Pastoral Brass

Kettering Citadel Band
Conductor: Bandmaster Richard Phillips
SP&S Ltd: SPS 186 CD
Total Playing Time: 64.03 mins

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Formed in the 1880's, the Salvation Army band from Kettering has frequently been featured at Salvation Army events, both in the United Kingdom and abroad, and also has numerous fine recordings to its credit, particularly the two LP's: 'Celebration' (1979) and 'On Ratcliff Highway' (1981).  Now under the leadership of pianist and composer Richard Phillips, 'Pastoral Brass' offers an opportunity to see how the band of today is faring, and the varied programme proves a good showcase for them.

The opening number, Kenneth Downie's ‘Intrada on Regent Square', is presented confidently and majestically, at a slower tempo than is sometimes chosen.  The band sound is full, possibly stronger at the bottom end, although there are occasions where the intonation is slightly insecure.

Kettering has had a number of noted soloists in the past, including Trevor Groom, and occupying his former seat is Gary Rose, previously at Croydon Citadel, and a member of the International Staff Band, where he currently plays baritone and is frequently featured as a vocal soloist.  His chosen item is George Marshall's ‘Ransome', and his light tone suits the piece very well: Nothing is over-done, there are few alterations or additions to the printed line, and the band accompanies Gary's flowing phrases very neatly and sensitively - no doubt the bandmaster's experience as accompanist coming into play.  The minor variation in particular is most effective, with each phrase carefully placed and appropriate use of rubato.  The solo was originally entitled ‘In evil long', on account of the words set to the tune in the early days, but it would not somehow sound right to hear the announcement "Gary Rose will now play 'In evil long'"! 

The second featured soloist is also a member of the ISB: Jonathan Miller plays principal horn, and here presents Michael Kenyon's arrangement of Weber's ‘Concertino for Horn'.  His articulation is particularly clear and the solo line stands out well from the accompaniment.  The solo part covers a wide range, including some rapid movement across the registers, but the soloist handles its intricacies effortlessly.

Rob Clark, as well as playing flugel horn in the band, is a professional pianist and, like Richard Phillips, is a former accompanist with The Salvation Army's International Staff Songsters.  He is featured on piano in Ray Steadman-Allen's ‘Fantasia for Piano and Band' on 'Christ is the Answer'.  Written in the 1960's and recorded by the composer with the ISB, this item has recently been featured by Bram Tovey with both Fodens and the Clarence Adoo Band, and was one of the most-requested items in a recent internet poll for pieces to receive new recordings.  Reminiscent at times of  ‘Rhapsody in Blue', the portentous opening statement also has similarities with Dohnani's ‘Variations on a Nursery Theme'.  Based round the song ‘Christ is the Answer', which the band male chorus sings in the central section, the pianist is given a lot of freedom in interpretation, and there is some tricky interplay between soloist and band.  It is a confident reading and is one of the most attractive items on the disc, even if the male voice singing is not completely convincing.

In addition to the three soloists, the band's trombone section, led by ISB member Brad Turnbull, has its chance to shine in ‘Blazing Bone'.  Also by Ray Steadman-Allen, this trombone feature incorporates extracts from, and references to, a number of the many trombone ensembles he has contributed over the years, and was written for the Gospel Arts Concert at the Royal Albert Hall in 2002.  Following an opening that could confuse the casual listener ('The Holy War!') phrases may be spotted from ‘Sparkling Slides', ‘Trombone Vespers', ‘Wonders Begin When The Lord Comes In' amongst others, together with the trombone theme from ‘Sinfonietta: At the Edge of Time'.  The whole makes for an enjoyable, mostly bright, item, with Brad Turnbull taking the central solo.

‘Pastoral Brass' includes two marches, Donald Osgood's lively ‘Mountain Camp', written for a music camp in Switzerland and played here at a good, brisk tempo, and Johann Strauss's ‘Radetzky March', in a new arrangement by the bandmaster.  The latter, familiar to many from the New Year's Concerts broadcast annually from Vienna, seems a little bland, lacking something of the Viennese feel (perhaps a little more percussion/cymbal would have helped?), and more could have been made of the contrasts, both in terms of volume and tempo.

The major piece included, from which the disc takes its title, is Robert Redhead's ‘A Pastoral Symphony', in which the writer considers not the countryside, as Beethoven and Vaughan Williams did, but rather the role of the minister in the pastoral care of the church, drawing on Jesus' description of himself as the Good Shepherd.  In particular, the minister must maintain the highest personal standards if he or she is to fulfil their calling effectively.  There are four movements, each of which can be performed separately.  The first movement opens with the tunes ‘Majesty, worship his Majesty' and ‘Break thou the bread of life', and features one of the composers favourite devices when he combines a slow melody with accompanying figures at double the tempo.  The second movement, a gently lilting 3/4 treatment of ‘Seek ye first the kingdom of God', is particularly suited to being played on its own, whilst the third movement offers the challenge of General Albert Orsborn's words ‘Except I am moved with compassion, how dwellest thy spirit in me?'  The music underlines the challenge and self-questioning through the use of unexpected, quite sinister harmonies underneath snippets of the melody, which some may recognise as being used in the Erik Leidzen horn solo ‘The Old Rustic Bridge'.  The final movement presents the confident assertion ‘In my life, Lord, be glorified', with lively interjections based around the main theme, and a majestic climax with the melody at a slower tempo.  The band really seems to rise to the challenge and it is a moving rendition of a somewhat underused composition.
 
There are two other devotional items: ‘Wonderful Healer' was written by Dean Goffin as a companion piece to his familiar ‘Light of the World', with which it shares many characteristics.  The repeated phrase ‘Touch me again' is used as a rhythmical feature throughout, and these phrases are very carefully placed and controlled, both in the initial statement and also later on, in the more agitated central section.  There have been a number of arrangements of ‘Crimond', and that by Peter Graham is distinguished by his references to the music of Eric Ball, and in particular the final bars where ‘Resurgam' is heard, ending the piece and the disc on a positive note.

The presentation of the recording, with informative notes by Richard Phillips, is up to the expected standards apart from a couple of typographical errors, although some may find the white printing on a black background tiring on the eyes.  As to the playing, whilst not perfect there is plenty to show that the band is in good spirits, with a good team of soloists, and the addition of Gary Fountain on Principal Cornet will produce a welcome boost to the top end of the band, which sounds a little underpowered at times in comparison with the lower end.  There are occasional lapses in intonation, but on balance this is a fine programme of attractive repertoire, with ‘Christ is the Answer' and ‘A Pastoral Symphony' being particular highlights.

Peter Bale 

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