In Shining Armour

Brett Baker and Paul Woodward
Yorkshire Imperial Urquhart Travel Band
Conductor: Chris Houlding
Amadeus Recordings: CDAMS101
Total Playing Time: 2hrs 10 mins approx

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Gatherings devoted to various instrumental groups have grown in popularity in recent years and have become a great opportunity to mix with fellow players and share some first class concerts and workshops.  The International Trombone Festival 2006, held in Birmingham, has drawn together players from across the world, encompassing every conceivable style of playing and even an attempt at setting a record for the largest trombone choir. 

In connection with the event, a double cd has been produced, with the playing shared between the two co-principal players at Black Dyke, Brett Baker and Paul Woodward.  The first disc consists mainly of material from an earlier era, with Paul presenting works from the Salvation Army repertoire, and Brett recording some of the old favourites that have been requested, many of which have not previously appeared on cd. 

They also join together in two contrasting duets, whilst the second disc comprises more substantial items, with three concertos and two Salvation Army items.  Effective and sympathetic accompaniment is provided by The Yorkshire Imperial Urquhart Travel Band, conducted by Chris Houlding, himself a noted professional trombonist and teacher, and President of the British Trombone Society from 2001-2005.

Many of the early secular trombone solos made much use of the glissando, often to comic effect (although possibly the best-known examples, John Greenwood's "The Acrobat" and Harold Moss's "The Joker" are not included here), whereas the Salvation Army items tend to be in more serious vein, albeit with the occasional air varie treatment.  What impresses particularly in these performances is that all the items are treated seriously, accepting each on its own merits, and the end result is much more satisfactory than if a "tongue in cheek" approach had been used.

Although the original intention had been to use exclusively UK repertoire a number of the items in the final selection have trans-Atlantic connections, including the opening solo, "Tromboneer", written under the pen-name of W Gerard, but actually by Jerry Bilik, well known for many wind band compositions, including his "American Civil War Fantasy", transcribed for brass by William Himes.  The solo was to be found in
Black Dyke's repertoire between 1958 and 1983, and it is thought to be the first trombone solo to include triple tonguing. 

Harold Moss's "The firefly" is written in the style of the old fashioned glissando solo, the composer being one of the leading trombonists of his generation.  John Greenwood, on the other hand, was a cornet player who nevertheless had the ability to write for a range of instruments, including the trombone, with the afore-mentioned "Acrobat" being one of the most requested solos for any instrument.  "Mercury" exhibits many of the same characteristics, and calls for considerable dexterity and flexibility from the soloist. 

Brett's remaining two solo items on the first disc are more serious in character, "Lend me your aid" being a transcription of Gounod's aria from "La Reine de Saba", whilst George Hespe's "Melodie et Caprice" was one of the first solos in the brass band repertoire not to use glissando.

Of the Salvation Army items, "Speak my Lord" is based on a melody by George Bennard, probably best known as the writer of "The Old Rugged Cross".  The arrangement is by Swedish-American Erik Leidzen, and is one of the pieces which Paul Woodward's father, Harold, used to play.  "Unfathomed love" is an original melody by Frederick Hawkes, head of the Salvation Army's Music Editorial Department from 1913, and he is also responsible for "Sound an alarm", a transcription of a recitative and aria from Handel's oratorio "Judas Maccabaeus", in which the trombone replaces the original tenor soloist. 

William F. Broughton was the grandfather of Bill & Bruce Broughton, one a renowned trombonist and arranger and the other prominent amongst film and TV composers.  His "Sound the battle cry" is a traditional air varie solo, much in the style of Arthur Pryor, whereas "There is power", by Australian Noel Jones, is in a much more relaxed, contemporary idiom.  In the established Salvation Army tradition of setting religious words to a secular melody, Ray Steadman-Allen's "My story and song" takes as its basis Stephen Foster's melody "Beautiful Dreamer".

The two duets are in total contrast: the title track "In Shining Armour" was originally written by Bandmaster Herbert Mountain as a cornet duet with piano backing, but later published as a duet for trombones with band accompaniment.  Based on the song "I'll gird on the armour" the attractive variations offer ample opportunities for display and the two players balance up well, with some tidy articulation and slide work in evidence. 

When trombonist Michael Hext became the first ever winner of the BBC Young Musician of the Year in 1978, Gordon Langford prepared an arrangement of "Scarborough Fair" for Michael and Don Lusher to perform live on television, with the backing of a studio orchestra.  Subsequently revamped for band, the soloists revel in the varied styles employed, including the opportunity for a bit of smoochy, swing-style playing.

Paul Woodward's contributions to the second disc consist of one established classic, and one new composition:  Ray Steadman-Allen's "The Eternal Quest" has been taken up by many non-SA players since becoming available in the 1990s.  Based around the song "Jesus is looking for thee", this "sermon in sound" is concerned with both the Saviour's quest for the lost, and also the wanderer's search for a purpose in life. 

It is a very dramatic work and Paul Woodward is suitably imposing in the declamatory passages.  "For the King" has been written by Ralph E. Pearce, the Divisional Music Director for The Salvation Army USA Southwest Division, and fast gaining a reputation as an arranger, particularly in the realm of solo repertoire.  Featuring the tune "Hendon", associated with the words "Take my voice, and let me sing Always, only for my King", he has incorporated elements of the style of film composer John Williams and the solo here receives its premier recording.

Although best known as a conductor, and latterly as something of a band historian, Roy Newsome is also an accomplished composer, with his hundred or so pieces including a number of concertante works.  "Concertino Olympic" was memorably chosen by 14 year old Hannes Holzl when he won the solo competition at the 2001 European Championships.  Here Brett Baker really gets inside the music, with its contrasting styles, lip slurs, virtuosic cadenzas and often light-hearted approach, with some really sparkling semi-quaver work, especially in the 6/8 sections. 

The other two concertos are more serious in nature: Elgar Howarth wrote his "Trombone concerto" between 1958 and 1960, inspired by the playing of his brother Stanford, setting out deliberately to go against the norm, and to emphasise the nobility of the trombone rather than its potential for humour.  He draws on the styles of other contemporary composers, including Hindemith, Schoenberg and Stravinsky, with echoes of the "Octet" particularly apparent. 

Although not performed for ten years after its composition, it has had several advocates since then in its various forms, with Christian Lindberg recording the orchestral version, and the then 20 year old Ian Bousfield performing the band version at the Radio 3 Festival of Brass in 1984 (accompanied, interestingly enough, by the Yorkshire Imperial Band).  More recently, Ian recorded the concerto with Eikanger-Bjorsvik Band under the direction of the composer.  Although there are differences in interpretation, as one would expect, the new recording stands up very well in comparison, with Brett presenting a confident, committed reading, with the central slow movement being particularly striking.

Buxton Orr's "Trombone Concerto" was written in 1971 with brass band accompaniment.  A wind arrangement followed soon after and this version was recorded in 2000, again by Ian Bousfield, with The Royal Scottish Academy of Music & Drama Wind Orchestra.  Although written using 12 note rows it is nevertheless a very lyrical work, eschewing display for display's sake.  In this instance, the band does seem to be stretched at times, possibly due in part to the unfamiliar idiom, with the intonation at times being a little insecure.  Brett brings out the lyricism of the work whilst also coping admirably with the at times very angular writing and wide leaps, particularly in the cadenza.

The recording comes with a lavish twelve-page booklet giving biographical information on the performers and background to all the pieces, with sleeve notes by Brett Baker.  The review copy was a draft version with various amendments marked which presumably have been corrected in the final print run.  The band provides excellent support throughout, well balanced and sympathetic to the soloists, with the only real moments of discomfort coming in the Orr concerto as mentioned above.  This is top quality music making and would grace anyone's collection, whether or not one is particularly fond of the trombone.

Peter Bale

Reviewed by Andrew Justice

Everything good seems to come in pairs at the moment – brass recordings are no exception, and this one features 2 top-flight trombonists on 2 CDs!

‘In Shining Armour' is a collection of trombone solos and duets drawn from the archives of the secular and Salvation Army brass band worlds, which have overlapped on a more regular basis in recent years.

The soloists need little introduction, as they feature regularly as ‘end-chair' men with the Black Dyke Band, and have a wealth of banding experience between them - Brett in many of the country's top contesting bands, and Paul with numerous SA bands, and more latterly as Co-Principal of the Black Dyke Band, and appearing together for the first time as joint-soloists in this project.

I say archives, as the first of the 2 CD-set is a very retrospective look at solos perhaps more familiarly heard on Sunday afternoon bandstands in days gone by, many of them previously unrecorded on CD. The second CD, still featuring works largely written up to 50 years ago, but with some more contemporary offerings from both sides of the banding spectrum, are more at home on the concert platform, but both discs are of great interest to the student of trombone repertoire.

Of particular interest on the lighter of the two discs are solos from such grandees of the brass world as Frederick Hawkes, Harold Moss, Ray Steadman-Allen, and Gordon Langford, not to mention Gounod and Handel!  A title-track duet from the SA shelves entitled ‘In Shining Armour' contrasts nicely with the traditional ‘Scarborough Fair' arranged for trombone duet, and adds variety to the disc.

Inclusion of the Elgar Howarth and Buxton Orr Concertos adds considerable gravitas to the occasion, and gives Brett Baker and the band, ably and sensitively conducted by Chris Houlding, an opportunity to develop a more serious musical expression. The slow second movement of the Elgar Howarth Concerto is a particularly impressive if haunting highlight.

The most recent composition is featured by Paul, ‘For The King', originally written for Mark Baker, a former trombonist with the New York Staff Band of The Salvation Army, and a member of the composer's family, and is recorded by Paul Woodward for the first time here.

Brett Baker has penned the booklet notes, and this gives a fascinating insight into many of the older solos that may not get aired very often.

For those of you who might be intrigued by a collection of 19 trombone solos ‘ancient and modern', the skill and musicianship of the soloists and band places this recording high on the shopping list of the serious and casual trombone aficionado.

Andrew Justice

A further review will appear on this release from 4BR in the near future.

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