Favourite Hymn Settings of the Salvation Army

Regent Hall Band
Conductors: Bandmaster Stephen Hanover & Bandmaster Don Jenkins
SP&S: SPS 179 CD
Total Playing Time: CD 1: 78.40; CD 2: 79.59

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The Salvation Army's Regent Hall Corps, a converted skating rink a few yards from Oxford Circus in London's West End, has long been at the forefront of Christian witness.  The band was formed in 1882, and since then many well-known names have been associated with it, including Herbert Twitchin, one of the pioneers of the variation solo within The Salvation Army, Kenneth Cook, Eric Rapp, still playing cornet with the South London Fellowship band and the grandfather of Ben Rapp of Black Dyke, and Peter Graham.  The current Bandmaster, Stephen Hanover, plays horn in the International Staff Band, and under his leadership the band continues to carry out a full
programme of witness, both indoors and in the open air.

The recording under consideration has been released in conjunction with a recently produced journal gathering together favourite hymn settings, mostly written within the past twenty or so years.  With 46 tracks to lay down, proceedings were further complicated by a power cut on the first recording date, leading to additional time needing to be found.  The items vary in content from fairly straightforward transcriptions to more complex settings, and include a mixture of livelier numbers and more reflective pieces.  Only five items are longer than five minutes in duration, but even amongst the shortest there are some real gems.

Composers represented range from established masters such as Eric Ball, Wilfred Heaton and Kenneth Downie through to such relative newcomers as Andrew Mackereth and Niels Silfverberg.  As the title of the disc implies, all the arrangements are settings of hymn tunes used within The Salvation Army, some of which are well known in the church in general and others which may only be familiar to Salvationists.  The treatment varies greatly, from a basic two or three verse setting to more extended meditations, from up-tempo swing style numbers through to solo or ensemble pieces.

Many of the tunes have appeared in various versions down the years, which makes for interesting comparisons: Eric Ball's "Serenity", which opens the disc, is an extended setting of the words "It is well with my soul", in which he manages to convey the sense of resignation and repose of the author, still strong in his faith despite the loss of his family at sea.  The band is well balanced, as is the case throughout most of the tracks.

The second item, Ian Robinson's "Morning Star", is the first of the swing numbers, and could not offer more of a contrast.  The band sounds fairly comfortable in the swing style, with relaxed but tight playing, and good support from the percussion section.  The quasi-improvised cornet solo,
presumably played by Paul Sharman, sounds quite idiomatic.  Ty Watson's "Swing Hosanna", based around the song of that name, also comes off quite well, but here the bass line sounds a little ponderous, and Niels Silfverberg's "I will enter his gates" somehow seems a little stiff and stilted – possibly more the writing than the playing.  "This is my story" is found here not in Steven Bulla's version but is given an up-tempo Latin American style treatment by Krister Lundkvist.  Played with confidence by Paul Sharman, it is very effective, although some bands make more of the rhythmic possibilities with extra percussion effects (Hendon, for example, on their cd "Highlights").

Paul, currently playing soprano cornet with the International Staff Band, plays five other solo items, Faure's "Pie Jesu" (trs Norbury), Leslie Condon's eloquent "Prayer of Childhood" (based on a tune written for The Salvation Army's singing companies (junior choirs), the ubiquitous "Share my yoke", John Larrson's "Someone Cares" in Ray Steadman-Allen's version, and Christopher Cole's "The Reason".   Each of these gives Paul a chance to demonstrate his versatility, with the semi-quavers in "Someone Cares" being tucked away very neatly, and a clear, pure tone throughout.

The international aspect of The Salvation Army is borne out by the presence of such figures as Erik Silfverberg, from Denmark, Americans Lloyd Scott, Ty Watson and William Himes, Canadian Len Ballantine and Australian Howard Davies.  Erik Silfverberg has produced a number of skilful arrangements over the years, with "Lift up the banner" perhaps being the most striking one
included here, with the various sections of the band being highlighted, although the trombones' glissandi could have been a little more prominent.

William Himes, Bandmaster of the Chicago Staff Band, has three numbers, "Prayer of Thanksgiving" setting his own tune to the words "He giveth more grace", "Make me a channel of your peace", starting with an unaccompanied solo line and ending with a reference to "Peace in our time, O lord", and a very laid back version of "Whiter than the snow".  The latter is not as easy to bring off as it sounds, and it receives an effective reading by the band, as does fellow-American William Broughton's arrangement of "Deep River", given the full Count Basie treatment, and featuring a nicely held-back bass line.  Good use is also made of the dynamics, with a powerful sound at the climaxes and a good attack from the cornet section where appropriate.

Although perhaps best known for his vocal arrangements and compositions, Len Ballantine is an accomplished arranger for instrumental forces, his previous career having included work with orchestras in Canada as well as bands.  The title for "Of whom I sing" stems from the words used when Grieg's tune was adapted as a songster piece, whilst John Oxenham's words, linked a little uncomfortably with the tune "Shenandoah" form the basis for "Mid all the traffic".  The tune of Unsworth is associated with the words "My Jesus, I love thee, I know thou art mine" and the resulting arrangement, entitled "I know thou art mine", and full of emotion and power, is one of his most effective compositions.

Howard Davies, now back serving as a Salvation Army officer in Australia, spent a number of years in the United Kingdom, where he occupied one of the baritone chairs in the ISB.  Noted as one of the most accessible of composers he is equally at home when arranging other people's music, such as the popular "People need the Lord" and Laurie Klein's "I love you, Lord", as with his own selections such as "Praise Him with song".  This last incorporates well-known songs such as "Standing on the promises", "Jesus is all the world to me" and "Every day with Jesus", presented in such a way that audiences may join in without being thrown too much by sudden changes of key or tempo.  Here, the opening does sound a little too steady, and the trombones in the penultimate bar could be a bit more convincing.  Howard Davies composed "You know that we love you" for songsters originally but has reworked it to feature the band as a chorus, accompanied by just a small group after the full band opening.  It can also be an effective feature with a soloist taking one or both verses.

James Wright, former bandmaster of Sheffield Citadel, has provided settings of Martin Nystrom's "As the deer", Clara Scott's "Thy will to see" and Joy Webb's "It is Jesus" which, whilst straightforward in approach, are nevertheless full of interest, and the same could be said of many of the arrangements on the discs, where the tunes are allowed to speak for themselves without over-elaboration, relying on harmonic twists or snippets of melody to provide added effect. "He cares for me" (David Chaulk), "Blacow" (Lloyd Scott), "Be still for the presence of the Lord" (Andrew Blyth), "I need thee" (Michael Kenyon), and Richard Phillips' settings of "Come beautiful Christ", "Amazing grace" and "Lord with my all I part" all show evidence of experienced hands at work.

The two contributions from the pen of Andrew Mackereth, Bandmaster at the Nuneaton Corps, were both written initially for the Salvation Army Symphonic Wind Ensemble and feature his distinctive harmonic style.  "Deep and wide", with its opening quavers suggesting the gently moving waters, works particularly well, whilst "Fall afresh" conveys something of the intensity the seeking soul can pass through before the Holy Spirit does indeed "fall afresh".

The tune "Thaxted" was extracted from Holst's suite "The Planets" as a setting for the words "I vow to thee my country".  Ray Steadman-Allen has provided a restrained arrangement that allows the melody to be to the fore at all times, calling for very careful placement of the accompanying chords and a gradual build-up of intensity.  This listener recently had the privilege of playing this piece in Thaxted Church itself, the acoustic proving ideally suited to the majestic melody.  John Rutter's "Gaelic blessing" is a reminder of the influence of the celtic church and is played very sensitively by the band.  As a trombonist himself, Ray Steadman-Allen has provided a number of trombone features, one of the most recent being "Peter, James and John", based on an old children's chorus about the disciples out fishing.  It has definitely proved popular with a number of bands and audiences, although it may be more effective at a brighter tempo. Also, and this may be due in part to the microphone placement, the trombones do not really stand out as much from the band as might be expected.

One of the prayer choruses used in The Salvation Army begins: "Prayer gently leads me to highest heaven, from earth's confusion to sweetest rest", and Trevor Davis has taken the words "From earth's confusion" to produce a reflective and peaceful setting, with the frequent descending scales seeming to underline the restful nature of the piece.  "Knowing you", on the other hand, takes Graham Kendrick's song of that name and interlinks it with the old chorus "Jesus, thou art everything to me", with references also to "When I look into your holiness".

The hymn setting "Martyn" may not be one of Wilfred Heaton's best-known works, but this miniature nevertheless shows his usual masterful touch in the subtle changes of key and the economy of the writing, such as the telling cornet notes in the second verse.  Similar skills are seen in the contributions from Kenneth Downie: "Sacrament" is based around the tune "Spohr", associated with General Orsborn's words "My life must be Christ's broken bread".  Featuring unexpected harmonies and countermelodies, and with an underlying militaristic tread at one point, it is reminder that the Christian must put his beliefs into practice.  Another reminder of the reality of the opposition faced by the Christian can also be seen in "Standing somewhere in the shadows", with sinister, looming figures, initially heard in the bottom half of the band, but with the realisation that, even at the darkest point, Jesus may be found.

"In perfect peace" has been taken up many bands and calls for very delicate playing, with the parts needing to dovetail in with each other, and phrases of the melody taken and used as decoration. Intonation is important as ever, especially due to Kenneth Downie's fondness for unexpected harmonies, here with the harmonies sliding downwards against the sustained melody note.  This is just as vital in "Reverie", perhaps the trickiest piece of all here to bring off effectively. Using the melody "Jesus, Jesus, lily of the valley" the writing demands careful control at very low volumes, and the accurate placing of some very exposed entries. The horns have their chance to shine, with some good work from both solo cornet and soprano.

Available at a special price, this issue contains some very fine music and some very good playing.  There are occasions when intonation and balance are less than perfect, but these detract little from the overall enjoyment of a nicely varied programme.  It may be that more studio time would have led to more refinement but these recordings are certainly worth exploring, whether or not one is already familiar with the repertoire.

Peter Bale

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