Discussion in 'The Rehearsal Room' started by brassneck, Mar 12, 2008.

  1. brassneck

    brassneck Active Member

    After chatting and catching up with a few friends at Glenrothes on Sunday, talking about the old times :)oops: ... age catches up sometimes) got me thinking about the players who evolved playing styles that can be considered modern. First obvious choice for me was David Moore on euphonium. His playing style and sound with Grimethorpe and the JSVB would still sound in place today with our top bands. Cornet playing was a little more difficult. I plumped for Jim Shepherd, because his style of playing was so radically different to his peers. However, I am struggling to fit names to other instruments. Any help here? Derek Jackson for BBb Bass? Horn playing brought forward by Gordon Higginbottom (or was there someone later)??
  2. Vegasbound

    Vegasbound Active Member

    Are you asking about players who's technique/musicality has made composers re-think the way they write for an instrument? and players to realise what is possible.

    i.e Tuba the late John Fletcher or trombone- much mised Don Lusher
    trumpet Maynard Ferguson

    Are you talking about just brass band players? - as there is always a crossover.

    i.e Ian Bousfield/Maurice Murphy/Dennis Wick etc

    Only British players?

    Gerard Scwartz/Ronald Barron/ Urbie green/Philip Smith/Wynton Marsallis/Bill Watrous/Arturo sandoval/Arthur Pryor/herbert L Clarke

    You can trace the the lineage of each player back through their own influences, and how they have in turn influenced other players and styles.

    The quaklity of instruments and improved manufacture have helped raised the overall playing standard of most players, but there is only ever a handfull of incredible players in each generation.
  3. brassneck

    brassneck Active Member

    I'm specifally talking about brass band instrumentalists who helped drag the way we generally play into what we are expected to do today. People like Elgar Howarth and Peter Parkes helped revolutionise the modern band sound during the seventies and this was a marked difference to what had been before. For example, the trombone sound of bands is more symphonic nowadays than pre-80s. Certain players must have come into or through banding that helped change the way that instrument is played. On tuba, John Fletcher must have been a big influence externally, but who was the first bander to take his style and be recorgnised for it?
  4. James Yelland

    James Yelland Active Member

    I think I might nominate the solo trombone of Desford responsible for a the reinvention of the big solo in The Year of The Dragon - was it Chris Jeans?

    Up until then I had only ever heard the solo played straight - then all of a sudden it acquired a distinctly bluesy feel to it which sounded exactly right. Since then, I have noticed many solo trombonists copying the style in Dragon and many other pieces.
  5. Vegasbound

    Vegasbound Active Member

    The nomination of Chris jeans (a fine player) I think proves the cross over point I was trying to make, I understand he has a lot of light music in his background.

    with more and more players going through music colleges of various types they will have been influenced by the music and styles they listen to and play.

    Elgar Howarth came from a Classical background /Philip Jones brass (they had an effect as Jim shepperd then organised his veratile brass) where he played with amiong others John Fletcher, and Maj.Peter Parkes via the Militairy and kneller hall he would have played/conducted everything from Mahler to Abba.

    The approach to trombone is brass bands has become more orchestral Ian Bousfield gave a talk/demo with the Vienna Phil section at a recent BTS day and showed how they differ in their approach to the music especially the use of dynamics and to what he referd to as the International trombone standard i.e most players all sound the same. They prior to this sat in for part of a lecture given by Gordon Campbell (lead trom BBC big band) on the use and styles of vibrato.

    Because players have moved to larger horns/mouthpieces as have Euphs the new ones are more tenor tubas than pure euphonium is this because more are going to the colleges and or studying with teachers who have ? and has this then lost the brass band sound and unbalanced the lower end of the band?

    Players do not have to have been in Brass Banding to influence others, Don Lushers influence can still be heard when a trombone player stands and plays a ballad.
  6. brassneck

    brassneck Active Member

    Whilst that (and what else you say) is not in doubt, there are players within brass bands that have influenced others by radically changing the way their instrument is played. I was out of banding totally throughout the '80s and since my last instrument then was tenor horn, I was curious about who was making a name for themselves when I came back. Sandy Smith's playing at Dyke was a fuller, fatter sound than I experienced and heard during the late '70s and he must have been considered groundbreaking in brass bands at that time. I wondered about the baritone's development in that area too ... Carole Crompton (Desford) seemed to be influential too. Peter Roberts was so different to most sop. players of his generation and most would like to emulate him.
  7. David Mann

    David Mann Member

    For trombone I'd nominate Michael Hext, who came out of BB tradition (Father Terry was on trom at GUS and conducted Bedford Town) and won Young Musician of the Year in ?1978. When the SA published "Concert Piece for Trombone" by Guilmant arr. Ray Steadman-Allen I think every SA trom player had a go at it.
  8. Accidental

    Accidental Supporting Member

    I'd second Carole Crompton - she was the first person to make me (and I suspect a lot of other people) realise Baritone could be something other than the place to abandon failed horn & euph players!

    Carole, then Peter Christian & Stephen Booth raised the profile of the instrument hugely which I am sure influenced not only its status as a solo instrument but also the increasingly challenging and satisfying band parts being written for us.

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