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Top class brass band trombonists seem to enjoy their musical maturity - and longevity.

The likes of Chris Thomas at Cory, Brett Baker at Black Dyke and Andrew Justice at the ISB have already gained ‘long service’ awards that are testament not just to their commitment and dedication, but also to their undoubted excellence as performers.

Respect and admiration

John Barber has just completed 18 years at Foden’s; close on two decades of outstanding musicianship that has gained the respect and admiration of fans as well as of his peers throughout the banding world.

He is perhaps the most versatile performer of his generation; just as at ease with the repertoire of jazz, pop or classical as he is with the music of the increasingly varied brass band genre.

His formidable technique and superb, malleable tonal qualities also come with an added extra: He ain’t half a pretty damn good pianist too.

Substance

All that and more is revealed in substance on this release: Three major works; two concertos and a concertino make up half - the rest, the type of tasteful, elegant solo items that form the staple diet of a performer whose slide is dipped in intuitive musicality.

Lars-Erik Larsson’s ‘Concertino’, transcribed by Thomas Wyss, is played with wonderful contrast; the strident ‘Praeludium’, balanced with a haunting ‘Aria’ and nimble, ‘Finale’ that has a fleet footed lightness of touch. 

Personal tastes

Simon Proctor’s accessible ‘Trombone Concerto No.3’ is a tuneful work of interwoven ideas - many of which you suspect, reflect the performer’s own personal tastes (with cleverly realised triptych cadenza) that concludes with one heck of a romp.
 
In contrast Andy Duncan’s ‘Trombone Concerto’ is cast with more serious intent; each movement delineated with purpose - even with the beautifully mysterious ‘Lullaby’. 

At home

Barber is equally at home on each. The substance of the writing echoes in the substance of the playing; commanding when required, reflective when needed.

The soloist’s ability to manipulate his timbre is striking - from symphonic majesty to pea shooter delicacy.

Enhanced

Musical balance is enhanced by the neatly chosen ‘bon mots’.  The classic ‘Autumn Leaves’ shimmers suavely, whilst the oddly engaging, Superman film inspired ‘Can You Read My Mind’, is a pleasantly understated.

Barber’s piano skills are classy and thoughtful (we got an inkling of them in ‘Molecular Cocktail’ on a previous Foden’s release). Here he limits himself to four shorter self-penned compositions. 

Charming

‘Kin’ is a charming evocation of the world through the eyes of his two young relations, whilst the waltz ‘Little Star’ is a tender love song to his fiancée - the title being part of her email address! 

The remaining two; ‘Grandad’ and ‘Maurice’ are really accompaniments to narrated reminiscences of Richard Evans; personal, almost melancholic ‘reflections’.  

Distinctive release

A finely balanced, distinctive release comes to an end with Andy Scott’s ‘Amazing Grace’ for piano and trombone complete with the ‘Amen’, ‘Hallelujah’ and a humming chorus from Foden’s.

Let’s give a little prayer we don’t have to wait another 18 years before we get a follow-up.

Steve Jack

Tracks:

Trombone Concerto (Andrew Duncan)
1. Allegro
2. Lullaby
3. Rondo

4. Can You Read My Mind (John Williams arr. Frode Rydland)
5. Kin (John Barber)
6. Trombone Concerto Number 3 (Simon Proctor)
7. Maurice - a reflection by Dick Evans (John Barber)
8. Autumn Leaves (Joseph Cosma arr. Bill Geldard)
9. Little Star (John Barber)

Concertino (Lars-Erik Larsson arr. Thomas Wyss)
10. Preludium
11. Aria
12. Finale

13. Grandad - a reflection by Dick Evans (John Barber)
14. Amazing Grace (Traditional arr. Andy Scott and John Barber)