Grimethorpe Colliery (UK Coal) Band

Conductor: Garry Cutt

Carnegie Hall, New York
16 April 2003

The chance to hear a top British brass band play at one of the world's most prestigious concert halls, Carnegie Hall in New York, was an opportunity too good to miss. Accordingly our plans for a spring holiday in New York were arranged to ensure we did not miss out. The renowned acoustic of Carnegie Hall provided an almost CD quality to what proved to be a magnificent performance by Grimethorpe. The clarity of the acoustic had to be heard to be believed; no wonder there are free cough sweets provided at various points in the foyer of the Hall!

On with the music. In true Grimethorpe fashion the programme was packed with fun, entertainment, variety and top notch playing. Dean Morley was first to appear on stage with his Bb Bass in one hand and the New York Times in the other; to read whilst waiting for the rest of the band to show up. This was the introduction to a familiar Grimethorpe opener, an arrangement of a "Swiss Folk Song" by Elgar Howarth that cleverly starts on Bb Bass and allows the various sections of the band to take the stage in turn until the theme is reprised one final time by the complete band. On removing the newspaper used by Dean Morley from the stage and returning Nigel Fielding received the first of many rounds of applause he would receive on the night, as the Carnegie Hall audience anticipated the appearance of conductor, Garry Cutt. An arrangement of Dvorak's "Carnival" followed; taking the Carnegie Hall regulars back to more familiar territory both musically and in the style of the performance. Their awe at the quality of the performance and the exceptional technical ability of the players in front of them could be felt even at this early stage in the concert.

For the average player standing up to play a solo is nerve-wracking whatever the venue, but to do so on a stage such as Carnegie Hall must be stomach wrenching. Thus from the average players perspective it was comforting to see several of the star soloists actually looking nervous, even if you could not tell from the high quality of their playing. Richard Marshall was the first soloist to take the spotlight and gained pro-longed applause for an outstanding rendition of Iveson's "Charivari". Richard, Nigel Fielding (soprano), Ian Shires (flugel) and Jonathan Beatty on trombone were featured in Goff Richards' arrangement of "Bill Bailey, Won't You Please Come Home?". An arrangement with an excellent jazz feel providing the audience with their fourth musical style in as many pieces; highlighting the versatility of a brass band in its music making.

The advertising for the concert predominately featured references to the film "Brassed Off" and so next came three pieces from the film: the march "Death or Glory", Rodrigo's "Concerto d'Aranjuez" featuring the wonderfully expressive and seemingly effortless flugel playing of Ian Shires, and the "Floral Dance".

The next featured soloist was Sandy Smith who gave a virtuoso performance on tenor horn of the Barbara Streisand number "Evergreen" in an arrangement by Alan Catherall. The first half ended with a standing ovation. Whether this was for the band's outstanding performance of Ray Farr's arrangement of "Riverdance" or the impromptu Irish jig from Richard Marshall and Ian Shires we do not know!

After stocking up with cough sweets during the intermission we returned to be treated to an energetic performance of Sandy Smith's arrangement of "Volaro" [?not sure about the title of this piece?]. Nigel Fielding, who was outstanding on soprano all night, then stepped up to give a melodious rendition of Puccini's aria "Nessun Dorma" which received further pro-longed applause. The band raced through another great Sandy Smith arrangement, Strauss' "Freikgeun Polka", before Jonathan Beatty on trombone gave a wonderfully flowing and expressive performance of the Cole Porter classic "Every Time We Say Goodbye".

A New York jazz favourite "Blue Rondo a la Turk" stunned the audience to almost total silence as they were once more amazed at the ability of the 27 player onstage to play perfectly together even when faced with such complex time signatures and rhythms. Michael Dodd highlighted his technical ability with a superb performance of Arthur Pryor's air varie on the "Blue Bells of Scotland".

The long time Grimethorpe favourite "McArthur Park" followed highlighting the amazing stamina of Nigel Fielding, Richard Marshall, and the band, as they simply took this hefty blow in their stride even at this late stage in the concert.

The final soloist of the evening was the effervescent Shaun Crowther on Eb Bass. He gave his usual entertaining performance of Monti's "Czardas" with pre-solo antics regarding the absence of a stand for his music and a master class in circular breathing as he dropped to his knees and ended up lying on his back on the stage seemingly stuck on a long note until Nigel Fielding rescued him! Pure slapstick and brilliant entertainment.

The finale moved the mood back to the more serious pastures of Wagner's "Procession to the Minster". An evening of amazing contrasts, high entertainment and outstanding playing was almost over and the band received their second pro-longed standing ovation of the evening.

The shouts of "encore, encore" led to the band less than reluctantly re-taking the stage to play the "William Tell Overture". A piece which Garry Cutt started and then left the stage to allow the players to have their moment of glory. Finally, the band ended as they had begun with Elgar Howarth's "Swiss Folk Song" with the band leaving the stage one by one to tumultuous applause, until only Dean Morley and my player of the evening, Ian Shires, remained. The whole band including Garry Cutt crept back on stage and soaked up a third and final standing ovation. What a fantastic night out! Thanks to Grimethorpe for being excellent ambassadors for British brass banding abroad and a great evenings entertainment.

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