The International Staff Band
Various conductors
SP&S Ltd: SPS 280 CD
Total playing time: 66.16

As the International Staff Band celebrates its 120th anniversary, this disc provides a snapshot of recordings made during that period, with most of the Staff Bandmasters making an appearance.

From 1904 under Lt Col George Mitchell to the latest offering under Stephen Cobb, developments in recording – as well as changes in playing styles – can be followed, aided by the helpful sleeve note by Colin Waller.

With any retrospective it is going to be a question of what to choose, and more particularly, what has to be omitted, knowing that there will be disappointments whatever solution is found.

Bernard Adams, for example, was at the helm for 28 years, and it would perhaps have been good to have examples from other stages in his tenure, although 'The Holy War'  is undoubtedly a classic.

The works chosen also all come from the serious side of the repertoire, with nothing to represent the lighter works that have come into vogue in the past few years.

Soaring soprano

Equally, whilst the essay is first class, with the overall presentation up to the usual standard one expects from SP&S, there will be those who will regret the absence of details of the original recordings and release dates.

Mention is made of key personnel at the period of the recording, although it seems strange not to refer to long-serving soprano cornet Ron Harrison when he is so prominent in Ray Bowes’ 'The Prodigal', his top Ds soaring above the band.

Changes in recording

As is to be expected, the recording quality is variable, with the war-time items under Eric Ball particularly notable for extraneous noises, this at a time when shellac was clearly at a premium and there was little chance of a retake.

George Fuller can even be heard shouting encouragement to his players in George Marshall’s 'Great & Glorious', something which Brian Hillson would surely never have allowed to slip through!

It all contributes a little colour and authenticity to the proceedings, however, and cannot but draw the listener into the experience.

Developing musical styles

After an initial free-for-all which saw the use of all sorts of secular music, The Salvation Army imposed tight restrictions on what its bands and songster brigades (choirs) were allowed to play and sing.

The earliest recording here includes a 6-bar link between the tunes, the first time such original music was permitted in the band journals, but every piece had to have words associated with the melodies, from straightforward transcriptions to more elaborate offerings such as George Marshall’s 'Great and Glorious' featuring three songs which will not be so familiar to today’s audiences as they would have been at the time.

Eric Ball

Although Eric Ball’s tenure was short-lived, he did produce a number of recordings with the band, and two are included here.

The march 'Star Lake', written for the American music camp of that name, has found universal favour, straightforward enough for most levels of bands to play, yet offering ample scope for more advanced combinations as well.

In total contrast in terms of style 'The Pilgrim’s Prayer' (Sidney Rouse) is typical of the sort of vocal transcription that was very much in vogue at the time, providing an instrumental item for use in worship which people would recognise because of the lyrics associated with the tune.

Having been recorded just prior to Eric Ball’s resignation, they were released with no bandmaster’s name listed.

Ground-breaking premiere

With its representation of the conflict between good and evil, Ray Steadman-Allen’s 'The Holy War' broke new grounds in terms of the complexity and musical challenges in the writing, but the inclusion of a programme and identifiable tunes ensured that it would still be accessible to a non-specialist audience.

One can sense the adrenalin flowing in this live recording, with the players and audience alike on the edge of their seats, but the band and conductor show that they are well up to the task with a thrilling rendition.

The composer at the helm

Ray Bowes’ 'The Prodigal' also makes much of the possibilities offered by the contrast between the temptations which drew the subject away from the fold, and the rejoicing as he returns to the arms of his father.

The hymn 'Yield not to Temptation' reveals the dangers facing the Prodigal as he moves away from home, whilst the words 'Afar from Heaven thy feet have Wandered', with its associated chorus 'God is near Thee' heralds his return.

The acceptance of the Prodigal back into the father’s household is depicted by the song 'Begone Unbelief'.

Stunning opening chord

The final two works have both found their way to the contest stage, with 'Corpus Christi' being chosen as the test piece for the B Section of the 2000 European Championships in Birmingham, when the bass and euphonium sextet feature comprehensively defeated all but the winning Brass Band Normandie from France.

The recording included here is taken from the International Brass Spectacular in Toronto, although anyone who was present when it was first heard at the Royal Albert Hall is unlikely to forget the impact made by the massive opening chord on that occasion.

With its combination of contemporary and traditional worship songs, it has provided a model that has influenced many subsequent writers.

Approaching a new century

Kevin Norbury’s 'Odyssey' uses the Celtic hymn 'Be thou my Vision' as the principal theme in a personal journey of faith, the tune 'Slane' appearing in various forms, including a particularly aggressive minor mode version.

There are also blazing interjections on cornets and trombones, calling for the players to turn outwards toward the audience.

This track, and to a lesser extent the previous one, also serves to emphasise the growing importance of percussion in the more advanced writing for The Salvation Army, the ISB now regularly including three very capable percussionists, a big expansion on the earlier scores which only rarely called for tuned percussion.

A slightly modified version of 'Odyssey' was used at the 1999 European Championships in Munich.

Interesting

All in all, an interesting compilation that gives a brief overview of the history of the ISB and its various conductors.

Many of the band’s soloists over the years can be heard on the various tracks, although it would be good if a companion disc could be produced to feature some of their individual solo performances.

Peter Bale

Contents

1. Comrades Arouse to the Call/Onward Christian Soldiers
2. Great and Glorious
3. Star Lake
4. The Pilgrim's Prayer
5. The Holy War
6. The Prodigal
7. Corpus Christi
8. Odyssey