Futures

The United Co-op Yorkshire Brass Band
Conductor: John Roberts
Amadeus Recordings: AMS CD079
Total Playing Time: 65.04 minutes

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Formed in 1998 with the merger of the 'Jayess (Queensbury)' and 'Jayess '87' bands, and known until January 2004 under the name 'Yorkshire Co-operatives Band' , the 'United Co-op Yorkshire Brass Band' has had considerable success in recent years, and is prepaaring for its coming return to the Championship Section in 2005.  Musical Director John Roberts has led the band for the past seven years, and clearly has a group of talented players in key positions.  The programme chosen is interesting and varied, including a number of new compositions and arrangements.

The disc opens with the 'Fanfare from Carmina Burana' by Carl Orff, originally intended to be presented with choreography, but now most often heard in concert form.  It gets things off to a lively start, although it does highlight some discrepancies in intonation and balance, with the cornet section sounding at times separate from the rest of the band.  Rimmer's popular march 'Ravenswood' follows, with very effective attention to light and shade, before the first of the five soloists is featured.

Ray Farr's arrangement of 'Live and let Die' proves an effective vehicle for soprano player Jason Varley, who soars confidently over the band (although there is an unfortunate waver on the final note, and it is a pity it could not have been edited out).  His tone is clear, if thinner than some, and the accompaniment could have been driven on a little more.  Tom Brevik's 'In Heaven' is the choice of Carolyn Ramsbottom on flugel, and her smooth tone adds greatly to an atmospheric reading of an item that could overstay its welcome in less accomplished hands. 

As well as being the band's Principal Cornet, Tabby Clegg is well-known to readers of  'The British Bandsman' , and for her PR work on behalf of the band.  She has provided the well-thought out programme notes for this release, and that same preparation and attention to detail is apparent in her rendition of Alan Fernie's take on Goff Richards' 'Demelza', now with the title 'The Maid of the Moor'.  Her pleasant sound and light vibrato suit the melody well.

The other two soloists are James Clegg, horn, with Bill Charleson's setting of 'You Raise Me Up', and baritone player Owen Watson, who brings Leigh Baker's version of  'I Know Why'.  There is always a danger when featuring middle-range instruments that their sound will be swamped by the accompaniment, but in both cases the solo line comes across clearly, and both soloists are in good form.  Many will be familiar with 'I Know Why' from the Glenn Miller version, either played by his band or others such as the Syd Lawrence orchestra: somehow, the colours of the brass band cannot quite match up to memories of a big band and vocal group, although the arrangement works well enough taken on its own merits.  The close harmony sections, however, do expose the band's tuning at times.    

The hymn tune 'Wolvercote' is often used, especially in school assemblies, for the words 'Oh Jesus I have promised', and J S McGregor has provided an effective three verse setting, eschewing gimmickry but providing a fairly free treatment of the the second verse, building up to a triumphant finish.  There must be a vast resource of repertoire in band libraries that never sees the light of day, but in Frank Hughes' 'Fantastic Fanfare' the band have chosen a real gem for revival.  Coming more up to date, John Williams' 'Hymn to the Fallen', writen for the film 'Saving Private Ryan' receives a finely paced reading, with nicely pointed phrases following the side drum introduction.  The chorale section is well balanced, although the sound is a touch harsh at times.

The music of Wagner has been used by bands for many years, with arrangers such as Alexander Owen and Howard Snell to name but two.  Carolyn Ramsbottom has taken one of the most intense passages in the 'Ring Cycle', namely 'Siegfried's Funeral March' .  It sounds to be a fine arrangement, and it would be good to hear it taken up by one of the top bands, who could provide a darker, fuller tone than is managed here.  The trills in the top end of the band sound somewhat isolated from the rest, and the middle of the band does not seem able to balance up with either top or bottom.  Another band member, bass player Andi Cook, has devised a patrol style item entitled 'Forty Shillings' which would not sound out of place as the theme music for Bernard Cornwell's 'Sharpe' stories.  Bright and attractive, it keeps the whole band busy, with running phrases passing from section to section.

The two final tracks are given over to two new compositions: Gustav Oistensen Aaberg's 'Hymn to the Highway' was the winning entry of the 2003 composition competition held at Salford University.  The piece pays tribute to the E6 Motorway in the composer's native Norway, and encompasses images from its vast length, from mountains to peaceful countryside.  The opening bars are reminiscent of the finale to the Saint-Saens Organ Concerto, and their are echoes of Tallis in the central hymn-like chorale but it is an interesting work, showing much promise, and receives a fine reading from the band.  It has been published by Kirklees Music, who were involved in the competition.

Lastly comes Richard Grantham's 'Gothic (Variations in a time of uncertainty)' , a substantial work written especially for the recording.  The sleeve notes state that it 'reflect's Richard's vast experience as a conductor and player, creating a work that tests the players yet absorbs the audience'.  It certainly sets challenges for the band, and they rise to that challenge to produce some of the most satisfying playing on the disc.  This is certainly a track that rewards repeated listening, and it is very encouraging to find a band ready to promote new and untried material in this way.

Overall, the recording is a credit to the band and their conductor, with an attractive and varied programme that not only entertains but challenges as well.  The soloists in particular are all impressive, with sensitive accompaniments, and the band shows much promise for their return to the top section.  As previously stated, there are some issues surrounding balance and intonation which will probably bother some listeners more than others, but it is definitely a disc well worth exploring.

Peter Bale

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