DVD - 2005 Highlights of Brass in Concert Championships

World of Brass DVD: WOB114
Featuring: Various bands

Whilst audio recordings of major banding events have been around for some time, the advent of the DVD as a relatively cheap and user friendly medium offers an additional dimension, allowing the general public to see for themselves the players in action, complete with the occasional grimace and smile. 

Recordings allow the listener the opportunity of experiencing for themselves events that they were unable to attend in person, in particular the most recent European Championships, and with the latest release from World of Brass this is extended to the entertainment contest, specifically the Brass in Concert Championship.  Since its debut in 1977 this has proved a popular contest, with its previous venue at Spennymoor invariably being sold out well before the event, and so 2005 saw a move to a new home, the Sir Norman Foster inspired centre at The Sage, Gateshead.

The opening titles set the scene, with text advancing towards the viewer – rather like Star Wars in reverse – as each band is shown, superimposed on a soundtrack of BAYV's rendition of "Hora Staccato".  There is a voice-over by Frank Renton, who has compered the event for many years, and some impressive views of the Centre itself, looking out across the River Tyne.  As well as providing capacity for a larger audience, the new venue attracted one or two bands which have not competed in recent years, including BAYV and Brighouse and Rastrick.  What, then, of the performances and the production itself, and what sort of introduction does it provide for those who have never attended Brass in Concert?  The bands are featured in their playing order on the day, with at least two numbers from each performance being included, and Grimethorpe's winning sequence appearing in its entirety.

BAYV are seen in good form in "Toccata in F" (Widor, arr Wright), with fine precision shown across the band, and an excellent contribution from the trombones, nicely caught by the cameraman preparing for their big entry.  Being able to see as well as listen one gets a real sense of teamwork, with each player supporting one another, and with a well restrained sound, avoiding over-blowing.  David Child's sublime rendition of "Benedictus" (Jenkins, arr Small) reveals why he was chosen to receive the award for Best Euphonium, and as Frank Renton points out in his commentary, shows that lyrical playing can be as rewarding as any fireworks.  The DVD also allows one to see the reaction of his fellow players, particularly fiancée Joanne and father Robert, with a congratulatory pat on the back.

Sellers International exercise their vocal chords in "Circle of life" (Elton John, arr Gilje), with African drum (placed at the front next to the solo cornets) and a synthesiser adding their distinctive contributions, although the other background noises do not come across particularly clearly.  The singing is taken very seriously, however, with none of the self-consciousness that can sometimes take over when bands are asked to do anything out of the ordinary.  Their other item, the finale of Dean Jones' "Glorifico Aeternam" features some beautiful flugel playing by Leah Williams and a good rhythmical performance, despite a little harshness from the cornets at the climaxes.  A recording such as this also preserves for posterity the odd blips of a live performance, and the occasional lapses in stagecraft, such as the one cornet player who fails to raise his bell with the others at the end.

Ray Farr, conductor of the Reg Vardy Band, is one of the most versatile arrangers around, and as Frank Renton pointed out, he seems to have a particular affinity with the music of Pat Metheney, so it was no great surprise that his version of "It's just talk" was awarded the prize for best arrangement.  Making good use of the space allowed by the large stage, players move around to present their solos, starting with a trio of soprano, flugel and trombone, whilst the vibraphone is prominent at the front of the platform. 

An extra trombone is found to make up a trombone quartet and the vibraphone soloist receives warm applause following her solo, whilst Ray directs in a really laid back fashion.  In contrast, Peter Graham's "The Red Machine" calls for much tighter direction, with long strokes of the baton eliciting some good sustained playing and a broader sound from the band.  There is some crisp playing from the trombones, standing in a central position behind the saxhorns, and various soloists step forward to play, led by the horn, although there is a rare lapse when the start of the soprano's contribution is missed by either the cameraman or the editing team. 

Amongst Whitburn's line-up is talented young drummer Lindsey Patterson, a Scottish champion at the age of 15, and she is featured in her own composition "A Caledonian Fanfare", arranged by conductor Andrew Duncan.  With the tight drum favoured by pipe bands, and with her and her supporting team dressed in fetching tartan waistcoats, it makes for an unusual and effective item, complete with fancy stick-work from the soloist.  Andrew is also the arranger of "The Water is Wide", a setting of the folk tune "O Waley, Waley" showcasing the band's solo cornet team, with each member joining in the tune in turn, set against muted brass and tuned percussion, with the back row cornets tacet. 

Staying north of the border, Scottish Co-op's rendition of Joseph Cook's fine march "Keighley Moor" secured for them the prize for the best march, and their performance is marked by some tidy solo cornet playing and striking work from the trombone section, with an effective ritenuto at the end.  Unfortunately, their performance of Len Ballantine's arrangement of "Shenandoah" under the title of "Mid all the traffic" starts beneath Frank Renton's introduction, which seems rather unnecessary, and mars ones enjoyment of a well-controlled reading, with dynamics observed and the intensity maintained to the end.

Grimethorpe have rather monopolised this contest in recent years and this was their fifth successive win.  They open with Percy Grainger's tricky "Duke of Marlborough's Fanfare", making for a fascinating exercise in blending and contrasting tone colours, before Richard Marshall's rendition of "Everybody loves the blues" (Maynard Ferguson, arr Smith).  Richard shows he is as comfortable with a trumpet as with a cornet, and his bright, clear sound easily carries over the band, which seems equally at home with the relaxed style demanded by the music.  It certainly impressed adjudicator Nick Hudson, and brought him the soloist's prize.

With their next item, Grimethorpe turn back the years with the sparkling "Red Sky at Night", written for them by Elgar Howarth under the pseudonym "W. Hogarth Lear".  The precision of the runs and tonguing in the cornet section is stunning, and there is some prominent writing for flugel and trombones, whilst even the basses are given the chance to demonstrate their agility.  This is contrasted with a gentle septet by arranger-in-residence Sandy Smith, "A Quiet Place".  For this, the players gather in the corner of the stage, and it is a first class demonstration of brass chamber music, with Kevin Crockford's controlled playing being particularly notable.

This is followed by the humorous percussion feature "Liszteria" (arr Smith), where the two xylophonists spar with one another, with interjections such as "Chopsticks" appearing, and all sorts of stage business which the DVD catches well.  Having had one stick thrown away, the soloist proceeds one-handed, and when that second stick is also taken, he opens his jacket to reveal not only spare sticks, but also a range of watches and other items.  This sort of item can sometimes fall flat, but the combination of superb playing, a good arrangement and first-class delivery definitely pays off.  The "Finale from the Gayaneh Ballet Suite No 2" (Khachachurian, arr Smith) ends their programme, and also disc one of the 2 DVD set.

Mount Charles Band had made the long journey from Cornwall, under the direction of Nigel Weeks.  Karl King's march "The Melody Shop", taken at a suitably brisk pace, precedes Albert Elms' "Battle of Trafalgar".  Originally written for one of the Royal Marines' Mountbatten Festivals, it is presented with narrator and drummers in period dress.  This did not exactly find favour with the 4barsrest team on the day, but it just goes to show what a personal thing the appreciation of music and entertainment is.  Away from the competition atmosphere, it comes across as a characterful presentation and an apt tribute in Trafalgar's anniversary year, with suitably dramatic narration from Jonathan Camp, even if the period dress side drummer does seem a little aimless in his movement around the stage, and the lowering of the Union Flag does not really work.  There is another missed opportunity from the camera team as they do not pick up on the (not very convincing!) musket shot that signals Nelson's demise.

Brighouse and Rastrick, under the leadership of the inimitable James Gourlay, gained second place on their debut in the competition.  They open with Steve Sykes's arrangement of Duke Ellington's "Caravan", with the players moving swiftly from their traditional positions during the introduction, placing the cornets either side and the trombones moving into the front row to the conductor's right.  Their high energy performance includes effective solos for trombone and the rarely-encountered slide trumpet.  Things then quieten down with Alan Morrison playing his own award-winning version of Eva Cassidy's interpretation of "Over the Rainbow", in which James Gourlay is content to remain on the side-lines, allowing the music to flow on its own, with a keyboard providing sensitive backing to the soloist, who was awarded the prize for Best Principal Cornet.  In this track the producers indulge in a little camera trickery, with shots being merged into each other. It all remains very tasteful, however, and does not detract from the musical performance.

There follows what could be said to be a move from the sublime to the ridiculous as vocalist Dave Hebb steps forward to present a lively rendition of "Papa loves Mambo", arranged by Rodney Newton, and complete with backing vocals by Leigh Baker, Sam Fisher and James Gourlay himself.  Really entering into the spirit of things, with bits of choreography and close harmony singing, their undoubted enthusiasm is there for all to see.  It is great fun all round, and ends with the band raising their instruments in the air.

The final item in their programme, and described by Frank Renton as "a brave choice for an entertainments contest", is another arrangement by Rodney Newton, this time of "St Gregory the Great" from Respighi's "Church Windows".  Respighi is renowned for his colourful orchestrations, and Rodney has made the most of the tone colours available, with much use of muted effects, as the music builds up from a quiet start, with different layers being added to the texture.  There is some very secure soprano playing on show, and the five-man percussion team are kept busy, at one point featuring two glockenspiels and a xylophone, whilst the ending is capped by the thrilling sound of three tam-tams.  Cornets and trombones stand to intone their bell-like figures, and most of the band rise to their feet for the triumphant conclusion to a fine performance.

PolySteel (Flowers) Band chose to present conductor Philip Harper's "Beyond the Tamar – World Tour for Brass Band", and of its seven movements three are included on the DVD.  "Intrada", in which the tune bearing great similarity to "The Grand old Duke of York" is actually by Robert Stephen Hawker and entitled "The Song of the Western Men", allows the band to enter gradually, side drum and cornets leading off, followed by the trombones, and with the music becoming more intricate once the full band is on stage.  There are some uncertain entries in the opening section, but the band seems to grow in confidence as the movement proceeds.  "Indian Daybreak" features flugel and Indian drummer, each seated cross-legged on a cushion, as meandering raga-like phrases move across the band, backed by gentle percussion.  "Finale" marks a return to the opening music, and without the intervening movements it really seems too similar to "Intrada" to justify its inclusion.

Hepworth (Persimmon Homes) Band are represented by two items, the first being the march "Lights Out" by American Earl McCoy.  Taken at a very steady pace, and played without much subtlety, it also features some rather fierce-sounding trills.  "Ritual Fire Dance" (de Falla arr Street) includes some excellent xylophone playing, and some sensitive touches from Principal Cornet Rob Westacott, as well as some show-boating from the cornets and trombones that does not quite come off, particularly when all the back row are taking part except the soprano, who is left looking rather isolated on the end of the row.

The last band to perform was the Ransome Band, conducted by Chris Jeans, and it is two of their pieces that bring the DVD to a close.  Sousa's "Liberty Bell" is played in a rather tired-sounding arrangement by J. Ord-Hume, and makes great play of including a bell in the performance – something which Sousa himself apparently preferred not to do. 

Not only that, but the task is entrusted to very self-conscious young percussionist, dressed like one of the Trumpton firemen and with a drill routine that makes him look rather like one of those figures in an old weather house, appearing with or without an umbrella according to the conditions prevalent at the time.  His drill becomes a little less tidy as the piece progresses, and it is not exactly a highlight of the disc.  He is also to be found looking rather apprehensive, as the featured side-drummer in Simon Kerwin's arrangement of "Highland Cathedral" – as this was actually played first on the day, maybe it was the prospect of "Liberty Bell" casting its shadow!  The tuning between the band and Fraser Cruickshank's set of bagpipes is better than is sometimes the case, although the pipes themselves seem to have intonation problems. 

There follows a brief summing up by Frank Renton, in which he congratulates all the bands for "raising their game".  There is also an interview between Frank Renton and Trevor Caffull over the final credits, with scenes of Grimethorpe's exuberant victory celebrations in the background.  In his opinion, the best of the bands had played brilliantly, whilst even the worst had played very well, and that is perhaps the best way to approach this recording: if one tries to put the competitive element to one side, it is possible simply to appreciate some very fine playing from a range of top-class bands. 

Whether such a compilation should include something from every band's programme is debatable, and there are also arguments for re-ordering the items, as if one plays the discs through the last couple of performances are not the best.  All the music is, however, worth hearing at least once, and the indexing allows the listener to select individual band's programmes as well as individual tracks.  Overall it is a very successful venture, with insert notes provided by Malcolm Wood, and one suspects it will become an annual production, opening up this event to an even wider audience.

Peter Bale

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