Comrades

Nick Hudson & Andrew Justice
Accompanied by the Enfield Citadel Band
Conductor: Bandmaster James Williams, MBE
SP&S Ltd: SPS 188 CD
Total Playing Time: 74.48 mins

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Lately it has become quite common for soloists to appear with bands other than those of which they are members.  In the disc, 'Comrades' the Enfield Citadel Band have the best of both worlds, featuring their own principle trombonist, Andrew Justice, with Nick Hudson sharing the billing.  Indeed it turns out to be a very equal partnership, with the workload being divided between two top class players, both of whom are in very good form, with two duets and an ensemble item thrown in for good measure.  The band, under their long-serving conductor James Williams, provide exemplary accompaniments, contributing greatly to the disc's success, whilst the presentation is up to the standards one has come to expect, with informative notes by Andrew himself.

The repertoire covers a wide range, both regarding period and style, from Eric Leidzen's 'A Never Failing Friend' (1934) up to such present day numbers as Dudley Bright's lively duet 'When Jesus' (2000).  Both players excel in the high-lying lyrical phrases which abound in the slower items, whilst neither seems to baulk at the spikier, more aggressive passages.

'When Jesus', was commissioned as part of the Salvation Army's British Congress in 2000 (not 2002 as stated in the notes), when it was performed (both in London and Glasgow) by Dudley himself with Jarrow Salvationist Chris Gomersall, then only in his teens but now a student of Dudley's at the Royal Academy of Music.  Having established that it could be approached "with no holds barred" he proceeded to write a duet with two very equal parts - no suggestion of the student getting an easy ride - which proved a highlight of the celebrations, as it does here, getting the recording off to a cracking start.  Based on the 1960s Joystrings song, 'When Jesus comes to you', energetic and rhythmic sections frame a slow presentation which is perhaps more in character with the original song, receiving a suitably laid-back reading.

Ivor Bosanko, although now based in the USA, originates from Cardiff, and 'Divine Gratitude' was written for Don Jenkins to perform at a Salvation Army Music School held there.  A setting of the words 'Thank you Lord for saving my soul' is a well-crafted piece, played here by Andrew, and makes for a marked contrast with Nick's first solo item, Bruce Broughton's 'My Refuge'.  First performed by his brother, Bill, it was written to mark the retirement of their parents from Salvation Army officership, including in its central section a chorus written by their mother: He holds me in the palm of his wonderful hand.  With a combination of spiky, angular phrases and smooth lyrical lines in the upper register this demanding work comes across very well.

The only item drawn from the classical repertoire is Nigel Hiscock's arrangement of Puccini's 'Nessun Dorma' from the opera 'Turandot'.  More often heard in band programmes played on cornet, it was originally for tenor voice, and if Andrew's trombone does not overpower the band in the way that Pavarotti used to the orchestra, it is nevertheless a majestic performance.

Erik Leidzen's solos for cornet and euphonium are ever-popular, but the first air varie solo published by The Salvation Army was 'A Never Failing Friend', for trombone, here entrusted to Nick.  Indeed, it is interesting to discover that, in the days of the old 78 rpm discs, far more trombone solos were recorded than those for euphonium.  As for the piece in hand, it demonstrates Leidzen's customary attention to detail, with much interest in the accompaniment parts, and with the minor variation receiving quite a rhapsodic treatment.  Here the band plays particularly well, with the tutti interludes finely judged, filling out the sound but remaining in context.  The soloist maintains the shape of the phrases throughout, even when the lines are quite angular.  As the sleeve notes state, quoting from the original programme note: ". . . while this is a variation solo, it is good music as well, which is not always the case in pieces of this type".

Many of the pieces recorded here were written with particular performers in mind, and there are three items composed for trombonists with the Canadian Staff Band.  'He died of a broken heart for me' comes from the pen of Ray Steadman-Allen, who has contributed so much to Salvation Army trombone repertoire.  Dating from 1992, when Clarence White was guest soloist at Boscombe's Easter Convention, it uses the chorus of the same name to produce a brief but intensely expressive item. 

Terry Camsey may be more associated with works for his own instrument (he was Principle Cornet with both the Band of the Irish Guards and the International Staff Band) but he is also very adept at writing attractively for trombone.  'This I know', based around the children's songs 'Hundreds & Thousands' and 'Jesus Loves Me', was written for Craig Lewis, and follows on well from the same composer's 'Sing a happy song', recorded by Andrew on his solo disc 'Immortal Themes' with the ISB five years ago.  Norman Bearcroft reformed the Canadian Staff Band after an interval of many years (the previous band lost most of its strength when the ship bringing them to London in 1914 was involved in a collision), and he arranged 'The Word of grace' for Bob Merritt to play when they toured the UK.  Using the gospel song 'Christ receiveth sinful men', it can be a tricky solo to bring off, but Nick Hudson handles the high lying counter-melody beautifully.

Nick presents two other slower solos, Don Morrison's 'Consecration', popular with salvationist and non-salvationist trombonists alike, and William Himes' 'My Christ' (is all in all), originally intended for euphonium, but sounding equally effective here.  The latter piece was penned early in the writer's carer, and reflects upon his own commitment to God in the face of various temptations and pitfalls that he encountered as a young Christian.

Andrew's major solo contribution has been written by Ralph Pearce, fast gaining a reputation for his compositions, including 'Cry of the Warriors' (written for the New York Staff Band's recent UK tour) and solo arrangements for artists such as Philip Smith.  'Rhapsody on an American Folk Hymn' is in three movements, played without a break, and is the most substantial item on the recording.  Energetic outer movements frame a more reflective central section, with a heroic ending , giving Andrew ample opportunity to display both his affinity with flowing lines and his dexterity and slide control.  Penned for a visit to Phoenix Arizona it is a notable addition to the trombone repertoire.

In contrast with the more recent compositions, Albert Jakeway's 'Comrades', the title track, dates from 1938 and was the first trombone duet published by The Salvation Army.  Despite this, there is no record of it having been recorded until now, and it proves a pleasant, if undemanding, display vehicle for the two soloists, sometimes playing together in thirds and sometimes exchanging phrases one with another.

The final item, Stephen Bulla's 'Peace like a river', was featured by the USA Southern Territory Band at the 1990 International Congress in london, their rendition being preserved both on video and audiotape.  Written for five soloists, the composer amongst them, it includes solo passages designed to show off the abilities of each player.  Andrew and Nick are joined by the Enfield Citadel trombone section, with Stuart Horton on bass trombone making a particularly effective contribution.  The writing and style will be familiar to those who have heard the 'Spiritual to the Bone' recordings, at times resembling a big band section with close harmony work.  It makes for a suitably affirmative conclusion to a very fine recording, a must for trombone players, and one that should appeal to a very wide audience.

Peter Bale

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