The Alchymist’s Journal

The Leyland Band
Conducted by: Michael Fowles
Tuba Soloist: James Gourlay
Faber Music 0-571-52287-4
Total Playing Time: 75.10

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Just pause for a moment and think about your favourite restaurant and what it is that you like about it. More often than not, when you have an eating house that appeal's to you, the inclination is to go back time and time again.

Why? Well, you know what is on offer is of a good standard, and when something different appears on the menu, the temptation is there to give it a go, as you are comfortable with the surroundings and quality from times gone by. Even if you don't like the new cuisine you eat, it doesn't stop you going back. In short, that is how you could be describing this new CD by the Leyland Band.

They are brass banding traditionalists, but never afraid to try something new, a touch different, and that certainly is reflected in this latest release. To conclude the food analogy, it is rich in quality, full of flavour, and leaves you wanting more of it. Recorded some three months before winning the Masters title, the band has worked closely with Faber Music, producing another disc following on from East Coast Pictures, which contains a number of new works for brass band.

The main tracks on this disc are "Thames Journey" by Nigel Hess, Simon Dobson's ‘Four Sketches' which pays homage to Benjamin Britten, Malcolm Arnold's "Peterloo Overture", Ralph Vaughan Williams' "Tuba Concerto" with soloist James Gourlay, and finally, the title track of the CD, "The Alchymist's Journal".

Composer Nigel Hess gets things underway however with a piece entitled ‘Global Variations'. Just short of nine minutes, its music that takes through different parts of the world. Commencing with the chimes of Big Ben, before going into Europe, Africa, India, Australia, and then through the USA, before coming back to the UK. A very lively piece of music, it keeps the listener on its toes with an entertaining start in the first of many arrangements by Phillip Littlemore.

‘RPM' stands for ‘revolutions per minute' and depicts the thrill and excitement of driving a car at an exceptionally high speed. The players certainly stand up to the challenge and cope admirably with the tempo. There is no greater contrast than to listen to "Headbanger" by Matthew Hindson. Matthew is a new name to brass bands and his writing is certainly an eye opener and definitely a name to look out for in the future. As the title suggests, it is music associated with those connected who follow Heavy Metal music. It is aggressive in nature and on first hearing, may be off-putting, but it does have sensitive sections that are easier on the ear. In another arrangement by Phillip Littlemore, the band certainly takes to this new musical idiom, and you get plenty of bass, and bass drum.

"Keystone Kops" is another piece that is lively in tempo. The titles refer to a series of silent comedies from the early 1900s. Incidental music to black and white films or cartoons such as Tom & Jerry is always, fast, furious and comical, and in this arrangement by Carl Davis, the players transmit plenty of energy as they enjoy this little number.

"Thames Journey" is a piece, which focuses on various parts of the Thames region. Music of course encourages the listener to go deep in thought and visualise images of what they hear. Commencing with a beautifully played horn solo, Through the Groves, which re-appears at the conclusion of the piece, some nice fanfare playing from the cornets gets the journey moving onwards and upwards. You sense plenty of frivolity as Oxfordshire comes into view and the Morris dancers take centre stage. The basses and trombones have fun as they pay tribute (we understand) to the World Poohsticks Championships. The traditional Greensleeves and The Lass of Richmond Hill are eloquently played. Those with sharp ears will hear ‘I vow to thee my Country' and a touch of ‘Doing The Lambeth Walk' come into play before the hymn tune ‘O God our help in ages past'. before the opening Wiltshire melody brings the journey to an end. From the pen of Nigel Hess, this is a wonderful arrangement by Phillip Littlemore that will feature no doubt in Leyland's concerts in the coming months.

Simon Dobson's Four Sketches – Homage to Benjamin Britten was the winner at the 2002 European Brass Band Composers competition, and is a brilliant piece of writing which is matched by some top notch playing. The piece was requested by Peter Bassano in his role as Head of Brass at the Royal College of Music to mark the twenty-five years since Benjamin Britten's death. As its title suggests, it is written in four sketches. The first movement is bold and fanfare in style and the band produce a majestic sound that is just spot on, whereas in total contrast, the second sketch, ‘Prayer' demonstrates the band in reflective mood with a real sense of understanding of what Simon Dobson composed coming across. A sense of real passion and sensitivity is displayed by some beautiful playing of a euphonium cadenza from Bill Millar.

The third sketch (or movement) is a Funeral March, which begins with some soft gentle playing, before depicting how people can be in a funeral environment. A real-feeling of distress, annoyance and anger comes across as the march builds to a climax, before one of the most delightful moments of the whole CD: Silence descends before the angel speaks. In this case, it is Lucy Murphy on flugel with a cadenza who takes the voice of the angel and brings the sketch to a close. The final sketch entitled ‘Finale' is definitely more up-tempo and lively and it is finishes in a strong and powerful manner. This is music that certainly will have listeners going back to their favourite sketch, time and time again.

One of the most powerful and evocative pieces of the whole disc is Sir Malcolm Arnold's Peterloo Overture. This was skilfully arranged by Andrew Duncan and featured by Leyland in their Brass in Concert programme in the 90s. The music gives its name to an incident in St Peter's Fields in Manchester (not too far from where the Bridgewater Hall now stands). Around 8000 people gathered to hear a political speech, but the powers that be in 1819, stopped it and cavalry moved in. Tragically, the incident was not without its casualties during the chaos that ensued. Leyland really have pulled out all the stops in this rendition, beginning quietly with some gorgeous soprano playing and the music tells the story of the carnage that was to follow. We hear a lament to those who die before a thrilling climax, symbolising triumph and an understanding that those who suffered did not do so in vain.

James Gourlay needs no introduction to anyone in the world of brass bands as both conductor, and as we hear him here, as Tuba Soloist. James plays Phillip Littlemore's arrangement of Ralph Vaughan Williams' Tuba Concerto and this is a real delight. You can't imagine many ‘re-takes' here as this is superb virtuoso playing along with some great support from within the band. James Gourlay comes across as very much at ease as he demonstrates how to make the bass ‘sing'. The first and third movements (Prelude and Rondo respectively) feature some wonderful cadenza playing, but the real creme-de-la-creme is the Romance movement in the middle. The only way to describe this is ‘beautiful'. Whatever you were thinking Mr Gourlay sir during the playing, thank you, because it is truly wonderful.

And so to the title track, The Alchymist's Journal.

It was commissioned by the Brass Band Heritage Trust at the suggestion of Paul Hindmarsh, and the title comes from a book, which has the same name by author, Evan S Connell. In short, the book portrays a number of alchemists' records (memoirs even) and each develops the previous writers thoughts, but each one changes slightly as it goes along. This is what composer Kenneth Hesketh has superbly done for brass band. Mr Hesketh has taken different notes and they are heard in nine different sections, each different in mood and style, but still concentrating on the original notation which is C, A, B flat, E flat, F sharp & E.

What can be said is that it is music that must be heard more than once before judging it. It takes time for the ear to adjust to the sounds being presented, because this is music that would certainly have featured in the old ‘Bandstand' slot on Radio 3. It would not be a huge surprise if it were to be selected for the lower section bands in years to come at the Regionals and/or National finals. The Alchymist's Journal does fit into that kind of category. It is new music that is definitely abstract but has an introduction to you can identify with, a scherzo which could be described as sinister, and delightful slow passage that gives the listener plenty of time to ponder, before the scherzo re-emerges and then it concludes with a powerful coda.

This is a CD that everybody connected with Faber Music and Leyland Band, conducted by Michael Fowles can take a well deserved bow, The Programme notes are comprehensive and an interesting read, and congratulations to Phillip Littlemore and his production team for a disc that is certainly different, but rich in the traditions of this fine band.

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