THE LONDON TROMBONE SOUND

Sixteen Trombones of Seven London Orchestras

Review by Peter Oram, BBC Scottish Symphony Orchestra

London Trombone SoundMy best Christmas present - talking in "parliamo Glasgow" - is "pure dead brilliant". The Editor of The Trombonist telephoned on 21st December 1995 asking if I could do a review as soon as possible. It arrived two days later, and at the time of writing this on New Year's Day 1996, has hardly been out of the hi-fi. Already you'll have gathered that I'm rather smitten.

The initial impact stays in my mind. It hit me as sensations of superb trombone sound. Sound, sound, sound, lashings of it wrapped in a variety of music and styles. I'm trying not to imitate Jilly Goolden on a new wine, but here are flavours galore, harbouring subtlety, depth, over-the-top excitement, bucketfuls of strawberries and cream, pathos and crazy jazz solos all wrapped up in 39 minutes of easy listening.

This CD is the latest in a series produces by CALA Records which began in 1993 with The London Cello Sound, and more recently violins (1994) and violas (1995). The London Trombone Sound is represented by 16 trombones of seven London orchestras, with jazz trombonist Richard Edwards, all lightly assisted by percussion and bass guitar. The final track had to be Meredith Willson's irrepressible 76 Trombones. It's the tune we all know, but its treatment is very new. 76 players are indeed playing, their names are given, and we are even shown the seating plan. The build-up of sound is gradual and faithfully recorded; no great smudge or turning the dials at the magnificent climax. Well done and thank you to the sound engineers.

The composers are Eric Crees, Mancini, Gershwin, Monteverdi, Brahms, Gabrieli, Wilfred Josephs, Barber, Eric Clapton/Jim Gordon and Willson, and all arrangements are by Eric Crees. The Fanfare for CALA, commissioned from Eric Crees for the CD, is so good it deserves to be published - a superb opening number. Indeed, all the arrangements are stamped with integrity and imagination. Eric also wrote all the sleeve notes, which say it all, and are a mine of information for those wishing to soak up facts. It would be pointless for me to attempt to précis them.

Monteverdi's Domine Ad Adinuandum, the introduction from the Vespers, is so pure and exciting it completely took me by surprise. Similarly the Gabrieli Sonata Pian' e Forte has a uniformity I have never previously experienced. A case of all the minds, quality of production and disciplines coming together to form perfectly matched antiphonal choirs.

The Brahms Intermezzo No.1 Op.119 did not appeal at first, but after repeated listening grew on me. The analysis of my initial feeling is that Brahms (particularly sombre Brahms) is not easily accessible, and appreciation only comes with familiarity. Anyway, all negative thoughts have now disappeared.

Samuel Barber's Adagio for Strings is a work I have always held in awe. Whenever our orchestra strings perform it, I try to stand on my own in the wings of the stage and marvel at the composer's genius and depth. It never occurred to me that one day I would hear it played by trombones. Superb playing and adaptation; this has to be my favourite track. In reality, the performance must have been very tiring on the lip muscles, but no hint of that can be heard by this listener. (Rather you than me, guys!)

This CD will contain something for everyone. One number even appealed to my teenage daughter. Eric Clapton's classic rock number Layla actually got the OK - praise indeed. Richard Edwards' jazz solos in Someone To Watch Over Me, Pink Panther, and of course Layla, extend the spectrum of interest in yet another direction.

The overall appeal continues to be in the sound (I know I'm using that word again), but the whole thing is a great sea of trombone colour. My dad used to call it trombone "tang". It is all so disciplined and together, yet individual voices shine through with great clarity.

I've almost forgotten that a conductor was involved, shame on me! Geoffrey Simon, CALA's Artistic Director, who integrated the mighty forces, must deserve a great deal of credit. He was also responsible for the other recordings in the series, and it would have been interesting to hear his reactions. He must have felt a lot warmer in this occasion that when surrounded by 48 violas (symphony players will understand!).

It was interesting to see that photograph of six former Hallé Orchestra principal trombones who participated. I personally took pride that three of my former bass trombonists in the BBC Scottish Symphony Orchestra, spanning 1977 to 1995, were part of the sixteen (Ron Bryans, Bob Hughes and Keith McNicoll). If you haven't got this CD, go out and buy it now. Never lend it to anyone; you won't get it back!

CD Info:
CALA CACD 0108

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