Big Band, Big Screen

Derwent Brass go for the big band, big screen approach, but do they come up with a banding blockbuster release in the process?

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Derwent Brass
Conductor: Keith Leonard
KMJ Recordings: CD1051
Total Playing Time: 64.00 

Formed in 1992, Derwent Brass has wasted no time in establishing itself as one of the Midlands most consistent and forward looking bands.

This is due in no small part to their long standing MD, Keith Leonard and a strong core of experienced musicians.

Well trodden path

For their latest recording the band have chosen to take a fresh look at fairly well trodden musical paths; arrangements taken from the repertoire of the Big Band and from the world of stage and screen.

Therefore, whilst we are offered a few often repeated pieces, which must have had more outings than the ‘Sound of Music’ at Christmas, there’s enough new stuff here to keep the average brass recording aficionado happy. Of course, for a typical Derwent Brass concert goer the track list is probably just the ticket for an enjoyable hour or so of listening.

Neatly divided

The recording is neatly divided into two segments: starting with six big band numbers (connected in some way to the stage and screen genre) and then subtly, and ever so slightly camply, nudged in the direction of the ‘Big Screen’ by means of Quincy Jones’ ‘Soul Bossa Nova’, memorably featured in the ‘Austin Powers’ films.

Derwent Brass handles the jazz idiom as well as any of our leading bands.

The sound is rich, full and well balanced (as it is throughout the recording), with stylish contributions from soloists (Dai Roberts on soprano, David Neville on cornet, Pam Davis on flugel and Martyn Johnson on trombone shine in particular) and an excellent kit drummer to drive the whole thing along nicely.

Well known versions

Well known versions of classics such as ‘Mack the Knife’ and ‘Li’l Darlin’ are set nicely alongside perhaps slightly less familiar settings. Of these, Sandy Smith’s flamboyant arrangement of ‘Sparkling Diamonds’ stands out.
 
Arrangements from the world of cinema make up the bulk of the programme. Of these, almost all are taken from films of the last 20 years, the exception being Martin Ellerby’s recent version of the March from ‘The Great Escape’.

Of note is Alan Fernie’s take (with more than a little nod to Resphighi) on John Barry’s sweeping melody from the epic ‘Dances With Wolves’. Andy Duncan’s skilful arrangement of the main themes from James Horner’s music to ‘Titanic’ is also well worth a listen, especially if you can cope with another outing of the ubiquitous ‘My Heart Will Go On’.

Titanic return

Later in the programme, we return to the ‘Titanic’ (before she sinks) in the shape of Lowell Mason’s beautiful hymn ‘Nearer My God to Thee’. Legend has it that the ship’s string ensemble were said to be playing shortly before the ship sank, a story that Hollywood certainly didn’t fail to exploit to the full. Here it is given a most thoughtful and traditional reading by Leonard and his Derwent players.

Of course a brass band’s take on the world of cinema wouldn’t be quite the same without paying homage to the now almost legendary ‘Brassed Off’'.

It is an often-told story that Hollywood Director George Lucas chose to sacrifice his share of takings for the ‘Star Wars’ films in favour of pocketing the income from all merchandise. A seemingly crazy decision at the time, but hindsight was to prove it a masterstroke.

Death or Glory

Perhaps the director of ‘Brassed Off’ may have made a similar killing if he had chosen to take the royalties from band performances inspired by his portrait of the Grimley Colliery Band. Nonetheless, Derwent present us with two high polished versions of R.B. Hall’s great march ‘Death or Glory’ (it’s testament to how great it is that it has survived so many performances) and the ‘Finale’ from the ‘William Tell Overture’.

The arrangement by Frank Bernaerts of themes from ‘Gladiator’ is perhaps not the most adventurous around, but, alongside ‘Gabriel’s Oboe’ from ‘The Mission’, it features the band on sonorous form. The recording closes in fine fashion with Han Zimmer’s inspired music from the first of the ‘Pirates of the Caribbean’ trilogy.

Of the many arrangements of this music for band that now exist, this is among the better ones. Here, in true Jack Sparrow style, it’s given an energetic and flamboyant reading by the band. Special mention should be made of the percussion section, who are very much to the fore.

Impressive

This is an impressive and enjoyable recording and overall package from Derwent Brass.

At all times the playing is of a very high standard indeed. For my taste, I would have liked slightly more warmth in the solo work on the odd occasion, but this is only a minor quibble. The high production standards are matched by an excellent and informative inlay booklet.

If you are a fan of the big band, stage and screen genres, then this recording is highly recommended.

Mark Bousie

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