Heroes

The Household Troops Band of The Salvation Army
Conductor: Major John Mott
SP&S Ltd: SPS 211 CD
Total playing time: 76.58

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Since its foundation in 1985, the Household Troops Band has become known for its vibrant playing and varied programmes, and has become one of the most travelled bands in the country, playing to audiences in a variety of locations, including much work in the open air.  For their latest recording, Major John Mott has drawn together music round the theme of "Heroes", with a couple of Salvation Army classics standing alongside some fine new compositions.

The repeated rhythmic phrases of John Larsson's "To a God like this", taken from the musical "Hosea", lend themselves to a fanfare style treatment, and Ian Robinson arranged this version for the visit of General Eva Burrows in 1996.  It is an effective opener, showing the band to good effect, with the trombones particularly prominent, although there is a little shrillness in the cornets.

Norman Bearcroft, marking his 80th birthday this year, has produced numerous marches over the years.  "True Courage" may not be one of his best, but it includes many characteristic touches, not least the somewhat jerky rhythms and the soaring euphonium part.  The tunes featured are "By the pathway of duty" and "I'll be true" and the band observes the marks and contrasts effectively.

Tom Rive is one of a number of Salvation Army composers from New Zealand, and his "Variations – A Pilgrim Song" has become an Army classic.  Based on the tune "Monk's Gate", associated with John Bunyan's hymn "He who would valiant be", the work calls for delicacy of approach and the accurate reading of dynamics, with sections dove-tailing with one another.  The bass-led passacaglia is smooth and sustained, whilst the fugal section is finely balanced at a sensible tempo, making this one of the highlights of the recording.

Carl Saunders has been associated with the band since its foundation, and occupies the Principal Cornet position for this recording.  Dean Goffin's cornet solo "Victorious" is another composition emanating from New Zealand, and it receives a confident reading from the soloist, phrasing the solo line with care and making the most of every nuance in the part, although there do seem to be a few intonation issues between soloist and band.

The film "Save Private Ryan" created quite a stir on its release, with its realistic depiction of the horrors of the D-day landings, and the impact of the film was undoubtedly enhanced by John Williams' haunting "Hymn to the Fallen".  Arranged by Klaus van der Woude, the performance captures well the elegiac feel of the original.

Ralph Brill, in the informative sleeve notes, points out that Bramwell Coles' march "Departed heroes" was the first march to be published in the Festival Series – without the name of the composer, of course!  It is a fine march, taken at a good steady pace, with crisp dotted rhythms and the alternating quaver passages in the final section come over well.

Keith Manners, a former member of the International Staff Band and currently bandmaster of both the Essex Police Band and Southend Citadel, has contributed several pieces to the troops' repertoire.  His latest, "Everlasting love" combines "Such love", which many may know from Richard Phillips' version for piano and band, with Howard Davies's song "The Wonder of His grace".

Tuba player Paul Drury, of Edinburgh Gorgie and Unison Kinneil Bands, and whose march "Jubilee" has quickly become a firm favourite, has contributed a three movement suite to the new recording.  Entitled "The Victors" it was written in response to a quote from a senior British Roman Catholic cleric who stated that Christianity in the UK had been vanquished.   Inspired by the words of St Paul in Romans 8.37 he uses a number of familiar songs to reaffirm the victory to be found in Christ.  Following an original "victory" motif, the band takes up the tune "I believe we shall win", in an aptly confident setting.  The second movement uses the tune "Land of pure delight" associated with Bramwell Booth's words "Oft have I heard thy tender voice", with particular reference to the lines which read: "And in the battle's blazing heat, when flesh and blood would quail, I'll fight and trust, and still repeat, that Jesus cannot fail".  The third movement opens very energetically before the tune of "Miles Lane" -"All hail the power of Jesus' name" - draws the suite to its triumphant close.

Terry Camsey is perhaps better known for his contributions to the cornet repertoire, having served in principal positions with both the Irish Guards and the International Staff Band, but with "This I know" he demonstrates an affinity with other instruments as well.  This light-hearted solo, using the children's songs "Hundreds and thousands" and "Jesus Loves Me", was written for Craig Lewis of the Canadian Staff Band, and receives an appropriately laid-back interpretation from Andrew Newell of the Bristol Easton Corps, home of so many fine trombone players over the years.

Written during World War Two but dedicated to the memory of General Gordon and his heroic defence of Khartoum in 1885, the march "Army of the Nile" is one of Kenneth Alford's finest.  All the standard elements are there, with melody, counter melody, off-beats and bass parts with interesting features that make them a joy to play, and it is played with the requisite swagger, with the tricky soprano passages near the start being handled neatly.

Having written "In love compelled" as a choral piece, Andrew Blyth reworked it as a euphonium solo for Derick Kane.  Shorn of its associated words, it nevertheless retains much of its emotional power, calling for sustained playing from the soloist.  Keith Loxley of Enfield may not have as full a sound as some players, but he interprets it well and imposes his presence over the band where appropriate.

The Household Troops are known as much as anything for their versatility, and they show their ability to switch styles with Martin Cordner's swing arrangement "Sweetest Name", showing no sign of the stilted approach that often hampers bands in this type of music.  There is good work from all the sections, with a light touch from the basses, steady support from the percussion, fine trombone playing, and even the quasi improvised cornet and trombone solos come across quite naturally.

Charles Skinner's tone poem "Heroes of the Faith" portrays the heroism of the early church in the face of persecution under the Roman Empire, and as such would not be out of place alongside some of the Hollywood biblical epics.  With six headings each depicting various aspects of the struggle, and including a valiant attempt from the trombone section to portray the roar of the lions in the arena, it is programmatic music which largely speaks for itself.  It may be a little dated in style but given such a committed rendition as this one is reminded that there is great merit in such earlier publications that can sometimes be forgotten and confined to the archives.

The Salvation Army corps at Winchester has experienced something of a revival in recent years, and Kenneth Downie and his wife Patricia have played their part, leading brass and vocal groups respectively.  His bright march "Winchester Revival" has been written to celebrate the on-growing growth of the corps, and fittingly uses the tune "For I'm building a people of power".  Designed to be playable by smaller bands, it has many attractive features, and is a useful addition to the repertoire.

It has become customary for many musical festivals to close with a sung benediction, and several settings have been made of the words "The Lord bless thee and keep thee".  The version here was written by Ivor Bosanko and transcribed for band by Retired Bandmaster Ken Ward of Blackpool Citadel, and makes for a suitable postlude to the recording.

The production of the cd is first class, with background notes on each piece of music by Ralph Brill, as mentioned above, and clear printing in white on a black background.  There is a list of band personnel and an explanation as to the motivation for the recording.  Overall, if not quite the best recording the band has produced, it is nevertheless an enjoyable and challenging listen, with horns and trombones particularly impressive, and a fine contribution in particular from Luke Williams on bass trombone.  It all bodes well for their forthcoming summer visit to the West Country where no doubt the well-filled cds will be snapped up like the proverbial hot cakes.

Peter Bale

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