Partnership Festival

London North East Fellowship Band
Anglia Fellowship Band
Conductors: Geoff Jordan, Ray Todd
Hadleigh Temple
Saturday 24th March

For their latest concert held at Hadleigh Temple, the London North East Fellowship Band played host to their near neighbours from Anglia, who included at least two former Hadleigh comrades, Major David Diaper on BBb bass (the Commanding Officer who saw through the project to build the new hall) and Brian Cooper on bass trombone (Bandmaster at Hadleigh for several years, and an erstwhile member of the International Staff Band. 

The evening marked the end of Bandmaster Geoff Jordan's spell leading the band, and both he and retiring Band Secretary Keith Hart received certificates of appreciation from the Divisional Commander, Major Michael Highton.

After compere Lt Col David Phillips had introduced the guests – somewhat cheekily referring to them as "the tractor men"! – the home band opened the programme with Donald Osgood's stirring march "Motondo".  Written in tribute to Salvationists on the African continent, and using the melody "Travel along in the sunshine", it received a suitably rhythmic interpretation, although the band missed their soprano player, whose arrival was delayed as he was collecting Salvationist friends Jack & Jacqui Proctor from the airport.  The percussion was also rather overpowering, although the middle of the band produced a full, warm sound.

Having accompanied the congregation in the song "O worship the King", the Anglia band continued with a march of their own, "Falcon Street" by Kenneth Ketteringham, who was in the audience.  Based round the tune of that name, associated with the words "Stand up and bless the Lord", it also included references to "Soldiers of Christ arise, and put your armour on".   Under the baton of Ray Todd, formerly of Her Majesty's Horse Guards, and for many years Deputy Bandmaster at the Chalk Farm Corps, the playing was crisp and well-defined, with some particularly good work from the trombone section.

After David Phillips had outlined the purpose of the Fellowship Bands, which have blossomed since the change of rules relating to Salvation Army music and musicians, Geoff Jordan led his band in the Air and Variations "A Sunbeam", by Philip Catelinet. 

The title refers to the children's song "Jesus wants me for a sunbeam", and the "Sunbeams" was also the title given to one of the early Salvation Army expressions of youth work, a number of former "Sunbeams" being present in the audience.  Although the solo cornets cued in some of the missing soprano part, the performance was lacking a bit of brightness in the upper end, and there were moments of uncertainty, particularly over the division of the 6/8 beat.  Nevertheless, it was good to be reminded of one of the classics of former days.

The Anglia band moved more up to date with Australian Howard Davies's selection "On the road".  Dating from the late 1970's, the outer movements are based on two of his original choral pieces, whilst the beautiful central section features the old chorus "He's the Christ of the human road", in which the euphonium and flugel were both excellent.  "On my way to Heaven with my Lord" and "It's a long way to travel alone" were both marked by well-controlled playing, with a very clean percussion interlude in the last movement.

The prolific Danish composer Erik Silfverberg has produced many well-crafted arrangements for a range of bands, and his setting of "Nobody knows de trouble I see" brought out some of the best playing of the night from the London North East band.  With the introduction giving more than a nod to the influence of George Gershwin, the band seemed more secure, producing a fuller, rounder sound as they supported the solo cornet of Keith Johnston.

The Anglia band then featured soprano cornet Trevor Baker and flugel Dennis Versey, both of the Felixstowe Corps, in Ray Steadman-Allen's transcription of the "Pie Jesu" from Andrew Lloyd Webber's "Requiem".  Despite some intonation problems at the start, and a slight imbalance between the fuller flugel tone and the thinner sound of the soprano, things soon gelled together, although they were a little overwhelmed at times by the accompaniment. 

The band then presented another item by Kenneth Ketteringham, as vocal setting of "I come to the garden alone", which would have benefited from a slightly more hearty approach, as it was rather restrained, with the inner parts getting lost at times.

Robert Redhead, now a Canadian citizen although originating from the United Kingdom, has created an effective selection from music that John Larsson penned for the Salvation Army musical "Hosea!"  It is clearly a popular item for the members of the London North East Band, and they produced a fine reading of its three movements, although the flugel was somewhat overpowered.  The trombones and euphoniums led the way into the last section ("I almost forgot to say thank you") with enthusiasm and vigour, the band ending the item on a (metaphorical) high note.

During the second congregational song ("O for a thousand tongues to sing" to the tune of "On Ilkley Moor b'ah tat") soprano player Dave Harrison arrived, and took his seat with the London North East band.  There was then a change of mood as the Anglia band struck up Arthur Benjamin's "Jamaican Rumba" (arr Anthony Spurgin).  The basses were a little heavy at the start, the band taking a little while to get into their stride, and the item would have been enhanced by the use of a little Latin American percussion as it all felt a little too rigid.

This was followed by Charles Skinner's version of Schubert's "Marche Militaire", played by London North East.  The unison opening was nicely pointed, and the cornets showed a light touch in the centre section, enhanced by the added brightness of the soprano.

More music from the pen of Robert Redhead came next, his arrangement of the tune "Fewster", with the title "Reflections in Nature".  Based around the words of Catherine Baird "When Jesus looked o'er Gallilee" it was a most appropriate choice for the Lenten period, with the references to the crucifixion, and the final line ". . . the Lord shall live again".  Ray Todd brought out some excellent playing from the band, holding them back in the final section to make the last few bars all the more telling, built on a powerful foundation from the basses and bass trombone.

David Phillips spoke on St Paul's words to the Philippians concerning joy, a positive message despite the epistle being written from his prison cell.  Two devotional pieces accompanied his thoughts, the first, from London North East, being Eric Ball's selection "Constant Trust".  

Written under the shadow of the Second World War, the band effectively projected the familiar melodies such as "Trust and Obey" and "Simply trusting", whilst there was some fine, sustained euphonium playing in the verse of "The cross is not greater than his grace".  The decorative figures for cornet and euphonium accompanying the trombone solo were tastefully played, and the piece drew to a positive conclusion emphasising the final phrase "Trusting Jesus, that is all".  

Anglia's final solo item was Dean Goffin's meditation "The Light of the world", inspired by Holman Hunt's painting showing Christ standing outside the heart's door.  The band produced a full, rich sound, with a good dynamic range, despite the occasional problem with intonation.

For the concluding two items, the bands joined together, first playing George Marshall's classic march "Mighty to save".  It was quite an impressive sound, although Ray Todd tried to prevent any excessive exuberance from his players. 

Finally, an enjoyable evening ended with the sound of Sir Arthur Sullivan's "The lost chord" echoing round the hall.  No doubt there had been a little friendly rivalry between the two bands, but more importantly an appreciative audience had heard some fine music, and fellowship had been shared together.  Although both bands would benefit from some bolstering of the cornet section, they gave sterling service, especially when one considers the fact that there are only a couple of players under the age of 55, with a number well into their 70s.

Peter Bale

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