Badinage

Impressive playing from an impressive line up of performers as Fuoco Brass and Les Neish showcase their talents to the full.

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Fuoco Brass
Conductor: Jonathan Corry
Soloist: Leslie Neish (tuba)
B&H Sound Services: BHSS0539
Total playing time: 79.36

Following on from their previous release, which featured trombonist Brett Baker, Fuoco Brass have joined forces with tuba virtuoso Leslie Neish for their second recording. The band is made up of Salvationists from around the UK, under the direction of Belfast-based trumpeter Jonathan Corry.

The programme opens with Andrew Mackereth’s lively march “Cornerstone”, written for the opening of new facilities for the Mayfair Community Church in Chicago. This was formerly the Chicago Korean church, so there are references to a Korean folksong called “Springtime” in addition to three tunes relating to building: “Christ is our corner stone” (Darwalls), “Building up the temple” and “How firm a foundation” (St Denio). 

The band pay due attention to dynamics and articulation, with the percussion-led interlude coming off effectively, and the descending scale in the final bars, moving through the band in quavers, being particularly well-defined.

Sarastro’s aria “O Isis und Osiris”, from Mozart’s “Die Zauberfloete”, has been arranged for tuba and band by Ray Steadman-Allen, and gives Leslie Neish the opportunity to demonstrate the lyrical aspect of his playing, with smooth, flowing lines. The band accompanies with great sensitivity, and a good grasp of the required style.

Dean Goffin’s selection “To God be the glory” was written in 1957 but has stood the test of time well. Linking together the songs “To God be the Glory”, “Glory to the Lamb!” and “Glory to His name”, the composer incorporates original material to provide links and counter-melodies, producing a well-crafted item. With all the tunes still in common use, it is just as relevant today as when it was written, and should be heard more often. The exciting finale incorporates a bass solo showing off the lower half of the band to good effect.

Kevin Norbury’s “Badinage” was written for Patrick Sheridan and the New York Staff Band, who recorded it on “Blazing Brass”. Nathan Cole, the Band Secretary, points out in his introduction to the present recording that “badinage” is defined as “light, playful banter”, and Leslie Neish captures well the sense of fun in sections of the piece. 

The composer has drawn on the tuba solo “Celestial Morn”, written by Leslie Condon, who died when still relatively young 25 years ago, and exploits the full range of the instrument, finishing on a resonant pedal note.

Graham Kendrick’s “Such Love” receives a sensitive treatment from the pen of bass player Paul Drury, gradually building up to a powerful climax, with euphonium counter melody and prominent bass trombone and percussion, before fading away again.

Ralph Vaughan Williams’ “English Folk Song Suite” was one of a handful of works he composed for military band, being premiered by the band of the Royal School of Military Music, Kneller Hall, in July 1923. It is unpretentious and fairly straightforward, but no less attractive for that, as it links together a number of familiar melodies, with brief references to several more. 

The march “Seventeen come Sunday” is taken at a fairly steady pace, making the bass solo sound almost ponderous, but allowing ample time to fit in the moving parts around it. There is some extremely delicate playing from both soloists and ensemble in the second movement, “Intermezzo – My Bonny Boy” and more excellent playing from the bottom half of the band in “Folk Songs from Somerset”.

Andrew Mackereth’s “Swing Low” was written for the bass trombone player with the Amsterdam Staff Band. Since then, it has been recorded by Coventry City SA Band and by Doug Yeo with his New England Brass Band, but here Les Neish shows that anything a trombone can do a tuba can do at least as well, if not better! With a slow, jazzy opening, moving into a fast Latin-American section, the soloist’s agility is tested to the full, but he passes the test with flying colours, relishing the syncopated rhythms and busy figurations, finishing up in the stratosphere.

The variation form clearly appeals to composer Kenneth Downie, many of his most popular works being based on existing melodies. “Music of Thanksgiving” was composed for the London (Ontario) Citadel Band and its then Bandmaster Bram Gregson, and the composer has revised the percussion score in conjunction with Nathan Cole, reflecting the developments in that area since its composition in 1991. 

He has produced a work full of contrasts, testing all sections of the band, using a mixture of styles, unexpected rhythms and harmonic twists. 

There are many technical challenges, but also numerous lyrical passages, with Richard Woodrow on Principal Cornet and John Starkes on euphonium making the most of the opportunities to shine. The additional percussion certainly adds extra colour, particularly the xylophone and tubular bells towards the end, and the whole band responds well to the music.

“Carnival for bass” (Muscroft) opens with a fairly straight rendition of the theme, but the solo line soon becomes progressively more intricate, with phrases often cutting across the beat. Leslie Neish never allows the decoration to obscure the melodic line, retaining the musical shape throughout. The ending, another note off the top of the stave, seems to come somewhat unexpectedly.

Philip Sparke’s “Prelude on an Irish Folk Tune” opens with an atmospheric introduction, leading to an original theme with a Celtic feel to it. Gradual references to the tune “Slane” can be detected as the music develops, before the theme is at last heard in all its majesty. Following the climax, the music gradually dies away once more, this being well-controlled by Jonathan and his players.

“Everybody should know” (David Catherwood) was originally written for euphonium – it also suits the baritone particularly well – but in the hands of Les Neish it becomes a lively display vehicle for tuba, with deft finger-work in the outer sections and a central slow melody in the upper register, showing off his exemplary tone. The runs in the final section are extremely impressive, with a whoop up to the final note.

In addition to Dean Goffin, New Zealand has produced several other Salvationist composers, notably Harold Scotney, who alternated as bandmaster at Wellington Citadel with Dean Goffin’s father, H. C. Goffin. Ronald Holz, in his informative sleeve note, states that the composer was occupying the soprano seat in the band when he wrote “Wellington Citadel”, which could account for the prominent part for the instrument. 

Taken at a steady, street-march pace, the band brings out all the various elements, with melody, counter-melody and accompanying figures all receiving due attention. The bass solo is kept under control, and there is some fine, sustained playing in the trio section.

Kevin Norbury, originally from the United Kingdom but now based in Canada, has based his “Overture: Truth Aflame” on two settings of the words “Thou Christ of burning, cleansing flame”. Following on from a quiet opening on cornets and glockenspiel, the modern melody “Send the Fire” is introduced, with trombones and cornets echoing the initial phrases. 

With frequently changing metre the music builds in excitement before being interrupted by the quieter central section, based on the tune “Tucker”, presented initially as a cornet solo over a gently pulsing accompaniment. 

The return of the opening music is followed by fugal passage and there is a growing urgency, reflected in the playing, as the phrase “Send the fire today!” is heard. Even though the music presses on relentlessly it never sounds scrambled and, following a quotation from “La Rejouissance” from Handel’s “Fireworks Music” the overture ends fittingly in a blaze of sound.

As stated above, the erudite sleeve note has been supplied by Ronald Holz, and there is also information on the band, soloist and conductor, as well as a full list of personnel. To produce a recording such as this in less than 24 hours is quite an achievement, and there are very few untidy moments, with the ensemble and solo playing being of a very high standard, whilst the soloist himself is on top form. 

This well-filled disc will provide much enjoyment, and with its mix of Salvation Army and secular music it should have a wide appeal.

Peter Bale

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