Jewels in the Crown

Black Dyke Band
Triple CD release
Doyen Recordings: CD150
Total Playing Time: Approx 4 hours

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This really is a unique recording. No other brass band in the world has an aural history like Black Dyke, although to be fair, there is no other brass band in the world quite like Black Dyke.

From their formation 150 years ago to the present day they have been at the very forefront of the developing brass band movement, and as a result their musical achievements have been recorded for posterity. Although no 19th century recordings exist, this release still manages to capture musical treasurers from the turn of the 20th century – the first, just two years after the death of Queen Victoria. This is musical archeology - an excavation that has unearthed a host of priceless gems.

The release coincides with the 150th anniversary celebrations (as well as a fine book written by Dr. Roy Newsome), and which provides an aural accompaniment to that written history in an impeccable production.

The triple CD comes with Dr. Newsome's superb sleeve notes as well as a lovely touch in the form of ‘retro' vinyl (or should that be shellac) looking discs that even have the feel of the grooves on their surface, but which thankfully do not bend or scratch like the originals.

With such a rich selection of recordings to choose from (this must have proved to be like Lord Caernavon trying to pick out a few favourites from Tutankhamen's tomb – it is estimated that Dyke has made over 260 recordings), the producers have taken the sensible choice of breaking the release into three distinct parts.

The first CD is entitled ‘The Heritage' and covers the period from those first Thomas Edison inspired recordings (the first from 1903), up to the mid 1960's when the whole sound of the brass band movement changed with the introduction of low pitched instruments. They are recordings not just from a different age historically, but also as brass banding as a social phenomenon as well. The stentorian voice of Arthur O. Pearce is a reminder of man born in the Victorian age (he was born in 1871) who brought its social as well as musical culture with him to his time with the band.

The 16 tracks are pure gold: some may be a bit battered and bruised with age, but 24 carat bars that have the musical Midas touch nonetheless.

From the wonderful 1905 introduction from Edison Bell that heralds the ‘King's Guard March' right through to the performance of the 1961 band under the great George Willcock's on ‘Judges of the Secret Court' it is a mesmeric evolving musical history book. The early playing is so stylized that today it appears almost comic, yet of its time it was playing of the highest quality. The solo playing from the likes of Owen Bottomley,  Jack Pinches and Willie Lang still has the ability to deeply impress, whilst the band playing has a crispness and clarity (especially on ‘A Moorside Suite') that even today cannot be bettered.

The absolute Koo-i-noor diamonds though are the solo performances of Maurice Murphy and Geoffrey Whitham, and the 1960 recording, featuring both, on ‘Le Roi d'Y's', which more than any other confirmed the band with legendary status.

Whitham was on this evidence one heck of a player – a lyrical mastercraftsman who played the euphonium in the manner of a great tenor opera singer. His performance on ‘Le Roi d'Y's' is stunning. Murphy meanwhile is touched by pure genius.  His performance of ‘Will o' the Wisp' is simply poetic brilliance.

The famous ‘Le Roi d'Y's' recording isn't the ‘live' performance that forged the legend though and is certainly not (if the legend is to be believed) anywhere as good either. Although littered with small errors it still has the ability to send a shiver down the spine, from the unbelievable opening bars through to the imperial almost regal swagger of the finale which is taken at the perfect tempo – none of this modern day crash bang over revved dash that has become the norm on the piece.

If the first CD is the most fascinating, then the second, entitled ‘The Vintage Contesting Years', is the most glorious.

This covers the truly great years from 1967 to 1986 – the period of Parkes, Newsome and Brand, the triumphurate of conductors who laid the modern foundations for the continued success of the band well into the 21st century. Under them came the players: Shepherd, McCann, Clough et al, a golden generation if you like of the finest (and sometimes most difficult) performers ever to grace any brass band.

Here we have Dyke leading the new low pitched banding age on ‘Journey into Freedom'; stamping their authority of class over their fellow competitors on ‘James Cook'; reaching new levels of ensemble playing on ‘Contest Music' and delivering perhaps the most complete modern banding performance on ‘Cloudcatcher Fells'.

During this period they were almost untouchable, and you can hear why, whilst those very performers provide individual displays of their unique brilliance with iconic solo recordings. McCann and Clough in their element, Shepherd the non-parelliel with his virtuosity. Even the inclusion of a piece of light hearted concert repertoire adds to the lustre of a band that did even the easy things so very well.

Finally, the third CD, entitled ‘Ever Widening Horizons' is the most intriguing, and gives you some indication to why Black Dyke remains the driving force of top class brass banding in the world.

Here we listen to the latest generation; through its emergence under the final great Parkes inspired ‘Grand Slam' triumph, to the difficult, yet essential interregnum that was David King's tenure, through to the period of almost orchestral inspired ensemble playing of the Watson years. 

The ability of the band to change almost chameleon like, both with its sound and its personnel (there were dark times as well as glory in this latter period) tells you a great deal; Whatever the direction chosen, the spirit of the band ensured that they would take to it by being the best they believed they could be. Invariably it was better than anyone else. Some of the performances are electrifying, as too are the solo interventions from the new breed of virtuosi performers the band has always attracted since its formation.

Lastly the current incumbents reveal their qualities to the full, both from the contest stage and the concert platform, and under Dr. Nicholas Childs the final contributions reveal themselves ever more determined not only to create its place in banding folklore but to also stamp its indelible mark on the history of the Queensbury band itself.

This is a unique recording, and one that deserves the plaudits it has received for the breadth of its scope and the quality of its achievement. The title is a most appropriate reminder of what the Black Dyke Band has meant to the history the brass band movement. They, and their music have been undoubted Jewels in the Crown.

Iwan Fox.

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