Shekinah

The International Staff Band of The Salvation Army
Conductor: Staff Bandmaster Stephen Cobb
SP&S Ltd: SPS 190 CD
Total Playing Time: 66.02 mins

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The International Staff Band of The Salvation Army has a fine pedigree when it comes to playing music of a devotional or meditative nature.  The band has now been in the capable hands of Stephen Cobb for ten years, and the opportunity has been taken to release a compilation of devotional items taken from recordings issued over that period.  There has been considerable stability in the band, particularly regarding the corner men, three of whom are featured as soloists, each represented by two items: Derick Kane, euphonium, David Daws, cornet, and Andrew Justice, trombone.  Apart from the American William Himes, the composers all originate from the United Kingdom, and all are well established masters of the genre.

Kevin Norbury's 'Aubade' juxtaposes the familiar hymn "Morning has broken" with a vocal setting by Eric Ball entitled 'Morning Song' , producing an item with a pastoral feel.  Trevor Davis, a former National Bandmaster, is represented by three pieces, each of which shows his distinctive style.  'Shepherd Song' , played here by Derick Kane, takes Keith Banks' setting of 'The Lord is my Shepherd' and fashions an ideal vehicle for the soloist to demonstrate his clarity and smoothness of tone, especially in the links between the verses, whilst the ending calls for extreme delicacy.  'From Earth's Confusion' focuses on a phrase from the chorus "Prayer gently lifts me to highest heaven" , the warm harmonies and softly descending phrases giving a feeling of peace and contentment.  'Where I am' is based on one of the composer's own tunes, written for young people's voices.  The cornet soloist provides delicate ornamentation around the melodic line, revealing David Daws at his best.

There are five items from the pen of Kenneth Downie, who has also provided the thoughtful sleeve notes.  The tune 'Healing Waters' was penned as a vocal setting for words by General Albert Orsborn and the cornet solo version was prepared at the behest of David Daws.  His careful phrasing and the precision of his playing make it sound deceptively easy, but few players can surpass David when given a good melody to play. 

The craftsmanlike arrangement of 'Jesus answers Prayer' reminds the listener that prayers are often uttered at times of doubt, uncertainty and questioning, before the music gains in confidence and assurance.  Bramwell Coles is perhaps better known today for his band items, and in particular for many fine marches, but he also contributed a number of vocal works to the Salvation Army repertoire.  The song 'Here at the Cross' first appeared in the "War Cry" newspaper: the moving words include the phrase "Helpless indeed I come with my need" , and Kenneth Downie's 'Silent Vigil' seems to underline that vulnerability, before emphasising the "reviving power" that is able to met that need, whatever it may be.

The Hebrew word "Shekinah" depicts "the radiance of the presence of God in the midst of his people" .  Kenneth Downie's piece of that name, from which the recording gets its title, features the tune "Spirit of the living God, fall afresh on me" , with the middle of the band sounding particularly effective.  His final contribution uses the Irish melody 'Slane' , associated with the words "Lord of all hopefulness" , with the reminder that the Lord's presence is consistent from the break of the day to its end.

Wilfred Heaton may not have been a prolific composer, but each of his pieces shows his own inimitable touch.  'Martyn' was written in 1947 following a suggestion that he should produce something "more straightforward": "straightforward" it may be, but it is certainly not mundane, with touches of brilliance such as the cornet interjections and the subtle changes of key - a reminder if ever one was needed that sometimes "less is more".

Michael Kenyon spent some time with the Music Editorial team, as well as holding the position of Bandmaster at such corps as Hadleigh Temple and Southsea.  'Hold thou my Hand' was originally written for soprano voice, but adapts beautifully for trombone, whilst 'The Lamb' , a setting of William Blake's verses for junior choir, has been arranged by Dorothy Gates, also for trombone.  Originally from Belfast but now based in New York, the composer is a fine trombonist in her own right, playing with the New York Staff Band.  This extended setting gives Andrew Justice ample opportunity to display some sensitive and effective phrasing,and some fine sustained playing.

William Himes, Bandmaster of the Chicago Staff Band, has taken Sebastian Temple's song 'Make me a Channel of your Peace' , producing a simple, restrained setting, making the opening out of the harmonies at the entry of the full band all the more effective.  Building to a climax, underpinned by the kit player and with an expressive counter melody in the cornets, it then fades away to feature a quote from Eric Ball's tune for "Peace in our time, o Lord" .

There seem to few Salvation Army recordings that do not feature at least one of Joy Webb's melodies, and this is no exception: 'There will be God' was performed memorably as a vocal solo by Bill Davison at one of the annual Albert Hall festivals.  Arranged by Bandmaster Richard Phillips of Kettering Corps, and in the safe hands of Derick Kane, it is a triumphal, life-affirming anthem, and is undoubtedly one of the highlights of the disc, complete with final top "G".

Many of the more substantal pieces in the Salvation Army repertoire are in the form of suite, often with a more reflective central movement that can be played on its own.  One such is Ray Steadman-Allen's 'Sinfonietta: At the edge of Time' , the central section of which uses as its theme the children's chorus "When He cometh" .  Once again, the middle of the band is heard to great effect, painting a musical wash from which the phrases of the melody emerge.  Ray Steadman-Allen also has a hand in the closing item, providing a sensitive setting of John Rutter's 'A Gaelic Blessing' , bringing the disc to a peaceful conclusion with a lovely touch from Kevin Ashman, then on soprano.

Despite the meditative nature of the music, there is considerable variety in the pieces chosen, and this is a disc that one can happily listen to in one go, without boredom setting in; alternatively, just programme a couple of tracks to suit the prevailing mood.  With fine, balanced playing throughout it represents an enjoyable hour and a bit, recommended to anyone who does not already have the original releases.  Whilst familiarity with the music and its associated words may bring an added dimension, the sleeve notes are most helpful in setting the scene, and the music largely speaks for itself.

Peter Bale

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