Principal Trombone, LSO (Part I)

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Part I: 1936-1956 - Jock Ashby

The recent retirement (1987) of Denis Wick as Principal Trombone of the London Symphony Orchestra brings to a close a half-century in which that prestigious post has been entirely in the hands of just two musicians: Jock Ashby and Denis himself. It is appropriate that such a world-class orchestra has been graced by the loyalty and skill of these gifted instrumentalists and that The Trombonist should endeavour to record the unique achievement. With this in mind I wended my way through south London's frantic thoroughfares to talk to an old friend and esteemed colleague: the man who held the fort for the first twenty of these historic fifty years.

Jock, typically, opened the door with a warmly outstretched hand an an engaging smile. I, fortuitously, offered a few cans of Guinness, a beverage he maintains helps to slow his tongue down to normal speed.

I always wanted to be connected with something in music. My attraction was old Ben (Ashby). He was my uncle, but because I'd lost my parents at a very early age, he brought me up. He was a great player and I wanted to be like him. One day he saw me playing with a pair of old slides, trying to blow down them, and he said.- 'Wait a minute, I'll give you the rest of that and see what you can do'. So he started me off and to my surprise I got quite a good sound. I really liked the cornet better but there was no argument about it; I was going to play the trombone, like it or not. It was all good tuition and I was soon a band at South Norwood. At the age of fourteen I joined the Cameron Highlanders and saw service in India. Eventually I was able to transfer to the Irish Guards Band back in London but I tried to dodge being first trombone because I was so busy doing the silent movie shows in places like the old Kensington Cinema and the Davis Theatre, Croydon. Ben got me into the picture world and recommended me to a lot of people, and of course, his recommendations really meant a lot. Anyway, I did my duties and played well when I was with them."

While still a guardsman Jock decided to attend the Royal Academy of Music.

Jesse Stamp should have been my professor there, but he died just when I was due to start and Sid Langston took over. He was doing the same class of work as I was and he was not much older, so I told him: 'I've only come here for one purpose; to establish myself thoroughly'. I was getting along all right but I thought I would crown it with the Academy behind me. It has always borne a lot of weight and a lot of players have got away with it on the strength of having been to the Academy or College."

Having had his passport stamped at the RAM, he joined Charlie Bryant and Mick White (bass trombonist, later turned tubist) at Sadlers Wells Opera in 1934.

Charlie and I shared the first job because they were trying to tie everybody down, but we stuck out and guaranteed that one or other of us would always be principal. They accepted this and it worked out very well for us."

Two years later he followed his uncle, and hero, into the LSO.

They were better to work for than the other orchestras because you weren't tied down and they had enough business do concerts and recordings to pay quite well."

In his prime, and on top form, Jock settled down to enjoy the distinguished central part of his I career with the support of second trombonists including Uncle Ben himself, Ernest Benton, Geoffrey Linden (later to become bass trombonist), John Hawling, Arthur Wilson and Chris Davenport, and under the direction of many of the world's most distinguished conductors including their own principal conductors Albert Coates and later, Sir Malcolm Sargent.

"Sargent thought a lot of me and although we had our little tiffs, we always finished up friends, nothing nasty. He used to say my playing was 'most refined'."

London Symphony Orchestra trombones in 1946 for the filming of Benjamin Britten's
The Young Person's Guide to the Orchestra with Sir Malcolm Sargent. (Jock Ashby,
principal trombone; Stan Brown, second trombone; Lawrence Martin on G/D bass trombone.)

Among his close friends in the orchestra was admirable trumpeter George Eskdale, the man who had resuscitated and popularised the Haydn Trumpet Concerto in this country.

We used to get on very well. We would sometimes go for each other, but always laughed afterwards. We understood each other. He sometimes complained that I played faster than he did, and that I was sharp; but he sometimes jumped the gun and played even sharper! He was a unique player, he broke all the rules but he could always get away with it."

Whatever the pressures, Jock served his tenure in a most exemplary fashion, and it was certainly one of my student delights to listen to his clear, confident, and accurate performances from a seat in the auditorium or the slightly warmer one right next to him, whether he was using his regular Holton tenor or his favourite C alto. His gift of perfect pitch enabled him to use instruments of different pitch with perfect ease and it seemed to make it impossible for him to mis-pitch any notes. O, lucky Jock!

Perfect pitch is not always an advantage. It can be stubborn. You often have to give and take to accommodate other players."

At this point my host dashed from the room to return in a split second clutching his old silver-plated special to demonstrate his argument. After wrapping a piece of old newspaper around the shank of his 6½AL to make it fit the instrument he was off.- a few bass trumpet cues from the Ring, a quick burst from a polka or two, Brahms 1 (both loud and quiet versions) and after some encouragement, a precise Boléro. All this from an eighty-four year old who retired from professional playing some 15 years ago, who had not blown a note for three years, and with a full set behind his upper lip!

Yes, I can still do it My tongue is as good as ever and I'm hoping to contact a local band now that I have a bit more time on my hands."

Why then had he left the LSO all those years ago?

In 1956 they were trying to tie everybody down to contracts, but I always refused to be tied down. I was too well established outside and I couldn't afford to give that up. Also, Joe Krips had made himself our chief conductor and I didn't like him. The feeling was mutual, I'm sure. I just wouldn't bend to him and it was suggested that I should take a back seat. So I left and remained a principal trombone freelancing, doing all sorts of work with orchestras, and chamber groups. In fact I did better after leaving the LSO, and made more money."

After enjoying a further 20 years of freedom and success in the freelance market, Jock turned his skill and enthusiasm to teaching youngsters in and around Ealing as well as continuing to delight all within earshot by playing with local bands and groups (including an oft-recalled dazzling rendition of Love's Enchantment when he was approaching octogenarian status).

I like to encourage them all really. Only very rarely would I suggest someone giving up, and only if it was obvious that they had no music in them and never would have. One guideline is the way they speak. You'll find most people play as they speak. It's the articulation. You need good ears too. I try to get them to blow naturally and to study aural. It's a perfect instrument, but it can also be very imperfect unless it's played perfectly!"

Part II » 

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