East Meets West

Tuba Soloist: James Gourlay
Grimethorpe Colliery (UK) Coal Band
Conductor: Garry Cutt
Piano accompaniment: John Wilson and Johnathan Scott
Percussion: Rhian Macleod and Mark Norman
Doyen Recordings: DOYCD 141
Total Playing Time: 61.37

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To a "non-believer", reviewing a CD of Tuba Solos at first seems as appealing as the prospect of attending the dentist for root canal work on the day they've run out of anaesthetic. Fortunately, the task was extremely enlightening and very enjoyable; proving that one should never judge a book (or rather CD) by its cover.

James Gourlay's reputation as a top-flight conductor is well documented, but prior to this however, he was already established as one of the best Tuba players in the world, not only in orchestral terms, but also in chamber music and as a soloist.

He has premiered numerous works for the instrument and had works written and dedicated to him, a Concerto by Edward Gregson being among them.

The repertoire chosen for this recording is diverse and is an eclectic mixture of mainstream tuba compositions and new works that both challenge and stimulate the listener.

The first work is one of the most important for the instrument and regarded as the catalyst for many compositions that have followed. Such is the esteem with which it is held, that Gregson in his own Concerto quotes directly from it.

The Concerto is accompanied stylishly, by the Grimethorpe Band under Garry Cutt, making this extremely accessible for listeners from all backgrounds.

James Gourlay gives an exceptional performance of the RVW and for those who haven't had the pleasure of hearing him play before; they will encounter a player who has the ability to make the instrument sing. In fact, the tone is more akin to a Euphonium – one hopes that is taken as the compliment that it is intended to be! This track alone makes the disc worth buying.

Next comes Gorecki's Aria and the soloist is joined by Piano, Tam-tam and Bass Drum. This piece is not easy listening, but it does give you a great insight into Gourlay's physical stamina and breath control, with the intensity and dynamics growing over almost eleven minutes.

Martin Ellerby's Epitaph V follows and this also adds Pianos and Percussion. The work is highly descriptive and portrays the 900-day siege of Leningrad during the Second World War and the plight of the millions that died and suffered during that turbulent period.

James Gourlay displays tremendous style in the Alla Marcia section and this leads into a more reflective slower section, which is treated with great pathos and sensitivity.

Paul Hindemith's Sonata is one of the staple ingredients of the Tuba repertoire, indeed the composer wrote a Sonata for every orchestral instrument. This is very cerebral music, as the comprehensive programme notes show, but despite this, the work isn't that demanding on the ears and even if it doesn't find favour, one can still admire the class of the performance from both soloist and accompanist.

In complete contrast, the Concerto by Lebedjew is very tuneful and draws its influence from Russian folksong. The composer himself, was a Tuba player with the Bolshoi and wrote prolifically for the instrument and this work is light-relief following the Hindemith. This is a very enjoyable item, which will appeal to listeners of all ages and displays great lyrical qualities from the soloist.

To conclude James Gourlay is joined again by the Grimethorpe Band in Gary Carpenter's Fantasy on Themes from China Song. His most well known offering for Brass Band was "Chi" and the influence of the Far East is continued in this Fantasy. The piece highlights the Tuba's capabilities to the full and is in four movements. It is quite light-hearted in character in the first two, however the third is very serene and features the band. The final movement is a sort of fandango and Gourlay gives the listener a real sense of enjoyment through his playing, bringing the disc to a very pleasing conclusion.

If ever there was a recording to champion a "less glamorous instrument" then this is it. It is a must for all aspiring students of the instrument and many a brass player would learn a few things about tone, phrasing and breath control from listening to it.

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