Going Solo

Carl Saunders, Cornet
The Household Troops Band
Conductor: Major John Mott
SP&S Ltd: SPS 192 CD
Total Playing Time: 78.21 mins

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Imagine the scenario: you're preparing for an overseas trip and decide to produce a recording to take with you; you spend a busy weekend recording the tracks (a Friday night followed by an early start on Saturday morning); you set off on your trip and . . . . . . . . . . no cds!  Apparently that was what befell cornet virtuoso Carl Saunders as he set off for his recent visit "down under", causing him to have to take orders until the cds arrived at the end of his stay.  Fortunately there was no "best by" or "use by" date involved, as this fine recording should give great pleasure for a long time to come.

Carl Saunders is the Young People's Band Leader at the Cardiff Canton Corps, where he has also been principal cornet for 16 years.  As well as guesting with various bands, including Fodens and BAYV, he has taken part in many of the Household Troops Band's tours and recordings, and it is they who provide the sympathetic accompaniments.  Writing the sleeve notes himself, it is clear that this has been a labour of love, enabling Carl to choose some of his own favourite solos, as well as paying tribute to those who have influenced him over the years.

The first track, Peter Graham's 'The Amazing Mr Leidzen' , is a good vehicle to show off Carl's dexterity and high register playing in particular.  There are some nice individual touches amongst the pyrotechnics as he sets his own seal on the performance.  The solo itself pays tribute to Erik Leidzen, with quotations from and references to a number of his works, linked together by the theme "You must be a lover of the Lord".

The influence of Terry Camsey looms large over the recording: as well as being the composer of three of the items presented, Terry was the dedicatee of Ray Bowes' 'Rhapsody for Cornet and Band' , giving its premiere at a memorable London concert in aid of Leukaemia Research.  Featuring a Christmas melody written by Terry himself, it calls for a very lyrical approach, needing sensitive phrasing as well as a sympathetic accompaniment.  Carl successfully adopts a particularly steady tempo for the central section, sustaining the sound beautifully and maintaining the intensity.  (Incidentally, the Project Co-ordinator for the recording, Kevin Coates MBE, recorded the 'Rhapsody' for "Listen to the Band" with the Band of the Coldstream Guards.)

The first of Terry's compositions, 'Questions' , uses his vocal setting of the words "I often say my prayers, but do I really pray?" , and the melody itself, with prominent, short, repeated phrases, seems to echo that question.  It is a simple setting, but very effective, and acknowledged by Carl as one of his favourites.  In contrast, 'Wonderful Day' is a much brighter number, although to this listener it seems more of a jazz waltz than exhibiting the "Viennese twist" referred to in the sleeve notes.  The syncopation in the accompaniment is handled well, and the smooth runs are cleanly articulated by the soloist.

William Himes' 'Jubilance' has proved very popular in recent years: his 'Capriccio for Cornet' shares some of its characteristics but is generally more laid back, allowing the soloist much more flexibility.  Carl really sparkles in the brighter sections, whilst bringing a suitable languid approach to the slower passages.

The Household Troops Band, under the directon of Major John Mott, are featured in two solo items:  Kenneth Smith's 'Britannia' was introduced to the United Kingdom by the Canadian Staff Band on their 1983 tour, and continues a long tradition of incorporating patriotic airs in march form.  'Rule Britannia' and 'God Bless the Prince of Wales' are used, together with the odd allusion to 'Under Two Flags' and 'The Red Shield'.  The playing is suitably crisp, with the contrasts effectively drawn, particularly between the brightness of the cornets and trombones and the mellowness of the saxhorn tone. 

Their second piece, Trevor Davis's 'Knowing You' , brings together Graham Kendrick's song of that name with the old Salvation Army chorus "Jesus, thou art everything to me":  it is a setting of great subtlety, calling for finely balanced playing as various melodic phrases emerge from the overall texture.  The band's full, warm sound makes this, perhaps somewhat unexpectedly on a solo cd, one of the highlights of the disc.

Having been brought to the public's consciousness via its use in the British Airways advertisements, 'The Flower Duet from Lakme' has appeared in various arrangements for brass.  Norman Bearcroft's setting was originally intended for cornet and flugel, but is here presented as a cornet duet with David Daws.  Following a somewhat tentative accompaniment in the opening bars, the two players show considerable empathy, blending well together yet each with their own distinctive sound.

Ivor Bosanko is a former Bandmaster at Canton Corps, although he's been based in the USA for many years.  'Heavenly Light' is one of five manuscript solos on the recording: described as "a straightforward air varie" it nevertheless has plenty of up-to-date twists, both rhythmically and harmonically, together with what appear to be occasional references to other solos, notably at one point 'Golden Slippers' .  Carl succeeds in bringing an improvisatory feel to many of the passages as they seem to trip off the tongue.

Carl explains that he wanted to include Arthur Gullidge's 'Jubilate' in recognition of the fine heritage of solos available.  With it's spectacular opening and triple tonguing it still represents a considerable challenge for the soloist.  Carl's control in the slower sections is particularly impressive, whilst the florid sections are played with consummate skill.

Terry Camsey's 'Longings' opens with a slow thematic statement, again beautifully sustained, before picking up the tempo with some well-defined double-tonguing.

Joseph Turrin is probably best known in banding circles for his 'Hymn to Diana' ; he arranged 'My Song of Songs' for Philip Smith's cd of that name, setting its simple melody against an almost impressionistic accompaniment, making for a restful coda at the end of the programme.

To produce a recording of such quality over a couple of days is no mean achievement, and comments from the band speak of Carl's stamina and consistency.  His tone is beautifully clear across the full range of the instrument, the upper register in particular being reminiscent of Wynton Marsalis in his 'Carnival' recording.  If there is the occasional waver on the final note, it never detracts from the enjoyment of some first-rate cornet playing.  With performances such as these, sympathetic accompaniments and fresh repertoire, this will certainly enhance anyone's collection.

Peter Bale

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