a balance for years but your comments regarding some of the bands on the weekend can't really do any more tostrip away the confidence of those taking part on the weekend who didn't play to form.
 
With regard to championship bands, the NW retrospective coupled with your article on regrading seems to try and make bands feel guilty for being in the top section. As if these bands pleaded with the orginsers to be put there and now swagger about the place, boasting of being in their elevated position. 
 
I am genuinely sorry but this is the first time I've got angered by yourselves as you do such a good job. We all realise you have to tell it like it is and if something isn't good enough, you have to say. 

But please think about the confidence of those you mercilessly put down. Can we have constructive criticism without trying to make band members want to give up (or so it seems) if they play out of time with their collegues... or heaven forbid, split a note!
 
Your constantly trying to think of ways to stop this wonderful movement dying..  Well ironically I would not be surprised to see some empty chairs at band rehearsals in the North West this week, not to mentioned some shelved instruments and batons that are as a direct result of the sensless treatment dished out by yourselves and this weekends esteemed judge.
 
It really is a shame.

Martin Smith 

Bonus track

Regarding the live piano music at the end of Walking with Heroes, spotted by Clive Keech. As I understand it, this is Paul Lovatt-Cooper playing Donegal Bay – a bonus and a treat – not a pressing error! Sit back and enjoy...

Judith Hayes 

...and where to find it...

Someone on your comments page mentioned the piano music at the end of Walking With Heroes. It's on my CD as well and is a very beautiful piano arrangement of Donegal Bay.
 
Look at http://en.wikipedia.org/wiki/Hidden_track 

for more info on the history of the secret track!

Louise Edwards 

The Madonna with large...

I am intrigued by the news that your new cartoon feature, Saga of the North, is to feature a stereotypical bandsperson known as a 'pre-Madonna'.   

Are we talking here about someone old enough to pre-date the icon revered for the great gift she brought into the world, namely the popular beat tune Like A Virgin, or are we talking about someone even older who was around before an even more famous virgin?
 
Or has the author of the piece merely mis-written something he has heard on the telephone?
 
Yours fascinated
 
Jim Yelland
Hinckley, Leicestershire 

Old North West bands

I was reading through you web site news articles when I came upon the question about some of the bands that used to be on the scene at Blackpool.

Your article mentioned Urmston & Davyhulme band, having been a player with this band I can tell you that they became The Trafford Band and some years ago became defunct.

Chester Blue Coats as far as I am aware became The City of Chester Band who are competing in the third section this year.
 
Keep up the good work I have been around the banding world for some 48 years and still love it.
 
Mike Phenton
Mereside Brass 

Some still survive

I know that at least 2 of the North West bands mentioned in your "Whatever happened to..." article are still going strong, albeit under slightly different identities. 

Farnworth Old Band merged with the Eaton Works Band in 1990 to become the Eaton Farnworth Band, then later merged with Walkden Band in 2004 to become Farnworth and Walkden Band.

They compete in the 4th section for National contests, and in the 3rd section for local contests.

Warburton's Bakery Bolton Band (previously Bolton Borough Band), due to changes in sponsorship have been known as the Hoover (Bolton) Band since 1989. They compete in the 2nd section.

Brian Kelly

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