Live coverage of the 2009 Brass in Concert Championships from The Sage, Gateshead.
Sunday 15th November
Draw: Pre-drawn
Start: 9.30am
Adjudicators:
Nigel Boddice MBE and Derek Broadbent (Music)
Alan Fernie and Chris Wormald (Entertainment)
Sheona White (Soloist)
Additional comments and thoughts on our Twitter site: www.twitter.com/4barsrest
Live comments by Iwan Fox and Malcolm Wood
What do we think?
It's been a very enjoyable if overlong day — starting at 9.30am with Grimey coming off stage after 6.00pm. However, there has been some really good stuff to enjoy.
It's Fodens for us with their spaced-themed programme which should just have the nod over Cory in 2nd.
Brighouse and Grimethorpe were enjoyable but flawed and may have to settle for third and fourth. Leyland's 'off the wall' programme deserves reward and should come in the prizes in fifth. Fountain City should also take sixth place with a programme that shows the current standard of the best bands playing in America.
4BR Prediction:
1. Fodens
2. Cory
3. Brighouse
4. Grimethorpe
5. Leyland
6. Fountain City
c17.34hrs — Draw 12
Grimethorpe Colliery
Conductor: James Gourlay
Irish Tune of Derry (Percy Grainger arr. Bright)
March: The Melody Shop (Karl King arr. Pete Smally)
Dance ti thy Daddy (Traditional arr. Darrol Barry)
Super Trouper (Benny Andersson & Björn Ulvaeus arr. James Gourlay)
Bluebells of Scotland (Arthur Pryor)
Euphonium soloist: Michael Dodd
Finale from Organ Symphony No.3 (Saint-Saens arr. Frank Renton)
Grimey's lads are wearing very clean miner's helmets with lamps and lights for the 'Brassed Off' tear-jerking opener. MD wears a purple bow tie the size of a Venuzualan fruit bat! It's the first time these have been worn since the miners strike or there must be a new DVD of the film out!
Who's the Daddy? Great playing of a local favourite is a crafty choice.
It's all gone pink and fluffy as Gourlay goes karaoke queen and takes the lead vocals in his own version of 'Super Trouper'. Grimey go camp! Hells bells! Bonkers and bizarre but strangely brilliant.
Michael Dodd does top notch business on 'Blue Bells of Scotland', but this was being played when Braveheart was a lad and on trombone. It's old fashioned brilliance however, and much appreciated by the audience.
The 'Organ Symphony' to follow is played in turbo overdrive as Grimey pull out all the stops in a tour-de-force finale. It nearly takes the roof of The Sage. Thrilling stuff.
Overall:
Almost a parody programme of the stereotypical Grimethorpe people like to believe exists. However, that odd twist was really something else! Very strangely appealing allround, but not quite enough for victory for us.
c.16.51hrs — Draw 11
Fairey
Conductor: Philip Chalk
Give It One (Alan Downey arr. Phil Lawrence)
Libertango (Astor Piazzolla arr. J Sleith
Zegunerweisen (Pablo de Sarasate arr.Lawrence)
Anything you can do .. (Irving Berlin arr. Lawrence)
Vallflickansdans (Hugo Alfvrnn arr. Frode Rydland)
Euphonium Soloist: Gary Curtin
La Befana from Roman Festivals (Respighi arr. Snell)
Comments:
Fairey MD Phil Chalk also goes for the tails — and looks like a Victorian undertaker. Smart though.
Screamer start with the arrangement of Maynard Ferguson classic, 'Give it One'. High pitched stuff though which leaves the pensioners in rows 1-10 with bleeding ears — it was harsh at times.
'Libertango' is swanky and skilful, an Argentinian mix of Maradonna and Eva Peron. However it just needed a darker hint of sexy sensuality.
'Zegunerweisen' is a bit gypsey's kiss poor but it retains just enough Romanic style, even if it demanded more flair.
The 'Anything you can do..' Irving Berlin number featuring leading euph solo is odd to say the least. This seems a work without any real resolution and a good idea badly thought out — a real damp old squib in fact.
This becomes clear with the following 'Vallflickansdans Dance' which again is solo euphonium feture. This is well played, but lots of notes make for little impact after the last piece. It holds very little interest.
Exciting but messy in the Respighi finale to close. It sounds strained at times and tired especially as Fairey went out all guns blazing for a huge finish.
Overall:
A mixed one this in choices and execution. The middle section of the set meandered without any real purpose. Not enough real contrast to captivate today
c.16.10hrs — Draw 10
Brighouse and Rastrick
Conductor: Richard Evans
It had Better Be Tonight (Henry Mancini arr. Sandy Smith)
Machushla (arr. Arthur O Pearce)
Euphonium Soloist: Stephen Walsh
Where Our Flag Waves (Johann Strauss arr. Sandy Smith)
Tiger Rag (Nick La Rocca arr. Leigh Baker)
Enchanted Kingdom (Paul Lovatt-Cooper)
Comments:
Dickie in a set of black tails. He looks like an Edwardian waiter in the Groucho Club.
It's right between the eyes to start with a bullseye rendition of the Mancini work which is a high tempo, 'It had Better Be Tonight'.
A Geoff Whitham tribute follows with Joseph Locke's 'Machushla' — simply played with tasteful understatement by the soloist. Not a dry eye in the house.
Dickie now hits the swagger button with the Strauss march. 'For Kaiser, God and Fatherland' — from Fritz Evans and the 3rd Panzer Brigade of Brighouse. Brilliant stuff!
Shaun Crowther takes centre stage and leads the 'Tiger Rag' boys in pearly waistcoats. Its all fun and games as he plays tuba, sousaphone, trombone and cornet — both of which he chucks away! Great stuff — the lad is a true dead pan comic genius.
At last, the PLC finale and his new 'Enchanted Kingdom' — a fizzer from the zeitgeist king of popular taste. Music for the masses and played superbly too, even though it got a little rough and ready around the edges.
Overall:
Brighouse in entertain overdrive with the crowd pleasing blend they do so well. It was a little edgy at times but right on the button for the vast majority of the audience.
c.15.35hrs — Draw 9
Foden's
Conductor: Garry Cutt
Also Sprach Zarathustra (Richard Strauss arr. Peter Graham)
Star Trek (arr Gareth Westwood)
Space Invaders (Andy Scott)
My Mountain Top (Andy Scott)
Euphonium soloist: Glyn Williams
Saturn (Stevie Wonder arr. Andy Scott)
Finale from Music of the Spheres (Philip Sparke)
Comments:
It's all atmosphere as Fodens head into a 'Space Odyssey' with a bass end sound to blast off an Apollo rocket.
Now its 'Trekkie' time with Captain Cutt (Kirk according to projector!), Spock Wilkinson and the rest of the crew with a great theme tune arrangement of the television series linked to inspired visuals.
Now the one and only Patrick Moore introduces the 'Space Invaders' — a funky bunch they are too. We even get a screen game projected from 1978 too. Slick and very different.
Glyn Williams leads a small quartet on 'My Mountain Top' aided with narration from Bram Tovey on the screen of the 'Lemn Sissay Poem'. This really catches the imagination and is a fine contrast.
Monocoled Patrick Moore again leading us through the introduction of Stevie Wonder's orange rings of 'Saturn'. This has a real relaxed musicality with a fantastic build to a huge climax. Bravo to soloists and the band.
Garry Cutt introduces the finale to 'Music of the Spheres' and the visuals enhance the music again. Fodens revel in the opportunity to showcase their skill — right to the whizz bang end — this has been some performance!!
Overall:
An outstanding set of performances by Fodens and intelligently realised overall too. Wonderful playing added up to a complete entertainment package!
c.1455hrs — Draw 8
Reg Vardy
Conductor: Ray Farr
Fugue in D Minor (J S Bach arr. Ray Farr)
Minuano (Pat Methany and Lyle Mays arr. Ray Farr)
Autumn Leaves (Joseph Kosma arr. Bill Geldard)
Trombone soloist: Mark Nightingale
Hunting Wabbits (Gordon Goodwin arr. Reid Gilje)
Battle Music and Hymn of Thanksgiving from An Age of Kings (Edward Gregson)
Comments:
Reg Vardy take to stage in big band set up and wizz off with Bach's 'Fugue in D Minor'. It's a 30 year update of Ray's first stab at sexing up Bach. There's still lead in the old pencil it seems!
Ray keeps the wind up with a cracking 'Minuano', played with verve, confidence and choreography. Could do without the swaying at the end — it's like throwing out time at the Big Market in Newcastle.
Super sub trombone Mark Nightingale is a superb stylish soloist, the soft free jazz item played with authentic feel for the style. Will he be seen playing on 'English Heritage' though next March we wonder?
'Hunting Wabbits' is a touch frenzied in a cartoonish way and Mr Nightingale is again featured — it just about comes off.
'Age of Kings' is full of visuals, marching, choreography, flag waving, tin crown and church organ. Despite the odd fall with some uneven playing, this is Cecil B de Mille stuff from the start right to the finish.
Overall:
A very confident and rejuvenated Reg Vardy have really upped their game — with some top imported help it must be said.
Much to enjoy in a performance from the local boys and girls.
c.1414hrs — Draw 7
Leyland
Conductor: Jason Katsikaris
Wired (Lucy Pankhurst)
Intro to Sparta (Peter Meechan)
Flight to Sparta (Peter Meechan)
Euphonium soloist: Philippe Schwartz
Lock Horns Rage On (Simon Dobson)
O Magnum Mysterium (Morten Lauridsen arr. Phillip Littlemore)
Visions of Kolkhis (Tom Davoren)
Comments:
Leyland wired and firing on all cylinders to start. Great thumping backbeat almost leads into the 'A Team' territory. You crazy guys, Leyland!
More left field stuff to follow as we hear the multiphonics of the wicked lads from 'Sparta'. This was brilliantly played by Leonides Schwartz — it's certainly different this.
Dobson's march is in honour of an obsessive compulsive disorder sufferer — its surrealism in the extreme. Brilliant inventive writing this. A march derived from the depths of mental disorder — now that is what we call truly original and innovative.
In complete contrast we have 'O Magnum Mysterium' which is full of lyrical emotion shaped with reflective appreciation by the MD. The only question is why did the band have to play beneath an old lampost though?. Lovely playing.
'Visions of Kolkhis' finished off the programme and its all hands on deck as Jason leads his Leyland argonauts in search of the golden fleece. Plenty of excitement, colour and high quality playing as Leyland snatch the sheepskin coat at the close.
Overall:
Leyland really stuck their necks out here. The judges have been asking for innovation, inventiveness and freshness and they got it here in spades. Now its up to the judges to live up to their wishlists!!
c.1330hrs — Draw 6
Desford Colliery
Conductor: Stephen Roberts
Call to Arms (Stephen Roberts)
Swing Around The Clock (Freedman/DeKnight arr. Stephen Roberts)
O Waly Waly (Traditional arr. Stephen Roberts)
Euphonium Soloist: Robin Taylor
Hungarian Rhapsody No2 (Liszt arr. Stephen Roberts)
Das Butterbrot (Mozart arr. Stephen Roberts)
Tuned percussion soloist: Emily Cumby
Mahler's Third Symphony (Mahler arr. Stephen Roberts)
Comments:
Desford take to stage with MD in in his best Pandit Nehru suit.
12 piece 'Call to Arms' sees the complete Desford brigade join ranks in a classy touch of the medieval. This is Henry V '...once more into the breech dear friends' stuff.
Bill Haley's comets swing like Jordan's bosoms unclasped from her bra — stiffly together. This was a digital clock with a squeaky mechanism that just didn't swing at all.
Robin Taylor is a classy lead in his solo, 'Over the Waters'. This was delivered with tasteful restraint and a very different yet pursuasive arrangement of a classic.
The 'Hungarian Rhapsody' had a few too many of those Tom and Jerry moments, but it just about came off.
Mozart's 'bread and butter' is a wonderful inventive dish which is musically witty and great. The little effects from bottles to bass plunger and tuned percussion come off tremendously well. This was very dry and clever.
A touch of Mahler to close and the best bits huge 'Third Symphony'. Good job it was the best bits though as it sounded tired as we got to huge ending.
Overall:
An eclective Revels bag of bon-bons that has a few coffee flavoured marzipan ones in it but also had a few other tasty gems in as well. Enjoyable this, different, but a little too uneven in execution.
Intermission — contest to recommence 1330hrs approx
What do we think so far?
It's Cory by a good way at the moment along with Fountain City but with some big hitters still to come, the contest has a long way to go.
c.1225hrs — Draw 5
Cory
Conductor: Dr Robert Childs
Into the Light (Philip Wilby)
Finale from Haydn’s Cello Concerto (Haydn arr. Owen Farr)
Horn soloist: Owen Farr
Mist of the Forest (Gareth Wood)
Tribute to the King of Swing (Miller arr. Barry Forgie/Dan Price)
Legends (Peter Graham)
Comments:
Defending champions take to stage in white dinner jackets and with Paul Duffy on soprano from Black Dyke.
It's lights down for Wilby's 'Into the Light' — images flow of space and beyond on the overhead projector. All is revealed — slick stuff. It's almost Wilby meets Paul Lovatt-Cooper but very effective opening.
The finale from the 'Cello Concerto' shows Owen Farr on superb form, no other words to describe it. Great quintet accompaniment too but quite brilliant playing from the soloist. This was some playing.
'Mist of the Forest' is full of emotional lyricism — misty sunrise over the Valleys — very stylish and beautifully played.
Cory go into big band set and mood with their tribute to Glen Miller who they call 'The King of Swing'. 'String of Pearls' and 'In the Mood' are featured and some great visual moments.
However, the precision of the stilted style seems so dated and so wrong. It's not Benny Goodman this, who was the real true 'King of Swing' by any stretch of the imagination. It's so polished though and the crowd loved it, but it when it came to musical style, this seemed so far off the mark.
The 'Legends' from Cory brings us back to what they do best, quite stunning playing in the finale from Graham's 'Standing on the Shoulders of Giants'. Some of what we hear is simply awesome. The 'Checkmate' inspired climax to close brings things to shuddering conclusion.
Overall:
A programme inspired by anniversaries was delivered with startling profeciency and stunning technical brilliance. The style of their Swing though was questionable, but then again, they are a class apart so far today.
c.1145hrs — Draw 4
Flowers
Conductor: Paul Holland
Festive Impressions (Oliver Waespi)
Feeling Good (Anthony Newley & Leslie Bricusse arr. Paul Holland)
Flugel soloist: Danny Winder
Belford’s Carnival March (Russell Alexander)
Wondrous Cross (Philip Wilby)
Rusky Percussky (Goff Richards)
Peel Park from Lowry Sketchbook (Philip Wilby)
Comments:
The Waespi impression opens with effective brio and brilliance. Solid unpretentous stuff to start.
The flugel solo is played with just the hint of 'dirtiness'. Flugel lead is feeling good alright — not surprising as Anthony Newley used to wake up next to Joan Collins in the morning in her prime.
'Belford's Carnival March' is blown to smithereens. A very quick blast — literally.
Wilby's 'Wondrous Cross' is right in volume, but is shaped by a musical hand, although on occasion not quite a reflective one.
'Russky Percussky' is a very lame xylophone feature this. Carbon dated humour is dire. Good playing but overlong piece from the musical dark ages.
'Peel Park' is another antique offering. Very brashly played and it has lost all its qualities. Very messing playing and has serious problems in the ensemble to close. Hangs together to a brash ending.
Overall:
A set that rather lost its musical way after an impressive opening. Showed its true age after the youthful vigour waned.
c.11.00hrs — Draw 3
Fountain City Brass
Conductor: Joseph Parisi
Introduction (based on a Theme by Shostakovich) (Shostakovich arr. Lee Harrelson)
March: O.R.B. (Charles Anderson)
Carnival of Venice (Arban arr Catherall trans. Harrelson)
Cornet soloist: Raquel Rodriquez
Ave Maria (F. Biebl arr. Harrelson)
Foggy Day (Gershwin arr. Harrelson)
Nightmare (Bertrand Moren)
Comments:
The Shostakovich inspired introduction is strange but so effectively choreographed. A very slick Kansas City take on formation cheer leading with a Communist touch!
'ORB' march is played standing, with a real authenthic style but a modern twist of bravura and great dynamics. The good folks of Oldham would be proud. The Americans like their rifles — it sounded like Annie get your Uzi.
The Arban is a very American take on a classic cornet solo — almost a female Herbert L Clarke. Played with aplomb but its like going back 80 years.
Excellent playing and she's the assistant third cornet player too — great stuff!
'Ave Maria' is played with lyrical sensitivity and a gregorian chant to start. Lovely climax rounds off impressive playing.
True American swing in 'Foggy Day' and all without MD. This is led by great kit player and a fantastic lead 'screamer' on cornet. Other bands should beware today if they try to mimic true swing playing like this.
'Nightmare' is a bit Tim Burton in places and troubling. An odd choice to close but one that at times left a deep impression on the mind — as if hit with a two tonne shovel. Very exciting stuff!!
Overall:
A very classy focussed and well delivered set this. A performance that highlighted the bands real strengths and delivered with an American sense of style. Should feature for us.
c.10.15hrs — Draw 2
Rothwell Temperance
Conductor: David Roberts
Something’s Coming (Bernstein)
The Jazz Police (Goodwin)
Rocks (Torstein Aagaard-Nielsen)
La Califfa (Morricone)
Soprano soloist: Paul Argyle
The Humming Chorus (Puccini)
Medley: Ann McGuires Silver Wedding, Waiting for Janet, Shake a Leg(Cutting)
Comments:
The 'Something' sounds like its a batch of space invaders with the overpowering 80s synthersizer effects. Why they did this, we don't know. it's scrappily played though — strange this — very strange.
'The Jazz Police' is like the police in action at the G20 demo — right in your face. Its big, bold, bouncy and full of life. You could even call it even well 'kettled' too.
'Rocks' — a brave choice — rock hard this in all senses. Bravo MD who opted to try something different. However, the blank faces on the audience tells the story, but never mind.
'La Califfa' — not always in tune at times, but some really engaging playing with touches of class. 'Humming Chorus' though is sloppy with little errors and tuning tarnishing another brave attempt. Something not as it should be in the basses either. A little too fragile to bring cheer to a depressed Japanese mother. Not a bad though.
Kate Rusby medley is certainly different — traditional with modern twist. However the scrappy ensemble again takes the gloss off what is a piece full of life and verve.
Overall:
An bit uneven at times, some choices didn't always come off and a real mixed bag that won't come off today
c.09.30hrs — Draw 1
Carlton Main Frickley
Conductor: Russell Gray
Joy, Peace & Happiness (Richard Phillips)
The Delacorte Theatre (Martin Winter)
A Nightingale Sang in Berkeley Square (Sherwin/Strachey arr. Howard Snell)
Trombone soloist: Rebecca Lundberg
Pie in the Face Polka (Henry Mancini arr. Rebecca Lundberg)
Pie Jesu (John Brunning arr. Rebecca Lundberg)
Bui Doi (Claude–Michel Schonberg arr Rebecca Lundberg)
Comments:
Echoes of their 'Come Follow the Band' in 1978 to start. Players walk on and off. It's a big dated this, but slickly done.
'The Delacorte Theatre' is upbeat and a Norwegian inspired piece of Americana. This is played with real zest and some great solo motifs especially bass trombone. Russell has delved into his Norwegian contacts (used by Manger at SIDDIS we think?).
'The Nightingale Sang' — lovely lyrical soloist with a plaintive bit of Vera Lynn — the grand old Dame would have loved this — beautifully done.
'Custard pies'- thankfully no actual custard pies in the face, but a lightweight march. It's a bit scrappy at times so perhaps the odd bit of egg on the face of some of the players. The Brunning 'Piu Jesu' is an all girl quartet with some lovely playing and class delivery.
Finale isn't quite 'Yanks go home' but a hymn to the disposessed. Fine two part-harmony singing to start and the sound of helicopters, but it gets a bit big and bold, and wonder if it suits. No wonder the French got out of Indo China if this was the case.
Overall:
An intriguing mix — some real gems mixed in with mediocre stuff at times with emphasis on the music. A good marker for the rest to follow.
