Comments ~ 2010: February

4BR hypocrisy, great boobs, Butlins and much more as we head twards the Areas...

4BR hypocrisy of the highest level

In recent days my attention has been drawn to the 4BR January editorial and in particular the item about Area adjudicators and their interests with other bands.

My apologies for not clocking this earlier but this was a topic, having read it, I could not let go by without challenge.

4BR, over the years, have made their position very clear in favour of open adjudication and as far as I can see has used the notion of trust in adjudicators as one, if not the main argument to support their case.

I, as an adjudicator, along with the majority of other adjudicators I believe, take an opposing view and support closed adjudication and can categorically say that trust in any of us is not an issue.

The main reason we support closed adjudication is to avoid any pre performance expectations arising from form and reputation of band or conductor and to make sure that nothing visual on stage or in the hall, including the conductor`s performance affects our judgement.

Therefore the only thing we assess is the performance of the band that we hear.

With this in mind, I was astounded to read the 4BR January editorial which quite clearly brings into question the trust of an adjudicator of an Area contest who is also either a conductor or prominent player with a similar band in another area.

4BR questions area contest organisers in their appointment of these adjudicators and raises the question of why said adjudicators should place themselves` in such an invidious position` when these men are some of the most successful and respected people of our time.  

Why, therefore, should their ability to give an honest decision at another Area contest that they are not playing or conducting in be questioned?  

Let us be very precise here – 4BR are saying if you conduct or play in one championship area, you cannot be trusted to adjudicate in another, presumably because you will put through to the finals performances of bands that will not threaten your chances at the finals!!!

The hypocrisy of 4BR here is simply breathtaking!

How can 4BR use the notion of trust to promote open adjudication on one hand, yet use the same argument to denigrate the appointment of trustworthy adjudicators on the other? 

Come on 4BR, you can`t have it both ways!!!

Alan Morrison

X Factor?
 
There was no-one in your list of ten composers who I would not like to see making more contributions to the brass band repertoire.  

I do find it depressing, though, that you seem to equate success in this field with the contribution of test pieces for contests.  

To imply, for example, that the brass band audience shows 'apathy' towards Simon Dobson's works because he has not been given 'a crack at a big piece' (by which I presume you mean a championship section test piece) is to misrepresent the facts, as anyone who has heard his many works at the Festival of Brass over the past few years will know.  

Aren't these pieces 'big' enough for you?  They are for me.
 
If there is a criticism to be made of your list, it is that it is too conservative and inward looking.  I would say that six of the ten are already established as 'names' in the banding world, with two others known peripherally.  

Only James MacMillan remains an 'outsider', while I'm afraid the idea that Duncan Ward has written his first work for brass band is wishful thinking - it was actually scored for orchestral brass.
 
We need to look further afield for fresh ideas.  

Mark-Antony Turnage, for example, has a list of successful brass pieces behind him, none of them for brass band.  Why so?  

Dominic Muldowney has written a work for brass band - shouldn't someone be asking him for more contributions?  I'm sure your other readers can suggest more names.
 
Jim Yelland
Hinckley

Right boob
 
Many thanks for writing an article about the work that Boobs and Brass do to raise money for the Breast Cancer Campaign, and commenting on the recent money raising events held at Butlins.
 
Could I just mention that the cheque was presented by both Maggie and the other co-founder, Jane Nichols, as I would hate for Jane to feel left out seeing as the whole "all girl" band was her idea in the first place.
 
Amanda Beale

Remarkable girls

Having met with the girls at one of our Brighouse concerts at Huddersfield Town Hall. I was struck by the enthusiasm of the whole band.

When I decided to record my solo album with them, I wondered what I was letting myself in for, but my fears were somewhat pushed to one side as it quickly became evident that there was a much bigger purpose to it all than simply recording an album. There is a magical feeling about the organisation that pulls you in and makes you remember why you are in banding in the first place.

Both myself and Keith Farrington at Music House Productions along with Derek Renshaw have since become great friends with all the girls and hopefully, later this year there will be another recording on the way.
 
A cheque was presented to The Breast Cancer Campaign at Butlins, around £8000 of which has come from the sale of the CD and the money is still coming in.

It has sold on almost every continent around the globe, so the exposure of Boobs and Brass and the work they do is deservedly spreading far and wide.

Unless you have been a part of what the girls do, it is very difficult to explain the enjoyment and emotion of it all, but there are some special times ahead for some very special people and I hope to part of what they do for a long time to come.

Keep up the good work girls. You are an absolute inspiration
 
John Lee

Butlins guests

I write in response to Samantha Jones' email regarding my email on 'guest' performers at Butlins.

I take your points, but firstly, as I said in my original email, it was certainly not meant as a criticism on any of the bands who used 'non-brass band' performers (I was just raising a question) and fair play to those who did innovate and use other performers as it's within the rules to do so.

I also have no criticism of the results and am a firm believer that we as performers should respect the adjudicators' decision as final - adjudicators already have a hard enough job as it is and they should be applauded for putting their necks on the line.

I am certainly not saying that my band should have come higher than it did - I only heard a handful of performances so it would be wrong of me to assert that my band deserved more than we got.

I was simply making an observation from a neutral point of view and would have said the same whether I was playing with a band or attending as an audience member.

The point I was making was that once you allow performers from other fields to perform in a brass band contest, it becomes a lot more difficult to judge because to what extent are the adjudicators judging the band as opposed to the guest performers?

There is a difference between bringing in a brass/percussion player for a contest as the band is (in the vast majority of cases) simply filling a vacancy for a member of the band who wasn't able to participate - this is a problem for a growing number of bands who in this day and age are unable to field a full compliment.

Therefore such an allowance needs to be in place otherwise bands would simply not be able to turn out for a contest.

Whether bands bring in so called 'star players' is impossible to regulate because the definition of a star player is subjective. However, it is obvious that bands will get the best player they can for that position for a given contest.

There is a set criteria for what constitutes a brass band instrument - for example if a band were to use a piccolo trumpet to cover a soprano line this (as far as I'm aware, and I may be wrong) would not be within the rules.

There is a difference between covering a vacant part and bringing in a 'non-brass band' performer to enhance a performance.

Butlins has rightly asked for innovation, and there is plenty of scope for this within a brass band setting. Commissioning new works, the use of choreography and lighting effects are just some examples.

Redbridge for example came up with a variety of interesting techniques, finishing off with a finely executed performance of Bolero which made good use of choreography and lighting and they should be congratulated for this.

I agree that revisiting chunks of test pieces and standard repertoire does not constitute innovation, but as I say there are plenty of other ways of showing innovation.

So to conclude, this is just my opinion (and I may be wrong!), but we are all entitled to our opinions - it's what makes banding interesting after all!

Andrew Wainwright

David James

I have just received a call from Rita James - wife of David James, telling me that David passed away yesterday.

My sadness at the passing of such a great man and musician is great and my condolences go to all of his family - many of whom my band played for last Spring for a major family function. I had been priviliged to have known David over many years and was especially proud when he conducted Otley Band at that family event.

4Barsrest "Dinner Guests" - although really interesting cannot match the real memory of David and Rita, Geoff Whitham and Joyce joining my family for the evening and dinner last year. Those who knew those two great men will understand the charisma of these modest heroes that was there and the non-stop laughter that filled the evening as these characters exchanged stories and memories!

We ached for days and will never forget that evening.

Thank you David and Geoff for that evening and for all you have done for us as friends, teachers and conductors and indeed the banding world over the years.

You will be greatly missed.

Gordon Eddison

Sad news

What sad news to hear of the death of David James.

I had the pleasure of spending mnay a hour listening to him after contests and concerts – usually with a good whisky to keep up his stamina in telling his fantastic stories.

A great man of brass and someone who gave much more to the movement than he ever took out.

David Gillingham

Time Team smile 

Just writing to thank 4BR for the latest Time Team article. It put a great big smile on my face remembering just what Welsh banding was really like in 1980.

I remember the 1980 contest at Treorchy all too well, and the feeling we all had that we had beaten off Mr Alexander.

I also enjoyed Iwan’s pen portraits of the main players as well. His descriptions of both Hayden Evans and Robert Alexander were spot on and very funny.

Keep up the good work – I look forward to the next Time Team article.

John Evans  
Cardiff

Thanks for the memories

Thanks for the memories of the 1980 Welsh Regional Contest.

I had rather forgotten about it all, but as soon as I read it, all those troubled times came flooding back.  

Welsh banding was so much better when we were allowed to run it the way we saw fit. Now look at the state it is in.

A well wriiten article and it made me laugh - a pity as it was at my country's expense.

P. Davies
Caerphilly

Poles apart

Dear Mr Multhorpe. Your response to my comments regarding your original criticism of the ISB is, as I would expect.  

Our views are obviously poles apart and I have no further comments to make.

I am sorry if my sarcasm touched a raw nerve.  However I would point out that no offence was intended, although I do believe your powers of perception are a little lacking.  

The ISB concert I am organising was sold out before my original letter therefore I would hardly need free advertising.  

By the way and this is a sincere offer, if you would like to come and hear the ISB at Gloucester I will willingly give you my ticket free as long as you think you can stand the ordeal.

Lionel Lodge
Gloucester

4BR Reply:
This matter is now closed

Come up with new ideas then...
 
Having read Andrew Wainwright's letter regarding the use of singers and other instrumentalists at Butlins it appears to me that he is a little disappointed with his band's placing.
 
The playing field is entirely level - there is/was nothing stopping his band from using a singer, bagpipe player, dancer, mime artist or any other instrumentalist as part of their programme - perhaps they just didn't think of it or couldn't be bothered to put the time and effort in.

James Gourlay sang with Grimethorpe at Brass in Concert (pretty badly too) and they also featured a bass guitarist.
 
Butlins has asked for innovation for a few years now. How does playing chunks of test pieces, standard concert repertoire and old, lame comedy items constitute innovation.
 
His argument would also be more persuasive if his own band hadn't borrowed Glyn Williams last year at Butlins and used Ben Godfrey as guest principal cornet at the Finals in 2008. Did these players give of their time nobly for nothing? You can't have it all ways Andrew.
 
Come up with some interesting ideas and you never know - you might succeed next time.
 
Samantha Jones

Anyone help?

Recently I emailed regarding info on Friend Farrand who was active in the Edinburgh area from 1900 onwards as a Music Teacher and Professional Conductor of a number of Bands in the Edinburgh Area winning many prestigious contests.
 
He conducted bands such as my Great Grandfathers band, "Polton Mills Band" 1900 - 1910, Clydebank, Bo'ness & Carriden and possibly others, taking them to the very top, against competition from both sides of the border.
 
He was born in Tankersley, West Riding in 1863 moving to Edinburgh to study music at Edinburgh University.   
 
He was still resident in Scotland in 1945.
 
Angus Naples

4BR Reply:
Any information? Let us know.

A special ISB moment missed

Having read messrs Multhorpe and Fox's criticism of Seize the Day played by the ISB it is obvious that they did not attend the composer's session at Regent Hall the day before the Nationals.

There he explicitly said how glad he was that Dr. Cobb did one more take of the said piece because he was present and stated that this final take {the one on the Peter Graham CD) was one of those special moments where not only was everything in place but had that extra something that made it very special for him.

Who knows best, the composer or self-appointed biased adjudicators? Also to talk about how the ISB would get on in contests is irrelevant - it's not what they are about.

Perhaps more to trhe point would be to ask why giants like Howarth Snell Watson etc.have stopped contesting.

Maybe it is because their truly musical interpretations don't sit squarely with our adjudicating system.
 
John Edward
Leeds

The word of experts...

It's not often that I read reviews, particularly of CD's, as I prefer to make my own judgement rather than take the word of 'experts'.

In the case of the recent review of the latest Black Dyke/ISB collaboration I was essentially interested in reading this I was to attend an ISB concert in Doncaster the following week knowing that a number of works from the CD were to be performed.

Having not heard the CD I could not make comment on the accuracy of the criticism by 4BR on the quality of playing or musicianship displayed?

However, what did intrigue me was the subsequent comments by 4BR readers, in particular Clive Multhorpe, with regard to the ISB standing within the world of brass, its numerous faults and the constant way they "often try to punch above their weight".
 
Having this in mind my wife and I attended the concert last night (Saturday 30th January) and I have say that there was no evidence of any of the playing being "rhythmically poor, bad tuning, ragged timing" or "scratchy and clumsily executed".

In fact the concert (a sell out) was an example of top class playing and musicianship from the first note to the last, and a lesson in how two hours of original works by a diversity of composers can delight an audience from a broad spectrum of backgrounds.

As to the assertion that the ISB are "miles away from Dyke/Cory etc" I am astonished that anyone could seriously believe that they are not one of our premier bands - but then..... what do I know?
 
David Hirst

A response...

I am not entriely surprised that some considered my opinions on the Dyke/ISB Cd to be 'odorous' (how very fragrant of you!). A word of two in response to some of your points Mr Lodge:
 
You question how my musical background empowers me to make 'sweeping and inaccurate assertions' - why are my negative assertions any less valid than your positive ones, unless you are hiding some remarkable musical pedigree worthy of note?
 
I absolutely stick by the comments regarding both the Graham CD and the St Magnus one. The latter is poor and the band cimply are not up to the title track. If you can't hear that, it's probably not me that needs some kind of medical attention as you suggest (much to your amusement but probably that of nobody else).
 
Most curiously - you suggest that my comments about Dyke/ISB collaborations are unfounded. Really? I suggested that the ISB do joint concerts and CDs with the ISB if they weren't the flagship band of the Salvation Army. Isn't that plain to see?

I don't see Dyke releasing collaborations and 'co-headlining', if you will, concerts with the likes of the bands I mentioned in my last letter who are, at worst, you'd have to admit just as good and probably significantly better than the ISB.
 
But 'aha' I thought when I reached the end of your letter - you are promoting a ISB concert in a few weeks' time! Quel surprise!! Nothing like a bit of free advertising.
 
As for the recommendation that I visit an audiologist, something about sarcasm and 'lowest form of wit' springs to mind. I'll keep my money in my pocket thank you!
 
I'll say it again - Iwan was spot on.
 
Clive Multhorpe

Thanks
 
The family of the late Stephen Thornton would like to thank the banding fraternity for their many letters and cards of sympathy over the last few weeks.

The support they have received has helped them through an extremely difficult time. Special thanks to the "gentlemen" of the Kings of Brass for their beautiful floral tribute and to all the members of the James Shepherd Versatile Brass and others who attended the Service of Thanksgiving for Steve on the 20th January.

It is a great comforrt to Diane to know that Steve was held in such high esteem by so many people in the banding world.
 
The family of Stephen Thornton

A beer toast to a Legend...

Alec Gallagher I owe you a beer or something else.

I have received the Le Roi D'Ys CD by the Sun Life Band from Trevada Music as you so kindly directed.
 
To hear "California" played by a band that had just won the British Open was one helluva revelation. We came second on aggregate at the Nationals after winning the hymn that year and I think we were lucky to get the points we did for our performance of California.

I have made two trips to the UK to take in the UK band scene (and hear live bands such as Black Dyke, Brighouse Rastrick, Fodens, Buy As You view - as they were then - the 2004 British Open and Nationals and the 2006 Nationals with concerts in between such as Black Dyke at Lucerne in 2006 and now appreciate the gulf that exists between UK and NZ brass bands.

Not only were there issues of interpretation, dynamics, intonation but more importantly the virtues of players listening to each other to such an extent that the performance of the piece comes from the back of the mind almost as an afterthought. I was playing in bands for over 40 years but cannot recall any MD at whatever level making an issue of how important that is.

You only have to watch Leslie Howie on some of the Black Dyke DVDs to see how much emphasis should be placed on this very important aspect of playing.  

Black Dyke have made it such an art that they are able to produce their very unique sound and I am simply gob smacked how your best bands can relegate actual execution to such an extent that allows expression the role it must have.
 
I was also surprised that my comments drew a response from Roy Newsome and I read his comments with a great deal of interest.
 
Please take a bow 4BR for affording us lesser mortals the opportunity to communicate in this manner.
 
Gordon Brock
New Zealand

Butlins and the X Factor singers

I thoroughly enjoyed being part of the Butlins weekend and all in all it was an extremely well organised event, as 4BR has rightly commented.

Being a fairly newcomer to the event (though not to banding), I was not aware until this year that bands could draft in as part of their entertainment programme singers and players of instruments not usually found within the brass band, who are not even members of the band.

Whilst I am not in any way criticising bands who did this (and they are of course within their rights because it is part of the rules), nor insinuating that bands who used other instrumentalists would have come lower than they did in the final placings, I would question the validity of this rule when you consider some of the implications that arise from it.

For example, to what extent do the adjudicators take into account the quality of performance from a vocal soloist who is not even a member of the band, never mind even linked to that band?

What's there to stop a band (other than possibly money!) bringing in a performer like Katherine Jenkins or Faryl Smith to enhance their performance?

There is already an argument as to whether bands should be allowed to bring in star players from other bands not at the contest, but surely enlisting the help of vocal soloists is taking it a step too far. And what if that soloist is top rate but the backing from the band less so?

What criteria are the adjudicators implementing to judge this? It doesn't stop at vocal soloists either - guitars and other instruments have been used to enhance the performance, but where does it stop?

And what if a band were to use the soloist for the entirety of their programme, surely this could be used as a way of deflecting attention from the band's deficiencies? Would it not be better to say that bands must make use of what they have?

I have no doubt that vocal soloists and guitarists, or indeed any other instruments can greatly enhance the performance of a brass band, and there's no reason why this shouldn't happen in concert performances.

In fact innovation and collaborations like this should be greatly encouraged in a bid to increase the profile of brass bands in the wider music world.

But in a competition situation, where there is enough of a problem in defining a criteria for judging bands as it is, surely we should ensure that there is more of a level playing field.

Andrew Wainwright

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