The Kingdom Triumphant

The International Staff Band of The Salvation Army
Conducted by: Stephen Cobb
Salvationist Publishing and Supplies: SPS 169 CD
Total Playing Time: 67.55 mins

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The latest recording from the International Staff Band of The Salvation Army under their Bandmaster Stephen Cobb takes its title from one of Eric Ball's later works. Dating from 1963, the Kingdom Triumphant is designed, in the words of the composer, "to remind listeners of the Christian doctrine of the Second Advent of Christ and the end of this age." In the right hands it is a very impressive work, with imposing fanfare-like declamatory phrases opening the piece. No doubt some will recall Eric himself conducting it at the Meet The Composers festival at the Wembley Arena in 1978, when the acoustics and the logistics involved in controlling massed bands in various locations in the hall failed to do the work justice. There are no such problems on this occasion, and with tempos somewhat slower than are sometimes chosen the music is allowed to unfold in a dignified and impressive fashion.

In contrast, the opening pieces come from the pen of one of the latest generation of writers. Martin Cordner, a former cornet player in the band, is now an officer (minister) in The Salvation Army, and is building up a growing number of works, with marches being particularly prominent. Paul Hindmarsh, writer of the full and informative sleeve notes, points to the influence of the film composer John Williams, and this can be seen in Crossbearers, played at a steady tempo and showing the composer's fondness for crisp, rhythmic phrases, with the trombones often given an important part to play. Fanfares and Flourishes, which opens the disc, is based around Geoff Bullock's song The Power Of Your Love, and it is interesting to compare his treatment with the version played by the Melbourne Staff Band, and recently recorded by The Household Troops. Following a fanfare based around the opening phrase the distinctive tones of Robert Foster, the band's flugel player and one of the longest-serving members, pick up the verse, before the chorus itself is developed, with intricate, intertwining phrases surrounding the melody, calling for good, coordinated playing, particularly from the top half of the band.

Norman Bearcroft, now spending much of his time in retirement in the USA, has given us a number of attractive solos, including Hugh Fidelity, featuring Kevin Ashman on soprano before he moves to take up the Principal Cornet chair. He demonstrates good control and articulation, maintaining a steady tone with some fine playing at the bottom end of the range, as well as the top, including a lip gliss to top D and back. The second solo is from the pen of Dorothy Gates, Belfast-born but based in the USA, where she is currently a member of the New York Staff Band. She has a number of works to her credit, several featuring her own instrument, the trombone, and here she has taken a children's song written by Michael Kenyon, a former bandmaster of Hadleigh Temple and Southsea, among other corps, and who has left a fine legacy of music behind him. Andrew Justice plays The Lamb with his usual flair, his delicate approach suiting the tone of the writing, with a gentle interplay between soloist and band.

A number of works written for specific occasions are never heard again, but then there are those whose life continues, albeit in a different form.

Peter Graham seems to be cornering the market for such pieces at present, particularly where the euphonium is concerned. First there was Brillante, which started off as a duet for the Childs Brothers and later appeared in a solo version, and now comes Bravura. Written for the gala concert following the National Finals in 2002, it was originally written for four soloists (plus a surprise cameo appearance on the night for Bob and Nick Childs), but a number of players have taken it on board as a solo (not to mention Steven Mead's multi-tracked version, where he plays all four parts). Suffice it to say that Derick Kane demonstrates his fine technique and smooth tone, particularly in the upper reaches of the instrument.

Peter Graham has provided two other items, one being the popular Essence Of Time, written for the 1990 European Brass Band Championships, and getting its inspiration from the passage from the Old Testament book of Ecclesiastes beginning "To everything there is a season…" This is a test for every section of the band, and the International Staff Band show that they are able to rise to the challenge, with some excellent trombone playing cutting through, and a full tone from the lower half of the band. Stephen Cobb is a first-rate band trainer, and right from the opening bars the players show a uniformity of attack and phrasing that continues throughout. The section headed A Time For Peace was extracted by Peter and set as a horn solo, but here is heard in its original form on the cornet, played by Rob Gill, who also handles his cadenzas well, as does Derick Kane.

The Last Amen, also featured by the ISB in the Royal Albert Hall concert, features five worship songs currently in vogue, using a range of styles, and incorporating a clapping passage for a number of the band, culminating in a powerful, extended Amen, as per the title.

The name Kenneth Downie on an arrangement always seems to guarantee an effective and satisfying piece of music, both to listen to and to play. He is able to take even the simplest melody and clothe it with harmonies and figures that enhance the original, rather than overwhelm it. Jesus Answers Prayer is another gem which is sure will be widely used, and is played persuasively by the band.

The programme is completed by a swing-style arrangement by Kevin Norbury ­ Hallelujah Parade. It seems strange now to recall the reactions in 1987 when Ray Bowes dispensed with the baton to introduce Barry Gott's Light Walk to the audience at the Music Councils Festival. Since then, a number of big-band arrangements have appeared, and bands have become better acquainted with the techniques involved. Certainly the players here seem quite at home, from the blues sextet at the start through to the big-band climax.

Two tunes are featured ­ O Happy Day and Praise God I'm Saved ­ and there seems to be a quote from the Ray Steadman Allen march The Scarlet Jersey tucked in for good measure.

This recording is well up to the quality set by the band's previous discs, with very full notes and a listing of personnel that is always good to see.

With the variety of music played, there should be something to please everybody, and people with no Salvation Army links will still find great enjoyment from the playing.

Peter Bale

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