Expressions

Regent Hall Band & Regent Hall Songsters
Conductors: Stephen Hanover, Major John Martin
Soloists: Anthony Thompson, Stephanie Lamplough)
Regent Hall, London
Thursday 9th October

The lights at Regent Hall were dimmed as usual to replicate a café cum cabaret setting for the 2008 “Expressions” evening to launch the Brass Arts Festival 2008. Projectors sent flecks of red and green light across the ceiling, the back of the platform and floor, although the smoke was kept at a reduced level this year, reducing the haze somewhat. 

A dozen tables (complete with candles) and chairs were laid out in the arena to add to the informal atmosphere, and the scene was set. 

Segments

The programme was divided into segments under suitable headings, these being outlined in the printed programme and also displayed on the screens at either side of the platform. 

For the “Opening Expressions” the band commenced with “Fanfare to Worship”, based round the song “Come, now is the time to Worship”, the bulk of the band entering through the body of the hall to join the basses and percussion who were already in position. 

They followed this with “The Power of the Cross”, the cornets arrayed across the front of the platform as the rest of the players took their seats, with the image of the cross being projected onto the back wall behind the band.

Contrast

Following a slight technical hiccup when the backing track was started slightly early, vocalist Stephanie Lamplough presented her first item, “The Prayer”, her cream, floor-length dress contrasting with the navy and white uniforms of the band. Her diction was first-class, with all the words coming over clearly, although the level of the accompaniment track was set a little too high for comfort.

Following a spoken prayer by Major Anne Read, the second soloist was introduced. Anthony Thompson, a product of the Castleford Corps, opened with Stephen Bulla’s setting of “Blessed Assurance”, playing the first part (on flugel) from the upper level, before coming to the front of the platform as he took up the trumpet for the final section. 

Resounding

Projecting the sound well with a warm, round flugel tone, he encouraged the audience to join in singing the second verse, the words appearing on the screens, and his bright trumpet sound carried clearly over the band, with a slight hiatus before the resounding top F at the climax.

“Expressions of Faith” offered the first opportunity to hear the Songsters under their recently-appointed leader, Major John Martin. 

Full balanced sound

Commencing with Leonard Ballantine’s “Celebration Morning” they produced a full balanced sound, with more male voices than is sometimes the case, although there was some uncertainty over the pitching in some of the middle parts of the somewhat dissonant chords. Their second song, “It must be Love”, which reflected on the way God’s plan includes a place for each person, was enhanced by some delicate flute playing.

“Classical Expressions” encompassed two items from the classical repertoire: Anthony played Telemann’s “Concerto in D” on piccolo trumpet, accompanied by a keyboard masquerading as a harpsichord, and with some fine cello playing. On the whole, the combination worked remarkably well, although the keyboard/harpsichord was a touch too loud at times, which detracted somewhat from the desired effect. 

Anthony produced some excellent, sustained playing, crisp articulation in the more nimble passages and some striking echo effects.

Stephanie followed this with Puccini’s “O Mio Babino Caro”, with piano accompaniment, her performance being made all the more dramatic by the expressive use of her hands and arms, and her eye contact with the audience in various parts of the hall.

Salvation Navy

“Expressions from the Deep” was heralded by the appearance of a small boat – constructed around a motorised wheelchair - piloted by Major Michael Walters, who proceeded to make reference to various occasions when boats are mentioned in the scripture, his lively sense of humour including the suggestion that The Salvation Army should really be The Salvation Navy, as they are frequently “all at sea”, and can be plagued by “petty officers”! 

All of this led up to a quite hilarious presentation by the band’s six horn players, led by Stephen Hanover, who handed the baton to his deputy, Paul Sharman for this item. 

For their rendition of the spiritual “Wade in the Water” they trooped into the arena, equipped with a variety of diving/swimming paraphernalia, including flippers, goggles and a couple of tanks of oxygen, and proceeded to give a choreographed performance in which the couple of moments of uncertainty regarding the movements only added to the comic effect.

Major Walters then returned – without his boat this time - outlining the place of the spiritual in the fight for freedom before introducing Anthony, who had swapped his earlier concert outfit for his Salvation Army uniform. 

Golden Slippers

He spoke of his own personal experience, explaining how his satnav system sets the route for him, never getting cross even when it has to recalculate, and likening this to God’s guidance of his life. He then turned to Norman Bearcroft’s “Golden Slippers”, for which the band gave a first rate account of the tricky accompaniment. 

Unfortunately, the performance was not the most successful of the evening, and the decision to play it on trumpet rather than cornet appeared ill-advised: although the slow section (played with a mute) allowed for some sultry sounds, the faster passages did not quite come off, and the solo did not have its customary impact.

Expressions from the Cross

“Expressions from the Cross” brought one of highlights of the evening. “Right before my Eyes”, a song recently brought over from America by a member of the Birmingham Citadel Songster Brigade, depicted the mixed emotions of Mary Magdalene as she first tried to come to terms with the suffering and death of Christ, and then dealt with the encounter with the risen Lord following the resurrection. 

The music was perfectly matched to the words as it changed from minor mode to major for the chorus, and Stephanie’s interpretation really brought the song to life.

Nuances

The band’s four-strong trombone section presented “When I Survey”, a setting linking Isaac Watts’ familiar words with the folk tune “Waley, Waley”. Julia Jepson’s dance illustrated the sentiments expressed, and the players brought out the nuances of the harmony and the unresolved suspensions effectively.

The same verses form the basis of Professor Wilby’s choral setting “Wondrous Cross”, sung by the songsters with considerable restraint and control, with an excellent soloist in Kerry Sampson, and with some first class unison singing as well as clear harmonies.

Repertoire staple

Following thoughts from Major John Read on “The Message of the Cross”, the band presented their major item, Dean Jones’ “Glorifico Aeternum”. This, by now a staple of their repertoire, was accompanied by a Powerpoint presentation incorporating appropriate images and video clips. 

Both solo and ensemble work was good, with fine contributions from euphonium and solo cornet in particular, whilst the syncopated rhythms were tackled with confidence and assurance. Following the tumult towards the end, first “Nun danket” and then “St Columba” rang out across the band, and the piece ended in a blaze of sound, powerful but not overblown.

Energetic

Following an energetic arrangement by one of the songsters of Andre Crouch’s “Soon and Very Soon”, Stephanie Lamplough was joined by piano and band in Peter Graham’s “It’s a Wonderful Day”, adding her own colourful inflections to the vocal line, as in her recent recording with “Vision Brass”.

To close this section of the programme Anthony Thompson joined the band in Barrie Gott’s “Swingtime Religion”, adding a stratospheric improvised line over the band in the final section, and the item ended with the players raising their instruments in the air.

The evening ended with an expression of thanks and a benediction from Majors John and Anne Read, and a reprise from the band of “Power of the Cross”, after which there was the opportunity to share refreshments and fellowship together. 

Peter Bale

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