Slide Odyssey

A masterful display of trombone expertise and artistry from the man who can make the old instrument sound like liquid gold.

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Cedric Vergere (tenor & bass trombone)
Accompanist: Corinne Valloton (piano)
Marcophon: CD 7095
Total playing time: 53.44 mins

Anyone who was present at the European Championships in Birmingham in 2007 for the premiere of Bertrand Moren’s “Beyond the Horizon”, specially written for Brass Band Treize Etoiles, or who has heard the recording made on that occasion, will be well aware of the artistry of Cedric Vergere, their bass trombone player since 1996, who made such an impression with the fiendishly difficult cadenza. 

Coming from a brass band background, he joined his local village band, the Concordia in Vetroz, at the age of 10, and since then has undertaken various studies and taken part in many solo competitions. 

The repertoire chosen for the recording consists predominantly of arrangements of familiar music, although there is one substantial original work in the form of the “Sonata for Bass Trombone and Piano” by the Swiss composer Daniel Schnyder. 

An eclectic work, written in the 1990’s, it draws upon a variety of styles, and has an improvisatory feel to it. The influence of jazz is particularly strong and it proves a worthy vehicle to put Cedric through his paces, even if its more serious nature sets it apart from the remainder of the programme. It places considerable demands on soloist, accompanist and listener, particularly in the extended first movement. Repeated listening brings its rewards, however, and it is good to hear a recording of an original work.

There are two works from the pen of former Sousa virtuoso Arthur Pryor, “Annie Laurie” and the less familiar “The Supervisor”, the latter being played in a version transposed for bass trombone and piano. 

On both instruments, the soloist plays cleanly and crisply, maintaining the shape of the music even in the most complex variations, although in “Annie Laurie” it seems a bit of a scramble when a slightly slower tempo may have added to the clarity. In “The Supervisor” he maintains a well-defined trombone tone right down into the pedal register, with no muddying of the textures at the bottom of the range.

Oskar Boehme’s ”Danse Russe” was written as a trumpet showcase, and it seems rather strange hearing it played in the lower reaches of the bass trombone’s range. Whilst it is something of a technical tour de force, it is not one of the most successful arrangements on the disc.

Many composers have been expired by Gypsy music, which seems to offer considerable scope for rubato and individual interpretation, and Pablo de Sarasate’s “Chansons Tziganes” is no exception. Originally written for violin, the adaptation by Timofei Dokshitser offers ample opportunity for Cedric to show off his party tricks, with some impressive runs, lip trills and glissandi.

There are more opportunities for display in such lively numbers as “Flight of the Bumble Bee” and “Vallflickans Dans”, another work intended for the violin but offering no terrors to Cedric here, exploiting the full range of the instrument in the former and with some lightning-fast slide work in the outer sections of the latter. 

He also demonstrates his versatility as he produces a fine, legato melodic line in slower pieces such as “Londonderry Air” and the “Meditation from Thais” by Massenet.

Opinions may differ as to where to place the trombones when on the march, but it is by no means unusual for a rank of trombones to be found heading the procession. 

They tend to dominate proceedings somewhat – hence some bands deciding to place them further back – and they are normally given something to get their teeth into. John Philip Sousa certainly used his trombones effectively, and the brief “Sousa Medley” by Norman Tailor draws together several familiar extracts, albeit with some rather contrived links and switches of octave.

In the final track, “Gospel Time for Trombone Quartet”, written by french horn player Jeffrey Agrell, Cedric Vergere plays all four parts through the wonders of modern technology. In this he is quite successful, and although the balance does favour the bass trombone, that is not entirely inappropriate. 

The solo passages are carried off with panache, and this version makes for interesting comparison with that by the Black Dyke Trombone Quartet on “Fly me to the Moon”, the latter being slightly steadier, sounding a little less spontaneous and a lot less raunchy than Cedric’s interpretation.

Throughout the disc, the excellent piano accompaniments are provided by Corinne Valloton, with whom Cedric seems to have developed a very effective partnership. Sleeve notes are provided in both English and French, which should add to the recording’s international appeal. 

In the notes, Cedric explains that he has attempted to illustrate the versatility of the modern trombone: he has certainly done so, and at times displays a formidable technique that may indeed astonish listeners unfamiliar with what the trombone is capable of. 

His skill on both tenor and bass trombone is without question, although for this listener it is the bass trombone playing that impresses the most, but one wonders whether the combination of one serious work in amongst predominantly lighter fare – even if frequently technically demanding – was the best option to take. It would certainly be good to hear him tackle more original works for bass trombone, either with piano accompaniment or with the backing of Brass Band Treize Etoiles.

Peter Bale

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