Faith Encounter

Brett Baker
Accompanied by Boscombe Band
Conductor: Howard J. Evans
Total running time: 61.44 mins

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Brett Baker is fast becoming one of the most travelled artistes in the brass band world, and for those who are unable to share his globe-trotting, there is an ever-growing discography recording his collaborations with various bands. 

"Faith Encounter" includes seven solos from Brett, whilst the accompaniments are in the safe hands of the Boscombe Band of the Salvation Army, under their Bandmaster, Howard Evans.  The music itself has an international flavour, with the USA, Canada, the Netherlands, Australia, England and Wales all being represented in some way or other, including a welcome outing for one of Bruce Broughton's early works for the Salvation Army, "Variations on ‘Nicely Saved'".

The band opens the disc with Ian Robinson's fanfare-like setting "Intrada: To a God like this",  based round John Larsson's music from "Hosea".

Bill Broughton is renowned as a performer for his ballads, and this is reflected in many of his compositions.  "Sarah" was commissioned for Brett Baker's return visit to Australia in 2005 and, in company with Barrie Forgie's setting of Kurt Weill's "My Ship", exploits Brett's smooth upper register most effectively.

Kevin Norbury, at one time a horn player in London's Chalk Farm Band, is currently working in Canada, following spells working for The Salvation Army's Music Departments in both London and New York.  "Flourish for trombone", written for Paul Woodward, Brett's co-principal at Black Dyke, acknowledges the role played by the trombone in solemn ceremonial, with the more subdued central section using the German chorale "Es is ein Kind geboren".

The solo was actually a thank you to Paul for filling in with the afore mentioned concert, and at one point listeners may note similarities with the waltz variation in Kevn Norbury's ‘Variations on Maccabeus'.

Ever since "Lightwalk" burst on the scene the name of Barrie Gott has been synonymous with lively swing-style numbers, and "Up Yonder!" carries on that fine tradition, incorporating the old gospel hymn "When the roll is called up yonder, I'll be there".

In addition to his skills as a pianist and conductor, Howard Evans is an accomplished writer, both or voices and for band.  His "Iona boat song" portrays the sea journey taken by the bodies of the Scottish Kings en route to their burial on the Isle of Iona.  This allows opportunity for quiet reflection, as well as depicting the effects of turbulence on the boat and its cargo.

Since The Salvation Army made its music available to bands outside the organisation, Ray Steadman-Allen's "The Eternal Quest" has been taken up and recorded by many players.  "Faith Encounter", composed for Brett Baker, was written as a companion piece to that work, using the tune of "Monks Gate", with its links to Bunyan's "Pilgrim's Progress", to outline a spiritual journey.  It also incorporates the plea "Hold thou my hand" and the positive affirmation that "It is Well with my Soul",

Dirk Krommenhoek is another writer equally at home with voices and with brass, having contributed many choral works in a contemporary style.  For his trombone feature "From that Sacred Hill", however, he writes in a much more traditional style, using the song of that name.  The trombones are initially in unison, showing excellent control, before the harmony opens out most effectively.

Bruce Broughton is probably best known for his work for film and television, but he has also contributed a number of works for brass band.  "Variations on ‘Nicely Saved'" was published in 1981, and was recorded by the International Staff Band on their American tour lp ISB/USA.  Taking as its basis a song which appeared in the very first volume of The Musical Salvationist, the Salvation Army's vocal music publication, the lively variations catch the essence of that era, with its strong links with the music hall and popular song.

Martin Cordner has taken the contemporary worship song "Blessed be the name of the Lord" and produced a well-crafted setting entitled "The Name".  In total contrast is Robert Redhead's "Whisper a Little Prayer".  Taken from the musical "Chains of Gold" that he wrote in collaboration with his wife, Gwyneth, the writing is gentle and unassuming, with the solo line just floating above the band.

Once in a while a song or chorus seems to take on a life far beyond the composer's expectations.  It may be a number revived from a failed film or show, or simply one which seems to really catch the imagination of audiences.  That has been the case with Ivor Bosanko's "In this Quiet Moment": written as part of "The Stones Cry Out", a vocal wok marking the 50th anniversary of the first Salvation Army Music School in the United Kingdom, its use in various Congress meetings and other events brought it to prominence even before its publication.  Ivor's own reworking for band incorporates quotations from "I am so Glad", "He Found Me", "Breathe upon Me" and "This is God's Moment", as he builds up a reflective yet challenging meditation.

The tune of "Ellacombe" is associated with various sets of words, including "Fill thou my life, O lord my God, in every part with Praise".  Bandmaster William Himes of the Chicago Staff Band has put together a bright festival prelude, just as effective owards the end of the programme as it is as an opener.

Darren Bartlett, former Deputy Leader of the Salvation Army's International Staff Songsters, and a noted vocalist and choral composer, wrote "The Lord is Gracious" around some of the words of psalm 103.  The sensitive band version is by Olaf Ritman, a member of the Amsterdam Staff Band, of which Bandmaster Evans is a former leader.

The production is well up to the standards one has come to expect from Polyphonic, with informative up-to-date sleeve notes and an attractive, easy-to-read booklet.

Peter Bale

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