Comments ~ 2006: August

Mr Lawrence on the original Russian God of the Trumpet and can anyone help with the whereabout's of Clarence as the 4BR Editor returns from his holidays.

Mr Lawrence on the original Russian God

Dont' forget the original Russian God of the trumpet that influenced Sergei Navariakov (and Sergei used his material from 1951 on his first album Carmen Fantasy), Timofey Dokshitzer! But, there are to many to mention.
 
PS. Have you heard a player named Malcolm McNabb (USA) playing the Tchaikovsky Violin Concerto on the cornet? Wow!
 
Phil Lawrence

 Where's Clarry?

I found on your site mention of Todmorden Old Brass Band, which folded in 2001. I played in a military band from 1953 to 1955 with Clarence Sutcliffe, trombonist, who was solo trombone with the TOBB, and believe he was deputy bandmaster of same.

Would be pleased to have any information about Clarry from your readers.

Ray Hensher
4BR Reply:
Can anyone help with news on Clarence

Greatest Cornet players

Just a thought about the list of the top ten greatest cornet players of all time.
It maybe you are just referring to cornet players and not trumpet players.
You do mention Wynton Marsalis Trumpet, and Bix Biderbecke cornet.
I would say if you look at both instruments in the same light,I think the
greatest player ever is Sergei Navariakov!!
I would love to know why he has not got a mention.

Kind regards.
Joe Baron

Identifying those in the GUS Picture
 
Sorry to contradict Val and John Short but the picture is not of Trevor Groom - it appears to be Bert Sullivan - also Trevor is I think now 72 and has not yet reached 80. He is the hall keeper at Kettering SA and does not wear uniform or play in the band. Otherwise spot on.
 
Yours 
Peter Philpotts

In praise of the students and Marie

It's really great to read about the achievements of the 'A' Level students
at Shirland Training Band - I'm sure the motivational skills and musical
prowess and sheer tenacity of the band's musical director Marie Smith was a
huge influence on the students. It would be interesting to read about any
other such success stories on 4barsrest from around the banding world.

Maybe the Federation (or somebody) could gather the information
and use it for the wider good of the movement. Maybe some funds
could be raised nationally to enable Marie and others who are
particularly skilled in developing young brass players to pass on their skills
and experiences in organised symposiums. Well done Marie!

Just a thought.
Ian Brownbill

G Trombone recollections

I remember the 'G' very well! In c.1963, I was a 2nd baritone player with my band and 2 weeks before a contest, my father was hurt in a pit accident - he was the bass trom player. The bandmaster asked me to play the trom so took the part to my father in hospital (Salzburg Suite I believe) and he wrote the positions on the part; I memorised the music and "played" the positions - we came 2nd!!
In those 2 weeks, I practiced "throwing" the slide from 1st to 7th position and catching the handle before the slide shot off - it had to be done this way because of the distance between these positions and the unwieldiness of trying to do this shift by the handle alone - no triggers here!
I've always loved the sound of a G and in my opinion, modern Bb/F troms cannot match its sharp, clean sound, especially out on the march; I wonder what impact it would have if played in today's bands?

John Stephenson

The G trombone challenge

I found your article on the great Joe Moores, ,Bass Trombonist with Fodens very interesting, however I must point out that he played a G bass trom, not the current Bb/F version, an instrument that Walter Hargreaves referred to as a glorified tenor horn.I have several recordings of Moores, Arnold Hall and the current living legend of the G Trom, Derek Roebuck.The G Trom has a far superior sound to the modern day version and is well suited to the works of Gilbert Vinter.

To all critics of the G Trom, I challenge you to listen to the recordings of these legends I found your article on the great Joe Moores,Bass Ttombonist with Fodens very interesting, however I must point out that he played a G bass trom, not the current Bb/F version, an instrument that Walter Hargreaves referred to as a glorified tenor horn.I have several recordings of Moores, Arnold Hall and the current living legend of the G Trom, Derek Roebuck.The G Trom has a far superior sound to the modern day version and is well suited to the works of Gilbert Vinter. To all critics of the G Trom, I challenge you to listen to the recordings of these legends compared to the Bb/F, has the brass band sound really improved compared with yesteryear ?

Stuart Haigh
Barnsley

Naming the GUS Players

Come on lads who doesn't know Trevor Groom on solo euph. now 80 and still playing with Kettering S.A. band

Val & John Short

 Question on Virtuosi Baritone Review

Re the recent review on the Virtuosi Baritone its nice to see that young Mr Richardson is doing something productive with his time.....
 
I do however have a question which may affect some of the older readers and players of baritones across the country....
 
I play on what is probably one of the original Sovereign baritones...much dented and loved by me.....one of the problems with this instrument relates to alternate fingering for notes and what could only be described as completely off the wall.. a prime example being middle C  which I occasionaly wish to use because my lip aint what it used to be and the notes above the stave making some of those runs a wee bit easier! Did Robert take this into account in his test and if not does he have an opinion (his technique was always to good to worry about this in his Kirki days...)? Also if the instrument was to be used in 2nd baritone does he believe it would carry forward allowing a truely balanced section sound?

On Vienna Nights...I often wondered why baritones had never been seen on the other side of the band...may be wrong as Denzil Stephen's and Cory had an original formation at one time...and now I know why. Can I send my osteopath bill's forward to the organisers or Dr Wilby as I am straining to see past the bell to catch a glimpse of our conductor...and he is a big lad! Any suggestions other than wing mirrors on the instrument and mirrors on the other side of the band room would be appreciated!
 
James Corrigan

Some clarification

In response to the letter from Edy Van Asch concerning my comments on the recent English qualifying event for the European I feel that having gone to the trouble of commenting on my remarks , I should clarify the situation.

The week prior to the contest, these pages seemed to be full ‘News' of borrowed players, (Some of whom hold starring roles in some of our best bands) telling us of their impending appearance at the event in question. I could not believe the situation and made my caustic remarks out of sheer frustration. This event, whether I agree with it or not, is now the only qualification route for English bands to play at the European. It was staggering to see the amount of players being drafted in with apparent ease, for reasons which I doubt would have been tolerated by either The Open or The Nationals organisers.

The point being made Edy, was that such flippant application of the rules to an event where the real prize is a place at The Europeans, was to me unfair to all those who turned up with their regular line up.

So my comments were not intended to ridicule The European Championships at all; quite the contrary. I feel that the organisers of the European may want to see the organisation of next years qualifying event to be more robust in this matter and in turn at a level comparable with our two main events if it is to remain as the only route to The European contest.

In my own opinion, it's such a shame that the wrangling in recent times between the factions running our movement could not arrive at a sensible solution which might have prevented the need for another contest for European qualification to have been organised at all. If I was still involved as a player in a top band with an extremely busy diary throughout the year, I would not want to have another contest to attend. Whilst I'm here let me also say it's absolutely stupid that the winning Band in London has to attend their area the following year having already qualified by virtue of their result at The RAH. Why do they put up with it !!

There now appears to be a serious risk of never seeing certain bands at The European event again. That would be such a shame to me.

I guess I'm straying into dangerous waters again now, so I will stop my ramblings now !

John M Gillam

View those names

I always enjoy Tim Mutum's articles on the old LP records, and also in
connection with your All Star band article, I would like to inform you that
I have compiled two web pages containing photos taken from the sleeves old
discs by our top bands of the past, including my all time favourite, CWS
Manchester.

In addition, where possible, I have added names of players as well

http://www.euph9.freeserve.co.uk/Players.htm

Charley Brighton

 Help in naming the GUS players

My father believes he recollects a number of the players in the GUS picture.
(It is a long time ago and the memory can pay tricks- but he is fairly certain)
Back row from left. 2nd from left-  Cecil Annets?,   9th from left –Albert or Arthur Eathorne(bass),  Back row from Right, 1st from right  Maxwell ThorntonFront row 1st  from right – Bert Sullivan, 5th from right Hugh Higgins, 7th from right –John Cobbley, 8th from right Harry Gray
Hope this helps.

Wendy Boddington (Yes a distant relation to the great man)
 
4BR Reply:
Thanks Wendy.  We know the picture has revived plenty of memories for people and in particular, identifying the personnel

Holy War thoughts

Brian Bowen makes some interesting comments regarding SA recordings. I would second his assessment of the recording of The Holy War on the LP made at the RAH in 1965 (LRZ 4013). The ISB at that time must have been as good as any that have followed. On the same recording I think there is a very interesting Fantasia For Piano, Band and Male Chorus written (and played) by Ray Steadman-Allen. A piont of order, however. The Holy War was actually premiered by the ISB in the Usher Hall a few weeks prior the the SA centenary celebration in London - so it was not only the Poll Tax that was tried out first on the Scots!
 
Hugh Brennan

Brass on Record thanks

Thank you, Tim Mutum, for the interesting Brass on Record series.
 
Recordings by Salvation Army bands were probably beyond Tim's purview, but it's worth mentioning that for a long time EMI had a contract with the SA to record its bands commercially.

I may be corrected but I believe the terms gave EMI first refusal to record any SA band music and with a certain number of recordings being produced per year. (These terms were staunchly defended by Bernard Adams who, as well as being the bandmaster of the International Staff Band at the time, was the manager of the music and instrument sales department.)

With EMI marketing, the deal meant that SA LPs (often recorded in Abbey Road studio 1) could be found in high street shops. In the later years, before the contract was terminated, there was an increasing number of live recordings, particularly from annual festivals in the Royal Albert Hall. One such was to include the 1965 premiere performance of "The Holy War" (Steadman-Allen) played by the ISB — still worth hearing if you can find it.
 
Brian Bowen

Identity of the All Stars
 
Re: The Harry Mortimers All Star Brass – 1963.

The line up of bands was in fact Fairey's Fodens and GUS bands. I joined the Fodens Band in 1972 and was a member of the Harry Mortimers ‘Men O Brass' of which most of the lads shown in the picture were still present.

Given time I could knock together a list of the names for you.

Hope this helps
 
Trevor Halliwell

4BR Reply:
Thanks Trevor. Larger pictures will be linked to the articles as wll so you can see much more detail. Any help on the names though would be great.

A matter of opinion?

In response to A. Frosts letter. I for one over the last 15/20 years have played for a championship section band and have been on more then one occassion been on the end of a bad desicion.

You mentioned about a certain recording you have from the sixties by Dyke playing 'Judges'? My point exactly - the 60s! was the time when perhaps these gentlemen were at there prime and in MY opinion they have had their best days.

I think that if the banding movement is going to go forward and keep some of the brilliant young minds of the youth in banding and not lose them surely its about time we had people a little bit younger in the box for a while.

This is my opinion and I understand that people will disagree with me but isn't that part of banding???

E.Whitehead

Lack of coverage 
 
I have to agree on the lack of coverage on the National Youth Brass Band of Scotland. I attended the end of course concert for the first time this year and was truly amazed at the standard of playing in what was a challenging and entertaining program.
 
Valero, Fingal's Cave, Concerto Grosso, Salute to Youth, to name but a few – what a treat. Richard Evans was on his usual fine form, although the jokes were as bad as ever???
 
Someone should have been there for you as the Editor of the British Bandsman was !!
 
Dave Neil

4BR Reply:
He was indeed and he has been kind enough to write a very good report on the concert for 4BR too.

And while you're at it...
 
While you are reporting on the National Youth Brass Band of Scotland how about a few words on the fantastic course held at Bangor for the Welsh Youth. 

I attended the concert at Bangor on the final day and these youngsters were outstanding. Praise must go to Bob Childs and his group of tutors but, most of all ,WELL DONE to the youth of Wales!  A tour of Canada is planned for next year, I'm sure they'll be a great success and I hope that they receive the reception they so thoroughly deserve.

Barbara Robinson

In praise of the judges

I think it is necessary that someone should raise issue with Mr. Whitehead's recent comments. 

Mr. Whitehead's initial post concerned his disappointment that Fodens did not come in the frame at the Cambridge Masters. So he decided to be unkind about the adjudicators Geoff Whitham, David Read, and John Berryman. On discovering that The Royal Albert Hall will be judged by Messers Whitham, Read and Relton, Mr. Whitehead seems to have got it in for them again.

I find his remarks a little offensive, perhaps they are not worthy of a response but I for one did not think "great not again". I wonder if he has met any of the gentlemen he sees fit to criticise so strongly. Does he
know that the three gentlemen who adjudicated at Cambridge wear hearing aids or is it a wild assumption? Does Mr. Whitehead know how the sound was altered by the adjudicators boxes?

I have experienced Geoff Whitham's hearing ability at first hand whilst he has taken recent sectional rehearsals and can assure Mr. Whitehead that he misses absolutely nothing and spots things that a younger ear might miss. He remains innately musical and has a youthful energy that would make many younger men appear the "stooge" next to him. Having heard Dyke's Paxton recording of 'Judges' from the sixties with Geoff Whitham and Maurice Murphy, we will be lucky if anything comes close to that. I can't think of a better man to spot it if we do.

Along with John Berryman, David Read and Bill Relton we have them to thank for some of todays greatest players in Morgan Griffiths and Ben Godfrey to start with.

I can remember a lecture I attended at Barnsley College given by David Read and can remember how impressed I was after he gave us an insight into the ajudication process and during a practical ajudicating experiment he tried on us. I have heard him and John Berryman on old GUS recordings and there aren't too many younger players today that can play like that.

I was not at the Cambridge contest this year so cannot comment on Foden's performance. However I can remember that several of my favourite contest performances were remarkable for their beautiful quiet playing. Dyke's English Heritage and YBS's Harrison's Dream are the first two I think of.

Neither of those came anywhere in the frame but I can't remember who the adjudicators were. We still believe we should put the adjudicators in an all enclosed box but yet complain when we wonder if they heard a very quiet passage. There have been many top contests where I have disagreed with the results but it does not detract from my enjoyment of the contest, I was lucky to be there and I am mature enough to realise that the adjudicators are more experienced and wiser than myself, even closed ajudication will be
a subjective method.

I have never played at a level approaching that of any of the four men Mr. Whitehead has criticised and I'm not aware Mr. Whitehead has. If " our movement collapses into a complete mess " as Mr. Whitehead suggests then it will not be because Geoff Whitham, David Read, John Berryman or Bill Relton have ajudicated recent contests it will be inspite of all their best efforts and we will owe them some apologies.

Alistair Frost.     

A wee Scottish gripe
  
First of all, congratulations on your continued success with 4barsrest.com. It's always been a great website since its launch, but recently it's surpassed itself in all areas......thank you.
 
However, I have one gripe, and that is the lack of coverage of the National Youth Brass Band of Scotland summer course held in St. Andrews each summer, under the direction of the great Richard Evans. Given that NYBBS plays a pivotal role in the development of banding north of the border (with a remarkable line-up of staff including special guest Maurice Murphy) I feel that the lack of coverage from 4BR each year could feel like a bit of an unintentional "snub" to the hundred-or-so young musicians who take part. The course has now been and gone and I believe there isn't a mention of it on the site.
 
Richard Evans evidently continues to inspire, motivate and cultivate brilliant banding in Scotland and creates a stir amonst young people who leave the course refreshed and excited about their music, and this should be shared online by 4BR. Indeed, had it not been for encouragement and training I received from Richard Evans whilst being a NYBBS member, I would have never gone on to study at music college and pursue my hobby to a professional level.
 
There are many ways of covering the annual event. Perhaps you could interview some of the participants and Mr Evans himself, and not least the course director Neil Cross who has excelled himself as director of the NYBBS courses for many years. At least a news item or review on the site would be exciting for the band members as a means of reflection on their efforts, and they deserve some publicity to ensure maximum support and participation for future courses.
 
The NYBBS/Richard Evans partnership is a winning formula which should go on for many years - and more praise should be shown online for their efforts.
 
Also, the news that the NYBBS will travel to Japan for a concert tour in 2008 as well as the visit by Maurice Murphy last week is surely worth covering!
 
Otherwise, congratulations again for creating a legendary site...well done 4barsrest!!!
 
Iain Masson
composer, conductor and ex-NYBBS member
www.iainmasson.com

4BR Reply:
We will be getting some sort of report as soon as we can get in contact with our man north of the border!
 

Don't ignore us north of the border
 
I'm disappointed to see that yet again 4BR seems to be ignoring events in Scotland.

Young brass musicians from all over Scotland gathered in St. Andrews from the 31st July until the 5th August, forming the National Youth Brass Band of Scotland under the direction of Richard Evans. The week of rehearsals culminated in two excellent concerts in the Younger Hall in St. Andrews from both the main band and the Reserves. Was this event even mentioned in the pages of 4-Bars Rest? I don't think so!

Possibly if it had been held ‘down under', or in the USA or Canada it would have featured on your pages – but not a mention for our talented youth players. Very disappointing indeed. As this is an annual event, you could pencil it in your diary for a mention next year, or keep an eye on the SAMA website at http://www.sama.org.uk/index.asp?page=brass

Alan Liddell

4BR Reply:
We will get something on the course as soon as we can Alan. We would never ignore our Celtic friends!

Ironic English comments?

Having read the comment of John Gillam several times I am still not sure if his words are irony or not.

If not, then I am quite astonished by the phrase "...it's only the qualifying event for an English band to represent us in the European and not a serious event with strict rules of engagement like the Open or The Nationals".

Wow, am I wrong or do I understand John considers the European not to be a serious contest? Having played personally on more then 10 Europeans and knowing quite well different bands and its members I do not see what's wrong with the European, on the contrary. Also, John has played himself on several so… eg the last at Belfast were outstanding and quite all bands were playing with just their own regular members!

It is also not clear what John means but I guess the registration rules for the English nationals are not strict enough? If so John, then this tells everything about that single event, and maybe about the bands taking part,
nothing else.

Then about the rules of the Open or Nationals: I do not know them in detail, but we all know bands hire people for the regionals, the Open and the nationals. Just think about all the continental people, Aussies,…
playing at that event just for the day. Those rules are not strict at all either.

And so what, I do not care. It is a joy to play at these events, to meet other musicians, to learn from each other in both ways, a joy to help out bands, nice for the audience to listen to marvellous players and so on.

Of course there must be rules, but after 25 years of playing I know it is up to the bands at the end to take their responsibility. No rule can save the movement from anything. As with adjudicating and its results, I guess contest rules will always be a topic.

Or was it just irony indeed John?

Edy Van Asch
Belgium

Gordon hits the nail on the head

I have been playing and conducting now for 36 years and I still love it. Yes - I moan about players not turning up (usually with feeble excuses!), contest pieces, results and facilities, rubbish bandstands and playing in a field with a traction engine and a cow for company!

BUT these are outweighed by the wonderful times - like winning my first area, as a player AND conductor, the great people I've met over the years (the late Don Lusher being one), trips abroad, meeting my partner -
things I never would have done if I had not been a brass band player.

Actually, I wish I could play and teach a bit more! and I don't begrudge the 2 hour round trip to rehearsals.

I met up with an acquaintance recently who has 'packed banding in' and claims not to miss it one bit. Don't believe it - like life brass banding has its highs and lows - enjoy it while you can cos when the time comes when you CAN'T do it you'll miss it - guaranteed.

Richard Graves 
MD Rushden Windmill Band.

Good on yer, Gordon!
 
Banding would be at a loss without you!
 
Neil Hewson

The unsung heroes of the banding world
 
How many people ever stop and think about what happens behind the scenes when they watch a brass band play at a concert or contest? Has anyone thought about the person they have left at home that night, and at least two nights that week, and during rehearsals for big concerts and contests maybe three, four or even five nights, not withstanding the travelling time taken to get to these events. 
 
Those with children will be ensconced in the house unable to go out without the aid of a babysitter and will find that this has happened at least 150 times within a calender year of 365 days, that is heading towards six months of the year.  And what thanks do we get for this, no applause for us, nor the gratification of finding ourselves the best player or top band.  The only satisfaction we get is to be proud of our loved ones and letting them do the thing that they enjoy.  All we really ask for is occasionally to be relieved of our duties and for our partners to occasionally be given some time off to help with family commitments. 
 
Recently my partner was chastised by one of his senior players for not attending an event due to family commitments, however this was done by mobile during our own family time.  To say I am angry about this is an understatement as it means that in his eyes the needs of myself and my family are not worthy of his consideration, the band is more important and my contribution to help my partner fulfil his ambitions within the band are not recognised.
 
To stop more bandsmen's relationships falling apart these instances should be taken into consideration more sensitively and although I understand the need for people to attend rehearsals regularly it is not always possible. People should be given adequate time off (even employers give there employees 4 weeks holidays a year) and when they take it they should not be criticised or made to feel guilty.
 
So come on guys think about the people you or your colleagues have left behind at home and give them some credit and some TLC (and a few thank you's wouldn't go amiss either). We support you in your banding commitments please support us with ours and don't come down too heavy on your colleagues when they miss the occasional job or rehearsal.
 
From a Banding Unsung Hero
A Maskill

Music for Youth Finals

The Brass Band section of the Music for Youth finals took place on the 13th & 14th of July at Birmingham's Symphony Hall and whilst not officially a 'contest', awards were given to the (usually two) performances in each class that in the adjudicators opinion were to be 'Highly Commended' or 'Outstanding'.
 
This years' festival produced some 'shock' results especially in the schools section where congratulations must be awarded to Carleon School under the baton of the irrpressable Sean O'Neil (he was conducting at least five other groups in the festival!), who attained the 'Outstanding Performance Award'. The 'Highly Commended Award' went to the Sponne School from Towcester, under the direction of Adelle Sellers.

Both of these bands are relative newcomers in terms of the festival and also in terms of the school brass band scene. Recent years have been dominated by Smithills School from Bolton, with bands like Tapton, Wardle and Abraham Darby attaining other national awards. However, all four of these bands were playing in this class and despite some refreshing programme choices (particularly a new composition by Wardle's Head of Music Paul Lovatt-Cooper) they did not get a look in, perhaps the 'old guard' had better beware!!
 
The Music Centre category produced an 'Outstanding Performance' from Newport Music Centre Brass Band and a Highly Commended from Youth Brass 2000. Whilst taking nothing away from these two bands at all, in a festival where multiple prizes can be awarded if the judges deem appropriate, Rochdale Borough Youth under the Baton of Ian Porthouse can feel very unlucky to not have gained something for what was in the eyes (and ears) of lots of people in the hall, a most competent performance of the Peter Graham classic 'Shine as the Light'.
 
The Open section ran true to form with the two 'recognised bands' on the youth contesting scene 'Greater Gwent Youth' and 'Mount Charles Youth' taking the two prizes. Under the baton of Russell Gray, Gwent produced undoubtedly the performance of the day with a stunning rendition of Thomas Wilson's 'Sinfonietta' and deservedly made the 'Outstanding award' theirs.
 
With over 25 bands involved (just at the finals, never mind any that did not qualify from the regional heats) the Music for Youth festival produces as big a collection of youth bands as any other festival or contest held in this country. Held at, in my humble opinion, the best concert hall in the world, perhaps brass band enthusiasts, or bands looking for players would find a day spent listening to what is developing in our schools and youth centres a real eyebrow raising day.

The standard of some of the performances would undoubtedly have had good first section bands, if not beyond, sitting up and taking notice. As an organisation that runs from sponsorship and contributions I know that Music for Youth would certainly appreciate your support and £8, for a whole day of banding 10.30 - 9.00 is a small price to pay. Please look out for it in July 2007.
 
Simon Platford   

Thanks 4BR
 
Thank you so much for announcing the creation of the GYSO Brass Band here in Atlanta, GA.
We are very excited about this venture and your press coverage is going to help us get the word out quickly!

Keep up the great work.

With great appreciation,

Dr. Tom Gibson
Brass Dept. Coordinator
Georgia State University

Is there such a thing as poaching?

I heard recently that a band from my area was being investigated with regards to poaching a player. I naturally 'reached' for the local and National rules but was unable to find any rule within the context of which this would be considered an offence.
 
Can the act of inviting a player of any band to join the ranks of another band cannot be constituted an offence or bringing the banding movement into disrepute? 

Has this not been the case since banding began?  Surely each individual is at liberty to make their own judgement and decision as to which band he or she would like to play for. And surely there is no threat to that person leaving the band they play for if they are happy within that environment.  Isn't an invitation to join another band is simply that?

Please forgive my audacity for entering this issue into the public domain but I would genuinely welcome comments on whether a poaching rule exists? What punishment could the association give?
 
A disgruntled bandsman
Geraint Evans

Carl Richardson

It was very sad to read about Carl Richardson. He was a nice bloke and a great player. He will be sadly missed by many.
 
Toby Hobson

Marple - worthy Open winners 

I would like to respond to various comments regarding the test piece chosen for the National Finals and relating it to the Seven Suite 1996 British Open test piece.

The Marple Band winning this contest on the day was always going to be a one of the biggest shocks  in the history of brass banding. Why? Because they were not a 'Named Band' with sponsership.

Althouth Marple had achieved a record of consecutive 4th placings in 1992 , 1993, 1994 which showed a very high standard of consistancy, it apeared to certain peoples views that a local village band were not worthy of winning the British Open.

The result was fanstastic for bands wishing to live the dream , but sucsess comes at a price, one that Marple band could not sustain. The question is, why not? Is money a big issue?

It may be many years before a village band like Marple wins any major contest again, but it would be still nice to see it happen. It could be Newstead Welfare Band  at the Nationals, and why not.

Mark Singleton

GUS - top class entertainers 

Having finished work unexpectedly early on Sunday, I thought I'd take advantage and walk through St James's Park to catch at least part of  the band programme.

I want to take this opportunity to give a word of thanks to the GUS Band for a most enjoyable hour's music-making.  Despite having a number of deps helping out, there was no dumbing down, with a programme that included a number of original works for band, and some first class arrangements. 

Having played in St James's Park myself on many occasions - and going back to the days of two concerts a day for a whole week! - I know that it is a very discerning audience, that appreciates good music, well played.

So often, bands seem to think they need to raise the volume levels when playing outdoors, but it was a joy to find some excellent, well controlled quiet playing, all of which carried well to the audience, even to where
I was sitting behind the band.  Yes, there was the occasional slip, as you would expect with deps filling in, but that detracted little from a performance that was a credit to banding. 

The balance of the programme was just right, and I was most struck by Ian Rayner's arrangement of "Blue Skies", which I had not encountered before, whilst amongst the more substantial items were Philip Sparke's "Jubilee Overture" & "Slaughter on Tenth Avenue".

All in all it was a first class example of what is good about the brass band, varied music-making, coping comfortably with different styles and giving pleasure to a wide range of people.

Peter Bale

Why so mealy mouthed about the English Nationals?

What a shame Peggy Tomlinson had to be so mealy-mouthed about the apparent success of the recent English National. If she is accusing them of having ulterior motives then have the bottle to tell us what they are!

After the false dawn of the All England Masters, the BFBB are to be congratulated in finding a fitting way to select England`s Euro representative and also a way of  realising English banding`s aspirations for a contest of their own.

She obviously feels "the old way" of the RAH "British" final deciding our representative is quite sufficient, I believe the top English bands deserve better, and so do the BFBB thank goodness! Dyke and Grimey are big boys and their absences from Salford are surely a matter for them, they probably don`t need Peggy Tomlinson crying crocodile tears for them.

The recent spats between the Regional Committees and the BFBB probably explain her bias against them, but in my opinion our movement`s only chance is a strong  BFBB, not  half a dozen regionalised commitees full of well meaning amateurs with no collective clout or the will to change things at a national level.
 
Ian Heard
Tavistock

Let us know what is going on please! 

Why, oh why do the organisers leave it so late to promulgate the details of these concerts.

I have attended these concerts for the last couple of years and really enjoyed them. However when I booked tickets for the British Open Championships in May there was no indication that any concerts would be held on the Sunday. Consequently I have arranged to travel on to meet up with old friends in East Anglia.

I regularly log onto The Mouthpiece and 4barsrest to keep abreast of brass band activities and even as I write these concerts are not promulgated in your "list of events". I picked this information up from your news column.  Is it no wonder the concerts lack the support that they deserve?

Alan Johns
South Wales

Why do we do it?
 
As a cornet player of some 37 years experience, all on the front row and for the last 24 years for a well known top championship band I feel that I am qualified to pass comment on some of the attitudes and questions posed in some of the comments posted on this site. Silly men in silly suits, it makes you think doesn't it?

Why do we drag ourselves up to the band sometimes every night for a fortnight before a contest, use up our well earned leave and incur a fantastic loss of money over the years? (well most of us do anyway)

I myself over the last couple of years have brought all of these points into question from my own point of view and seriously asked myself  "What's the point?" It's bloody hard work at the best of times, playing music you quite frequently can't stand and doing concerts you don't enjoy when sometimes all you want to do is have a few pints with the lads instead.

I reached the conclusion recently that after 24 years of hard work on the front row, I had had enough. I decided to take a sabbatical after the English Masters, although in my own mind, that was it, I was finished with it - I had been there wore the t shirt etc etc and now I was done. I felt strangely relieved and was not the slightest upset.

A couple of weeks down the road I began thinking about all of the good times I had been through with the band, all of the places and people I had seen and been priveleged to meet. The good performances and results that had gone our way and also the ones that had got away when we knew we had had a real chance to make a mark.

What was happening to me? I had been so sure of myself , so sure that I could walk away from it all and not bat an eye lid. WRONG! After 24 years of all the ups and downs good times, bad times, it was the people I missed more than anything, the team as we were. The great feeling of a good result after all of the graft put in and the beers and the occasional Indian or 12, the camaraderie, the banter, the crack - call it what you want.

A band is like an extended family its more than just a few mates sat around blowing trumpets dressed in silly suits (to quote one of your letters) although I loved the analogy. When you are playing constantly at a high level for 24 years you don't know how good you (the band) have become it is only when you are detached from it, (as I have become) that you are surprised to hear how good you are. For amateur musicians that feat is unbelievable, especially when you do it for the love only, and not for any financial recompense.

It really is special and a privelege. There is a song with the words "you dont know what you've got  till it's gone" (Big Yellow taxi) never was there a  more true word spoken. All of the moaning about adjudicators, old testpieces, shabby contest halls  etc etc pales into insignificance.

When you feel that you have lost it all, you want it back so badly again that you would be prepared to play anything, anywhere, in front of anyone, just to be back amongst your friends and family again. That's why I am going back and I can't wait!!

Gordon Mcgeorge
Solo Cornet
Reg Vardy Band

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