Live coverage of the 2011 Brass in Concert Championships from The Sage, Gateshead.
Sunday 20th November
Start: 9.30am
Adjudicators:
Philip Sparke & Rob Wiffin (Music)
David Horsfield & Luc Vertommen (Entertainment)
Peter Roberts (Soloist)
Additional comments and thoughts on our Twitter site: www.twitter.com/4barsrest
Comments: Iwan Fox
4BR Prediction:
Well now. This could be a contest result that can go one of two ways.
If the judges have been swayed by the traditonal fayre, the memory box pieces and pot boilers it could be Grimethorpe, Leyland and Fodens from Tredegar and Fairey.
The other way round and reward for a real degree of innovation it could be Tredegar, Fairey, Grimey, Leyland and Fodens.
A mix today though could see Tredegar, Grimethorpe, Leyland, Foden's, Fairey.
These were the top five by a margin for us today, with the likes of Florida, Whitburn and Redbridge behind.
Necks on the line then, and we are going for Grimethorpe, from Tredegar, Leyland, Foden's, Fairey and Florida.
1. Grimethorpe
2. Tredegar
3. Leyland
4. Foden's
5. Fairey (Geneva)
6. Florida
7. Whitburn
8. Redbridge
9. Carlton Main
10. Reg Vardy
11. Rothwell
11. Leyland (Richard Evans)
Top Cat (Hanna/Barbera, Evelyn Timmins arr Leigh Baker)
March: Imperial Echoes (Arnold Safroni)
People (Stanley Black arr Alan Catherall)
Trumpet Soloist: John Doyle
I've Got to Get You Into My Life (Lennon/McCartney arr Leigh Baker)
Chorale Prayer from Images of Brass (Stephen Bulla)
Finale: Vallegro Viva from Francesca Da Rimini (Tchaikovsky)
The great entertainer comes on to the strains of a slightly athritic theme tune to Top Cat, but then launches into an even slower trademark march. By heck this was a slow swagger in anyone's book, but played with sheer bravura and balls of steel.
The MD is wearing a trademark cravat in a programme of musical memories and John Doyle does him proud with a cracking take on the Babs Streisand hit. Very classy young sir, very classy indeed.
The Beatles make a second hit of the day with plenty of showy pizzazz, whilst the Navy hymn to follow is played with a warm sentimentality that doesn't edge towards the lacrymose.
Short and sweet big old finisher hits the spot and there is time left for an even slower TC reprise.
Overall:
This was a popular and populist programme from Dickey and his band. It hit all the prescription tick boxes and the MD was on show stopping form himself with the crowd. It was a memory box full of music though.
10. Grimethorpe Colliery (Sandy Smith)
Devil's Dream Hoedown (Felix Slatkin arr Sandy Smith)
Vilja (Franz Lehar arr Andi Cook)
Soprano Cornet Soloist: Kevin Crockford
Hymn Tune: Gresford (arr Sandy Smith)
Feels So Good (Chuck Mangione arr Alan Catherall)
Flugel Soloist: Andy Holmes
Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition (Modest Mussorgsky arr Elgar Howarth)
A slick Sandy Smith opener shows that the Devil, Grimey and the perc section get all the best tunes in a hoe down that got the blood racing in the seats.
The sop solo is as old as the hills but is so well played by Mr Crockford. It's not a sparkler though but ticks the right boxes here in the crowd.
More Grimey tradition to follow with the old hymn tune played with a fresh lick of paint. Nothing new again, but so well played you have to say.
Flugel solo is as stiff as an old Grimey colliers boots in style, but again the soloist Andy Holmes delivers it in such a solid, literal fashion. It's all there for the fans.
Now this is old — even Stalin was in his pram when this was first used. Great bold old fashioned brass band playing — as good as anything you will hear ensemble wise today, but it's not exactly fresh this is it.
Huge climax gets the applause going full pelt though.
Overall:
Grimethorpe in Brass in Concert title winning prescription mode this. Gave the audience everything they wanted and more — and it was played so well. It ticked the boxes (special mention to the MD who stood in at the last moment), even if it wasn't particularly inventive or innovative.
9. Exchange Commuications Whitburn (Simon Dobson)
Brooklyn (Young Blood Brass Band arr Simon Dobson)
Featuring: Trombone: Alec Philip
Immortal Bach (Knut Nystedt arr Martin Winter/Allan Withington)
Slava (Leonard Bernstein arr Luc Vertommen)
A Portrait of Tracey (Jacob Pastorius arr Simon Dobson)
Featuring: Tubas: Graham Fraser, Alex Gregory, Alan Gourlay, Neil Gourlay
Entry of the Gods into Valhalla (Richard Wagner arr Howard Snell)
Big, bold, brassy and a bit rough around the edges to start. Certainly exciting and different, but it tended to get a bit wayward too in places.
Great playing to follow though — a wonderful choice and so well played. This was a brave pick for this audience and it worked musically to a tee. Bravo MD and band for this one.
Slava too is quirky and boldly coloured with a free flowing sense of style. More quality on show and another choice to make you think rather than sit back and lap up the dross.
Tuba quartet is an acquired taste you have to say — but once again the sense of innovative adventure is to be appluaded. Doesn't knit in places though but this was certainly one from left field.
A pity they have to rely on a real old pot boiler to close. Ye Gods! as Wagner used to say. It's OK, but sounds tired in places and you sense they just could have set the seal on an intriguing and engrossing performance with a different choice. Bold though.
Overall:
Engaging and innovative up to the last item, which seemed so out of place from what went on before. Good quality playing all through and this may the performance that may make a surprise mark today.
8. Reg Vardy (Ray Farr)
Peel Park from Lowry Sketchbook (Philip Wilby)
In Perfect Peace (Kenneth Downie)
Slavische Fantasie (Karl Hohne arr Peter Graham)
Cornet Soloist: Tina Mortimer
Artic Funk (Torstein Aagaard-Nilsen)
Finale from Titan's Progress (Hermann Pallhuber)
An odd opener for Reg Vardy — the end of a major test piece. Nearly works, but there is surely more out there than this old pot boiler.
The Downie is so well played in contrast. Lovely warmth of tone, flowing lines and musical shape. Classy.
Miss Mortimer lives up to her namesake with a great bit of a Romany ripper of a solo. High class playing with as many shiney baubles as can be found on a gypsies caravan in Essex.
Artic Funk — is a real missed opportunity. Why fill it with all the dated choreography (70's swaying and clap-a-long from MD). Didn't work as it could this.
Neither did the end of Titan to close — which was neither titanic or well played as it tired to close. Underwhelming.
Overall:
A real 'trad fest' this — even the swaying was old hat. Some great moments with the solo and Downie, but the rest had a sell by date that had long gone printed on it.
7. Brass Band of Central Florida (Chad Shoopman)
Astor Piazzola (Arr Fred Sturm adapted by Chad Shoopman)
Featuring: Tenor Horn: Warren Kus, Drum Kit: Rich Sweet
Danza del rigo from Danzas Del Ballet “Estancia” (Alberto Genestera arr Chad Shoopman)
Featuring: Soprano Cornet: Dee McAfee
Fandango (Frank Perkins Arr J.H. Howe)
A Mis Abuelos (Arturo Sandoval arr Jim Derrick)
Featuring: Flugel Horn/Repiano: Charlie Peskek, Cornets: Chris Dolske, Chad Shoopman
Oblivian (Astor Poazzola arr Rick Mizell)
Featuring: Flugel Horn: John Copella, Trumpet: Dee McAfee
Danza final from Danzas del Ballet “Estancia” (Alberto Ginestera arr Chad Shoopman)
Another Latin inspired programme — although this time there is a real feel of authenticity about proceedings.
It's big, bold and brashy and they sound and feel comfortable with all these items.
The solos are so well played — if a little ear splitting with the MD taking up a cornet. There were rabid dogs in Sunderland going crazy when he was in the stratosphere — and old ladies holding their hands over their ears in the first five rows.
The Fandango is all thunderbolts and lightning — very, very frightening thing, and the two quiet items are played with security and style.
So much choreography but so well done. It all ends with a huge splash of sound and colour and a blazing Los Alamos fire cracker.
A celebration of all things Argie — from Maradona and pampas cowboys to the tango and the SS Belgrano.
Overall:
A bit of a single issue programme and a litle one dimensional, but what a dimension you must say. MD can play like a bat out of hell too. Highly enjoyable and certainly different. The pizzazz factor was close to off the scale, even if the playing was sometimes more variable.
6. Rothwell Temperance (David Roberts)
Mambo Caliente (Arturo Sandoval)
La Almdja Penquena (Pete Schmutte)
Tango Apasionado (Astor Piazzolla)
Cha Cha from 'West Side Story (Leonard Bernstein)
Ceilidh (Gavin Whitlock)
Tristsch Trastsch Polka (Johann Strauss II arr Goff Richards)
Trepax
Greek Dance
Danza Orgiastica (Ottorino Respighi)
Dances from around the world is the running theme for this one and it starts with a Mambo that just needs a touch more heat to get going.
What follows is much the same — solid but in need of a bit of spice, whilst the screen shots with the BBC revoving world and odd geography tend to distract.
The Tango is not sultry — no Sempre Las Malvinas here. Two young player are brave but lacking the experience required to project the real intertwined sexuality needed.
More air miles rack up with West Side Story, Irish fiddly diddly, xylo polka and trepak. It's all bite sized items that lack real meaty substance.
Trip to poor old Greece has just the one euro saving plate smashed, but the finale is the best playing by a mile. A great old rouser to close a strangely unengaging programme.
Overall:
Not quite the sum of its parts this — and a too many parts there wer etoo. Not Rothwell on the best of their form today. This may struggle.
Halfway at Brass in Concert
It's been a good morning so far, with plenty of interesting stuff — even if we haven't quite heard anything really eye poppingly innovative.
Tredegar pulled one out of the hat and produced a coherent programme that was played with such authority and cleverly aimed at the audience with its familiar tunes.
Foden's were bold and brilliant, but a little scrathcy in places too, with their substantial programme. Fairey were polished and slick and kept the pizzazz to a mimimum.
It's between these three so far with the Welsh band just ahead for us — by a whisker from Foden's and Fairey.
More to come though after tie break.
1. Tredegar
2. Foden's
3. Fairey (Geneva)
Draw
5. Carlton Main Frickley Colliery (Phillip McCann)
Bring Back That Leroy Brown (Freddy Mercury)
Make Our Garden Grow (Leonard Bernstein Transcribed by Paul Drury)
Ole South (Traditional arr Stephen Bradnum)
Shenandoah (Chris Hazel arr Stephen Bradnum)
Cornet Soloist: Kirsty Abbotts
Sabre Dance (Aram Khachaturian arr Joseph Green)
Grand Fanfare (Gian Carlo Cstro D’Addonna transcribed for brass band by Phillip McCann/Paul Drury)
A brave opening choice with Freddie via Eikanger that doesn't seem an ideal piece to lay your stall out to. More a middle segment offering?
The Candide excerpt is another brave choice — different for sure and not quite what you may expect. Two fine solo voices and it builds to bold finish. Voltaire and Bernstein would be a happy men.
The trip to redneck Alabama though is not great. Xylo/Marimba songs from the Ole' plantation. It sounded like a Alex Halley book sung by Al Johnson. Well played but blimey...
Kirsty Abbotts delivers something quite outstanding in her solo — a performance of sheer beauty. You would pay twice to hear this again. No praise high enough.
What can you say abou the comedy slot though? Clowns to the right of me, soldiers to the left — MD is stuck in the middle of it... This is a teeth curler.
What a fantastic closer though — a little gem from Venuzuela via Mr McCann. Top notch playing too to round things off.
Overall:
A real mixed bag this. Some quite brilliant playing mixed with some pretty dire stuff. Always interesting and oddly engaging — but the odd was more emphasised.
4. Tredegar Town (Ian Porthouse)
There’s a Great Day Coming (Thompson arr Everson)
Martas Dance from Riverdance (Bill Whelan)
Pie Jesu (John Rutter)
Flugel Horn Soloist: Danny Winder
Danse Macabre Variations (Saint-Saens arr Benjamin Tubb)
Violin Soloist: Emily Tyrrell
The Smile (Matt Hall)
Nightingale Dances (Matt Hall)
Neat Lee Evans inspired opening is short and sweet on the funny stakes as a phantom kit player, and leads into a cracking 12 cornet feature with MD playing too. So secure and balanced this — its hit the audience between the eyes.
The Dance is speedy and a little scrappy in places to follow but keeps it flow. Michael Flatterly would have a job keeping up though.
Bravo flugel — he really stretched himself to the limit with the dynamics and colour. The band played its part — and this had the listeners craning their necks.
Violin feature is different but familiar if you know what we mean. Soloist looks and sounds better than Jonathan Creek too — no mystery there in that dress.
Werther's original interlude is a gem — not a dry eye in the house as the grandparents go all dewy eyed. Lovely playing from principal cornet is a feature here.
It all ends with a real beauty — and a turbo charged Nightingale that started so smoothly. Banzai sop tops corking end.
Overall:
The most coherent programme so far — and played with a real dash of classiness. This was high class playing and mixed just about right with the showbiz pizzazz too. Perhaps the leader.
3. Foden's (Michael Fowles)
Malaguena (Lecuona arr Holman transcribed Sandy Smith)
Amazing Grace (Traditional arr Andy Scott/John Barber)
Featuring: Electronic Piano and Trombone: John Barber
March: Marsch oder Die Versuchung (Wengler arr Michael Fowles)
Moto Perpetuo (Ottokar Novacek arr Howard Snell)
Ceremony of The Red Bishops (Sir Arthur Bliss arr Eric Ball)
Finale from Symphony Number 7 (Beethoven arr Howard Snell)
A real red blooded opener — even if its a oldie. A tad scratchy in places, but it was certainly high in the excitement stakes.
MD in best Nehru suit leaves the stage for John Barber solo spot on trom and electric piano.
Starts like the New Orleans cortege scene from 'Live & Let Die' — all lazy swagger. Quick change to the old joanna sees soloist in best jazz mode even if the electric piano sounds a touch out of place.
Returns for a rousing all evengelical singing finale. Lordy, Lordy! Cracking stuff from the Rev Barber.
Wengler march is a dislocated dream — certainy not something Arsene Wenger would appreciate! Neat, classy and with a bone dry wit in execution.
Perpetuo is a spanker — tremendous ensemble playing. Nuff said.
The Bliss works with evocative sense of style and leads into a real oldie — Beethoven via Snell. It's long, superbly played, but not quite as rousing as you may imagine.
Overall:
Another performance built on immense performance values with a neat touch of pizzazz. The playing at times took the breath away, but it was traditional fayre for the audience to enjoy.
2. Fairey (Geneva)(Steve Sykes)
Get Back (Lennon/McCartney arr Antrobus)
Neath The Dublin Skies (Paul Lovatt-Cooper)
Euphonium Soloist: Matthew White
The Bonnie Brier Bush (Rev John Watson arr Elgar Howarth)
Triplets (George Hamilton Green)
Xylophone Soloist: Yasuaki Fukuhara
Themes from Roman Festivals (Ottorino Respighi arr Ray Farr)
Neat opening does take a little while to get going with perc feature, but then its all 60's pop pickers with John/Paul/Ringo and Steve with the Beatles classic. It had the LSO rock treatment and you could sense the audience feeling young again...
Matt White goes all high speed o'irsh with more black notes than can be found with a Guiness spilt on a grand piano. Virtuoso stuff played at a tempo only Usain O' Bolt could match.
The Scottish interlude is neatly done — a nice evocative style and played with balance and warmth.
The trio/perc quartet is an oddity though. Rag time style, but a little insubstantial in presentation. It works, but more out of curiosity.
Huge sounds as Rome goes balistic to close. Even Burlesconi would love this. Big, broad and as sultry as Sophia Loren in a basque and suzzies. Glorious.
Overall:
A programme of high value and substance — if a little short on presentation pizzazz. The emphasis was on the playing quality here — and it had plenty of that for sure.
1. Redbridge (Jeremy Wise)
Let Everything Praise (Martin Cordner)
Love Theme from Cinema Paradiso (Ennio Morricone)
Night in Tunisia (Dizzy Gillespie arr Clarke)
Scherzo for Motorcycle & Orchestra (John Williams arr van der Woude)
Go Lovely Rose (Eric Whitacre arr Philip Littlemore)
Medea’s Dance of Vengance (Samuel Barber arr Sear)
Something different and meaty to open as the Londoners go to Sally Army Sunday morning service. Substantial and a little different this.
Back to 50's Italian cinema for a lovely solo spot with cello and cornet feature from the great film. Sublime playing from both soloists and sympathetic accompaniment too. Bella, Bella!
Not sure about the Dizzy Gillespie though. Stiff as a board and swinging like a dead man on the gibbet. Just sounds all too rigid and little sense of freedom.
Cracking bit of filmatic humour. Neat, short and sweet as Jezza goes all Indy Jones with what looks like a motorbility scooter, clever script and a Homburg hat that seems to be borrowed from Tony Hancock at 23 Railway Cuttings, East Cheam. Witty though and neatly played to accompany the film on screen.
Quiet interlude is so well done. Balanced and warmly toned. Not sure the words work in connection on the big screen, but thoughtful stuff.
Greek tragedy to end is a bit hit and miss. Lots of choreography, but to what end? Needed players not to use music. A little underdone, but a brave choice of music. Diana Rigg in the role would have loved this.
Overall:
A well thought out programme that certainly aimed at the head and not the heart. Lots of quality with fine soloists and neat touch of humour. Just had its moments not too great too, but a fine marker today for others to follow.
