Brass band entertainment remains a matter of subjectivity. 

Just a few weeks earlier Brighouse & Rastrick performed a concert in Uppermill that was predominantly contemporary in style, contained numerous programme changes which somewhat polarised opinion.

Meanwhile, Grimethorpe came to the Civic Hall after competing at Brass in Concert, where they were one of eleven bands encouraged to perform ‘free of artistic restriction’ and reflect, ‘...the most current and progressive form of the genre'.

Welcome relief

No wonder then the audience were sat in their seats with an air of apprehension and anticipation, although that was soon turned to welcoming relief as on its bi-annual appearance in Saddleworth, Grimethorpe did what they do best and sent them home thoroughly content after their Saturday night out.

Their traditional entertainment efforts were appreciated in full (a few Grimey 'Wags' were on particularly good vocal form) as they were given an early Christmas present from a band in slick concert mode.

Familiar repertoire

Some of the repertoire may have been as familiar as the surrounding Saddleworth hills (nothing was reprised from their Sage appearance) but with plenty of cracking ensemble playing supported by excellent soloists, it was a timely reminder that when they are in the mood to put on a show, Grimethorpe remain master entertainers.

Chief amongst them was Kevin Crockford who was on sublime form, whilst there were also excellent contributions from guest principal cornet Iain Culross, Ian Shires, Chris Gomersall, Michael Dodd and Philippe Schwartz.

Vigour

In the heart of Whit Friday country, the march 'Death or Glory' was taken at a steady tempo to start the night's proceedings, before the Rossini overture, 'The Barber of Seville' received a reading full of vigour and passion.

Iain Culross gave a sensitive interpretation of Dvorák’s 'Rusalka's Song to the Moon' which paved the way for Howard Snell's 'Perpetual Mobile' to be polished off in the blink of an eye.

Respects

The tempo and dynamics were taken right down with Rutter's delightful 'What Sweeter Music' and the Miner's hymn, 'Gresford' which allowed the band to pay its respects to the 100th anniversary of the Senghenydd Colliery Disaster. 

Sandwiched in between was the languid sounds of trombonist, Chris Gomersall in 'The Summer Knows', whilst the first half closed with some definitive Grimethorpe and a real ripper of 'MacArthur Park', with Mr Crockford's contribution almost taking the roof off.

Swagger

The second half was more of the same: 'Buglers Dream' segued into Williams' 'Olympic Fanfare', before flugel Ian Shires enjoyed himself in the jazzy 'Body and Soul'.

No Grimethorpe concert would be complete without its filling of 'Brassed Off' repertoire and in addition to the earlier march, the popular 'Florentiner' (in its original form as opposed to the clever medley arrangement used at Brass in Concert) was full of swagger, whilst 'Danny Boy' was delicately portrayed.

Interplay

The dependable euphonium duo of Michael Dodd & Philippe Schwartz delivered Peter Graham's 'Brilliante' in its original form with neat interplay, whilst both Grainger's 'Molly on the Shore' and Redhead's 'Reflections in Nature' were full of lyrical warmth.

All that was left was for the band to send the audience on its way after they'd tested the acoustic on 'Procession to the Minster' and the encore from 'William Tell' that even the Lone Ranger would have done well to keep pace with.

If the MD had picked up his tenor horn and led the band through a rendition of 'Nobody Does It Better', during the evening, it would have reinforced the point that when it comes to brass band entertainment, Grimethorpe remain a band to cater for all subjective tastes. 

Malcolm Wood