Rathamataz
Gavin HIGGINS Tango [9.24]
George GERSHWIN arr. Geldard I Loves You Porgy [3.21]
Arthur PRYOR arr. Keith Wilkinson Annie Laurie [5.23]
Benjamin GODARD arr. Howarth Berceuse de Jocelyn (Angels
Guard Thee) [5.16]
Don LUSHER DL Blues [3.32]
Andrew DUNCAN Rathamataz [10.45]
Hal DAVID and Burt BACHARACH arr. Morris Alfie
[3.15]
Philip WILBY White Knuckle Ride [5.47]
Peter GRAHAM A Time for Peace [3.41]
Arthur PRYOR arr. Keith Wilkinson Fantastic Polka [5.05]
Jim WEBB arr. John Golland/Routley By The Time I Get To
Phoenix [4.20]
Derek BOURGEOIS Concertino for Trombone (Nightmare) [8.10]
Renato RASCEL arr. Sandy Smith Arriva Derci Roma [3.47]
Brett Baker (trombone)
Black Dyke Band/Dr Nicholas J. Childs
rec. Morley Town Hall, 2009. DDD
DOYEN DOYCD261 [71:46]
For those in the brass band world, Brett Baker is the face of Rath trombones.
His (presumably lucrative) arrangement with the company includes the positions
of ‘Featured Artist’ and ‘Clinician’, and his other
job - as principal trombone of the Black Dyke Band - ensures the company the
best publicity that money can buy. I only mention this because the liner-notes
to this CD skate over Baker’s relationship with Rath in a bracketed clause
of small print in his bio, which seems disproportionate considering the title
of the disc, and considering that the cover shows Brett Baker’s face
peering out from a letter ‘R’ in the distinctive font of the company’s
logo.
But whatever the sponsorship machinations that keep the top bands afloat, this
is a fine CD. Listening to Brett Baker it is clear why Rath want him representing
their company, and equally clear why he is the principal trombone of one of
the world’s most respected brass bands. He has a rich, mellow tone that
virtually never falters, whatever the extremes of tempo, tessitura or dynamics
he executes. The world of brass band trombone solos seems to divide between
the fast, flashy ones and the slow, lyrical ones, and Baker excels at both.
Stylistically, he achieves that curious balance of being able to perform convincingly
in almost any idiom while always sounding like a brass player. Listeners from
outside of the brass band movement may have some trouble with this; a legato
trombone sound that is half way to a euphonium could be considered an acquired
taste. And this is a performing environment where vibrato is de rigueur,
so Baker’s (relative) restraint in that respect should be commended.
He makes a bit of a point out of the vibrato in ‘I loves you Porgy’,
but that’s the exception rather than the rule.
Most of the works are recent, so I suspect that most of the acrobatics in the
solo part are written in. One effect that Baker uses a lot is slide up or down
the harmonics on the lip. The eponymous Rathamataz uses that effect
a great deal, in fact to the point where it becomes part of the musical fabric.
Elsewhere it is clearly decorative, and in the case of the two Arthur Pryor
works, ‘Annie Laurie’ and ‘Fantastic Polka’ it must
surely be a later addition. Pryor was the trombone soloist in Sousa’s
band, and while he was reputedly skilled at the fast passagework, these kinds
of lip flexibilities are from a later age. In fact, the later additions made
to Annie Laurie (the arranger is Keith Wilkinson) make it something of a compendium
of soloistic trombone devices. There are multiphonics, fruity pedals, lip trills
... you name it.
For those who, like me, are most familiar with Brett Baker’s superhuman
fast playing from his various youtube appearances, he is even more awe-inspiring
when heard on a proper recording. That said, there is little here of extended,
unadulterated virtuosity. It’s a brass band recording, so variety takes
precedence over all else. There are a few longer works though, the most involved
of which is the Concertino for Trombone subtitled (Nightmare) by Derek Bourgeois.
Those familiar with his test-piece Blitz will know what to expect from
this: relatively traditional brass band figurations, but given energy and edge
through sharp, rhythmic articulations and plenty of percussion.
Other big names from the contemporary brass band scene are represented in the
slower numbers. Peter Graham’s A Time for Peace uses his trademark
tuba and euphonium support to create a warm, sustained chordal accompaniment
for the soloist. Philip Wilby’s White Knuckle Ride demonstrates
the composer’s uncanny ability to create a wide range of colours and
textures from the brass band without any of the players doing anything particularly
unusual. It’s not a very virtuosic solo part though, especially considering
the title. Even Don Lusher makes an appearance, his DL Blues a skilfully
comic turn of waa-waa mute, glissandi and growls.
The Black Dyke Band is on form thoughout, not that there is much to challenge
it in this repertoire. It’s put through its paces in Rathamataz,
but copes with the unusual scoring magnificently and (most importantly) without
upstaging the soloist in the process. The sound is good. There is a bit of
an abrupt edit at the end of the introduction in Rathamataz but otherwise
it is a proficient post-production job. All in all, the disc deserves to do
well, and certainly to do better than the specialist niche market for which
even the best brass band recordings are destined.
Gavin Dixon