Winter’s Tale

Martin Winter
Accompanied by: The Fairey Band, Eikanger Bjorsvik Musikklag, The Royal Northern College of Music Wind Orchestra, Craig Farr
Conductors: Allan Withington, Reid Gilje and Timothy Reynish
Doyen Recordings: CD 154
Total Playing Time: 60.04

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Stunning. Absolutely stunning.

Those of us who we very fortunate to hear Martin Winter at this years Norwegian Brass Band Championships and European Championships can attest to the fact that this man is perhaps the best all round trumpet player in Europe and possibly one of the very best in the world. And if you think we are talking in hyperbole, then you better get out and buy this CD, for this is playing of a level that only those touched by a little bit of musical genius can manage.

Martin Winter is of course no stranger to the brass band world, what with an upbringing in a talented banding family and an early apprenticeship in bands of the calibre of Desford and the then BBS Fodens. His musical education was completed at the Royal Northern College of Music under the dutiful eye of Howard Snell, before he launched his professional trumpet career with the BBC Philharmonic Orchestra and latterly as Co –Principal Trumpet of the Bergen Filharmoniske Orkester in Norway. At each stage of his career though he has proven himself as a performer of the rarest talent, but thankfully one who has remained in touch with his musical roots with occasional cameo performances with the likes of Fairey, Brighouse and Rastrick, and now with the Eikanger Bjorsvik Musikklag Band in Bergen.

These have only provided us with brilliant snapshots though – his performance at the Norwegian Championships was a jaw droppingly dazzling, so what he delivers here on the CD is a portrait of the full blown master craftsman – the complete trumpet player showcasing his talents. And what amazing talents they are.

Right from the very first note of the fiendishly difficult "Concerto for Trumpet and Wind Orchestra" by Richard Rodney Bennett through to the super human last note of "A Child is Born" by Thad Jones the mastery of the instrument is complete and immensely satisfying to listen to. The timbre and colour, the control and technique and the sheer mastery of the subject matter leave you in no doubt of the player's skills and musical intellect. Nothing is strained, nothing is overcooked or laced with inappropriate filigree – it is stunningly awesome playing.

The two major works featured are the Richard Rodney Bennett and Ernest Tomlinson Concerto's, whilst the remainder of the CD is composed of varied works from the likes of Nigel Clarke to Dizzy Gillespie which gives the soloist ample scope to demonstrate his mastery of the different musical forms from slow blues to Latin jazz, modern classical to the slightly offbeat.

The Bennett Concerto asks immense questions of technique and musicality right from the brilliance of the start of the 12 note "rows" which make up the theme of the work. Four "cadenzas" in declamatory style announce the direction of the first movement (the last of which is something else indeed) before a blues inspired Elegy in homage to Miles Davis that Martin Winter delivers in true authentic fashion - even with the musical nod to Delibes "Maids of Cadiz". The finale is an energetic Vivo that demands so much of the soloist in terms of control in delivery at the extremes of the trumpet range that you are amazed how Martin Winter plays it with such ease and facility. It is a superb performance and one that is accompanied in excellent style by the RNCM Wind Orchestra under Timothy Reynish.

This is followed by Nigel Clarke's "Premonitions" – a series of three unaccompanied fanfares marked in turn Andante, Adagio and Allegro, which once again demands the player to exhibit control, style and production throughout the trumpet range and in differing styles. It was used as the set work for the Leggett Awards in 1990, which Martin won, and with this performance you can hear why.

The Ernest Tomlinson Concerto gives the soloist the opportunity to display his complete mastery of the cornet – and it is a truly masterful performance. Once again, right from the first note (beautifully produced without a hint of the forceful use of the tongue) the soloist captures the essence of the darkness and drama the first movement requires. The technical playing is stunning, whilst the lyrical sense in the melodic lines are superbly crafted. It ends with muted passage of liquid facility. The second movement is expressed with a clarity and purity of cornet tone that almost pays homage to Maurice Murphy himself (he performed the premiere way back in 1974). It is classical cornet playing with an understated vibrato and Martin Winter has an intuitive understanding of the musical line. Finally the third movement is staggering, with the "big band" flourish at the end making the hairs on the back of your neck stand on end. What a show, and possibly the definitive modern day performance which once more benefits from the accompaniment by Fairey's which is top class indeed.

Gary Peterson's idiosyncratic "March for Trumpet" is a gem at just over a minute in duration and has that dislocated feel of an octopus in clogs running across on a sloping corrugated iron roof. Odd, but something that certainly sticks in your mind.

The same can also be said of the Wolf and Landesman item, "Spring Can Really Hang You Up the Most", which the soloist performs on a flugel horn with wonderful accompaniment by Craig Farr on vibraphone. It is a beautiful jazz ballad that allows the soloist the chance to explore the extremes (and we do mean extremes) of the instrument without ever sounding forced or strained or losing the sense of languid style. The music takes it's inspiration from a short poem in which one of the final lines reads, "Old man winter was a gracious host" – on this form he was both gracious and brilliant, and as it was recorded "live" Mr Winter deserves as much praise as possible. The audience seems stunned by what they have just heard.

Finally two finale tracks that will take the breath away. "Tanga" is a Latin style jazz piece written by Dizzy Gillespie and performed both by old "Puffer Chops" and the awesome Arturo Sandoval over the years. Martin Winter is not out of place in this company and you can imagine Sandoval offering a Cuban Monte Christo cigar to Martin Winter after this performance – it is wickedly brilliant.

And to cap it all – and this is some 10 gallon monster Texan cap, we have Martin Winter going bonkers on Thad Jones' "A Child is Born". Suffice to say, the last note will get your next door neighbour's dog barking his head off and your grandmother's hearing aid exploding, but what goes on before takes the breath away. We challenge anyone not to automatically reach for the replay button on your CD after the last note – you may wear it out.

As you can tell we thought this to be one heck of a release. It is a very rare occurrence to hear a performer of this class and on this form. The tracks have been intelligently chosen to demonstrate that Martin Winter is now the complete player. His artistry, technique and musicality are something to behold, whilst the production itself benefits superbly from the accompaniment of the bands and Craig Farr. There are fine sleeve notes from the soloist and the production values are excellent.

This is a CD any brass music lover should buy – and we mean every brass lover. You will not be disappointed – guaranteed.

Iwan Fox.

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