I was sadly disappointed by this disc of British music for concert 
                  band. Despite presenting a glorious programme of Holst, Vaughan 
                  Williams and Grainger, it offers performances which lack conviction. 
                  The half-hearted, rather anaemic and almost apologetic playing 
                  from the Central Band of the Royal Air Force results in a sound 
                  that is deficient not in volume but in energy. The incisiveness 
                  of the interpretation suffers, too, on account of the rather 
                  less-than-crisp ensemble – the opening of Molly on the Shore, 
                  for example, is, regrettably, messy. Unfortunately, suspect 
                  intonation also mars the overall impression, and split and overblown 
                  notes have somehow been allowed to slip through the net of the 
                  editing process. The poor sense of ensemble is particularly 
                  apparent in Grainger’s Irish Tune from County Derry and 
                  Country Gardens – although the latter does capture at 
                  least an air of high spirits. 
                  
                  There is an enjoyable swagger to the opening of the March 
                  of Holst’s First Suite – a shame, though, that this doesn’t 
                  really carry over to the first movement of the Second Suite. 
                  The second subject of this movement, when it recurs tutti, 
                  needs much more sense of grandiosity. The Fantasia on the 
                  ‘Dargason’ needs a greater sense of fun. I look for exuberance, 
                  energy or vitality in vain. 
                  
                  The percussion section’s lack of unity with the rest of the 
                  ensemble is often highlighted to a quite embarrassing extent: 
                  they play behind the beat far more often than should be acceptable. 
                  This may be as a result of playing, during the sessions, in 
                  a separate booth; but, if so, sufficient thought should have 
                  been given to this problem during rehearsals and adequate advice 
                  and practice given. 
                  
                  Sadly, this is a disc that does little credit either to the 
                  performers or to the music. This is an especially poignant matter 
                  for regret, given that in the booklet notes conductor Eric Banks 
                  recalls a inscription from Percy Grainger to the band, which 
                  mentions “their magnificent rendering of my music”. 
                  
                  Em Marshall
                See also review by John 
                  Quinn