Price £1.60 Free if purchased with British Bandsman SA Bandsman Issue 65 - October 2016

ANDREW JUSTICE 30 years isb principal trombone a journey of performance Derick Kane ad

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SA BANDSMAN PAGE 2 NEWS

Bandmaster (Dr.) Jonathan Corry The band would like to place on record its thanks and appreciation for the hard work and leadership Jonathan has provided the band over the past relinquishes position as Enfield Bandmaster eight seasons. We wish God’s blessing on Jonathan, his wife Louisa and Garry Ambrose reports their son Jack as they move to the USA.

Jonathan Corry commented, “It has been a thrill and a blessing to be Bandmaster of Enfield Citadel Band, a band which I have followed from a young age under the leadership of the inspirational Bandmaster James Williams MBE. The band has always been receptive to my new challenges, ideas, mission and performance opportunities as well as fervently continuing their weekly contribution to worship. My heartfelt wish is that their unique ministry continues to excite, inspire and spiritually uplift all who hear them”.

Deputy Bandmaster Andrew Justice said, “We have been very fortunate to have had a leader with Jonathan’s musical and credentials for the past eight years. As a Salvation Army band we use the resources we are given, and the task is now to appoint someone who can live up to the achievements of Jonathan and his predecessors. We wish Jonathan and his family all the best for their future”.

Enfield Citadel Band (ECB) has announced that its Bandmaster (Dr.) Summer sounds in Norfolk Jonathan Corry has relinquished leadership of the band in order to take Joan Cooke reports up an appointment as Divisional Director for Music and Gospel Arts for the Metropolitan Division within . Summer visitors’ nights at the North Norfolk town of Sheringham are a long-standing tradition, and continued this year with the visit of Norfolk Fellowship Band, under the leadership of David Woodrow. A large, Conducting the band since September 2008 and being commissioned enthusiastic audience greatly appreciated a programme which was Bandmaster in 2009, Jonathan has provided the band with opportunities varied, reflective, humorous and thought-provoking. to tour in Europe, most recently returning to his homeland in Ireland and recording a total of five innovative CDs featuring a number of new The evening commenced with the march The Liberator, followed by works. The most notable was to provide a soundtrack to the 1909 silent Ray Steadman-Allen’s Holy, Holy, Holy. The cornet solo I’d Rather Have movie, The Salvation Army Lass, with music by Dorothy Gates. This pace- Jesus, played by Ray Todd, created an atmosphere of calmness, before setting 17-minute work for brass band and piano was realised within the the mood changed with Steadman-Allen’s arrangement from the musical combined CD/DVD recording Faith, which was hailed as another ‘first’ for Spirit, acknowledging that it is 50 years since the production of the a Salvation Army band. Salvation Army’s first musical, Take-over Bid. It certainly set feet tapping and rekindled memories. Bringing new composers and compositions into the bands repertoire has always been an integral part of Enfield Citadel Band’s ministry. During Guest soloist was Grace Duthie, an adherent at Citadel Jonathan’s leadership, the band have premièred new works by composers Corps, and accomplished flautist, showing unassuming brilliance in the such as David Catherwood, Martin Cordner, Ray Farr, Dorothy Gates, Dr. presentation of their solos, which were ably accompanied by Sebastian Peter Meechan, Roger Trigg, Andrew Wainwright and Professor Philip Johnson. Sheringham timbrels came ‘out of retirement’ for the evening – Wilby. although judging by their bright and breezy display to Star Lake – should never have retired in the first place! And they smiled throughout! ECB’s forthcoming Pre-Contest Festival on 7 October provides another The cornet solo Bless This House, played by James Tyrrell, was dedicated example of the extended outreach that Jonathan has provided for the to the memory of Brian and Hazel Pegg, both life-long stalwarts of band by commissioning a new work from Tom Davoren. Living Power will the Sheringham Corps and both recently ‘’, whose be the first by Tom for a Salvation Army band, is dedicated to Jonathan home was an ever-open door to visitors to the town. The Army classic, and provides a further example of the legacy he has left the band. Great and Glorious, brought back memories of bygone years – of events, massed bands, and the like. In complete contrast, The band will be led at Long Melford and the Pre-Contest Festival by and a favourite of many, was the playful, yet controlled playing of Bandmaster Iain Parkhouse from Croydon Citadel. We are grateful to Shostakovich’s Waltz from his Jazz Suite No. 2, a highlight of the evening Croydon Citadel for allowing Iain to help us in this way as we seek a new for this writer. This was an evening of relaxed, yet meaningful music- Bandmaster. Iain will share rehearsal duties with Retired Bandmaster making and fellowship. The band ending with the march Camp Fellowship, Don Jenkins, to whom the band is equally indebted. featuring the chorus There’s joy in following Jesus all the way.

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All-star band helps George Whittingham celebrate 90th birthday

Peter Bale reports the subtleties of the writing. The remaining members of the section, Paul Woodward, Bromley Temple Hall was packed on 31 Howard Elliott and John White, then joined August for a concert marking Major George Dudley for Over the Rainbow (arr. Norman Whittingham’s 90th birthday. A hand-picked Bearcroft), played in unison. band had met for an afternoon rehearsal before sharing in a celebration tea. It was something Introducing Treasures from Tchaikovsky (arr. of a ‘who’s who’ of banding personalities, with Bramwell Coles), George explained that there noted past and present Salvation Army players had been no time to rehearse this item, but one joining with family members and the former would never had known. From the precision of principal Eb bass from the Black Dyke Band, the opening fanfare through the sensitivity of Ben Dixon. Christ had a garden, to the scintillating runs of the finale, it was an impressive performance. From the opening notes of Marche Militaire Francaise (Saint-Saens arr. Michael Kenyon), Col. Derek Elvin led a congregational song and it was clear that there was something special brought some thoughts on the theme of light, in store. The precision and attention to detail before Leslie Swift sang the Gowans/Larsson belied the limited rehearsal time in a thrilling song, A different man. Derick Kane, who was Major George Whittingham rendition. auditioned by George prior to joining the ISB 40 years ago, led the band in Kenneth Downie’s multiphonic version of Happy Birthday. Chris Deacon (soprano) was the first soloist In the love of Jesus, the players revelling in the to be featured, with a refined account of luscious harmonies. The final item was a thrilling rendition of Song Flowerdale (Philip Sparke), all the more of Courage (Eric Ball), a test for any band, let remarkable given that he had just returned Following a few minutes to socialise while the alone one brought together for a one-off event. from three weeks’ holiday. Mozart’s Overture collection was taken, the band played the great There were many highlights, not least the to the Magic Flute (also arr. Kenyon) was well march Fighting for the Lord (Emil Söderström), playing of Michael Barratt on flugel horn, Chris balanced, if a little on the heavy side, and dating from 1926, the year of George’s birth. Deacon on soprano, Darrell Scholes on cornet this was followed by a stunning account of Darrell Scholes took over the baton as Derick and the trombone section, whilst the final top Wondrous Day (Erik Leidzén) by ISB principal Kane stepped forward to present The Better D towards the end was struck with confidence Carl Nielsen. Carl was then joined by Keith World (Bearcroft), forever linked with him since and assurance. The melody Stand like the Hutchinson, Craig Snell, Wes Warren, Darrell its première at the 1978 Congress, combining brave seemed a fitting summing up of George’s Scholes and Julian Bright for a sparkling lyricism and dexterity with great control, life and career. Two tributes referred to on presentation of Bugler’s Holiday, played especially in the upper register. social media spoke of the respect in which without a conductor. he is deservedly held: one was the arrival of a George explained that he first encountered birthday card signed by the present members For many, the highlight of the afternoon was Ben Dixon when he was 13 years of age and had of the Carlton Main Frickley Colliery Band, Dudley Bright’s playing of Concertino for Band followed his playing career ever since. Ben, who with whom George played in his youth, and the and Trombone (Leidzén). It was a commanding has recently relinquished his position with the second was from a Salvationist who spoke of reading, with exemplary playing matched Black Dyke Band, thrilled the audience with his George’s ministry following the bomb attack on by an accompaniment that brought out all version of Czardas (Monti), complete with a the Royal Marines in Deal in 1989.

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Musical legacy celebrated at Canadian Territorial Music School Craig Lewis reports

With a new name and a new look, young were formed this year, led by Dr. Chris A Chorus, which is a mixed chorus drawn from musicians of the and Bermuda Territory Diaper (Edmonton Temple) and Craig Lewis members of all three TMS streams, presented returned to Jackson’s Point from 27 August to (Territorial Secretary for Music and Gospel I Will Rejoice and Love’s Call, the middle 3 September for the annual Territorial Music Arts). The contributions from each band on the section of the latter providing some moments School (TMS). Students representing each Wednesday and Saturday programmes were of sublime reflection. The haunting phrase division of the territory, plus international Marche Militaire Francais (arr. Michael Kenyon) ‘Do you love me more than these?’ brought a students from Argentina, Malawi, Mexico, and To the Chief Musician (William Himes) stillness and maturity that defied the young Spain and the UK spent a week under the from the Diaper Band, while the Lewis Band age of the singers. It was A Band’s emotional leadership of musical guest, Andrew Blyth performed Jeremiah 29 (Jorgen IJsendorn) and presentation of Music of a Legacy (Steven (UK) and Bible guest, Christ Stoker (USA East). Luminaries (Edward Mylechreest). Ponsford) that will perhaps stay in the minds The impact of these two men on the students, of many as a defining moment of this TMS. and ultimately the Territory, is immeasurable. Two student worship teams led worship sets in As the band played, a visual presentation was Running parallel to TMS, the Territory both festivals, while the Women’s Chorus was shown depicting those who have established relaunched a Leadership Development under the direction of newly minted Canadian our SA musical legacy, both internationally and Institute (LDI) with expert guidance provided Staff Songster Leader, Major Len Ballantine. then specifically here in Canada and Bermuda. by Canadian Staff Bandmaster John Lam The musical highlight of the week for many was As the piece came to its climax, images were (brass) and Deputy Canadian Staff Songster the performance of A Chorus and A Band in shown of each individual A Band member with Leader Cathie Koehnen (vocal). the Saturday Final Festival. Both groups were their musical and/or spiritual mentor, some of under the leadership of Andrew Blyth, and their whom were in the audience. It was a powerful Students select one of three main streams performances left no doubt as to why he is one and tangible reminder of the impact that we to participate in for the week; band, worship of the best musical directors in The Salvation can each have on the life of another and a fitting team and women’s vocal. Two equal bands Army in both the brass and choral fields. The conclusion to TMS 2016.

SA BANDSMAN PAGE 5 PEOPLE From Copenhagen to Chicago Niels Silfverberg reports

Two years ago, Valby Band (Denmark) started up its Band Academy - a development programme for the band, primarily focusing on the young people. Parts of this programme has been theory classes, individual technique training several times a week, master classes with professional musicians from Concord Band (the local top contesting band), and one of the stepping stones in this ongoing process was to send six of the young people to the USA Central Territory’s Central Music Institute (CMI) this summer. The costs were sponsored by the Danish Territorial Headquarters in recognition of the academy’s work and efforts by the youngsters.

Two of the youngsters have learned to play through this intensive programme, and all are very active and committed to the duties in the band. The group travelled together with Bandmaster Marcus Silfverberg, and had the opportunity to spend two days as tourists in At the top of the Willis Tower, from left to right: Benja Thomas, Chicago prior to the camp, visiting the Willis Marcus Silfverberg, ???, ???, Leo Thomas, ?????, ???? Tower, trying genuine Chicago deep pan pizza and more.

All the youngsters are involved in several activities at the corps, so apart from majoring in brass, the opportunities for electives, not only supporting their brass competences but also their other duties in the corps, were something they all profited from. The chosen electives included composition, praise band, keyboard, media production, bells and the CMI chorus, as well as men’s chorus.

The hard preparation paid off in learning but also in prizes as one of the bands rookies, Benja Grace Thomas, won the solo competition in her band with a cracking performance of My Jesus, I love Thee (Ralph Pearce), beating her brother Leo Thomas, who came second. He, on the other hand, took revenge, winning first prize in the band, just in front of his sister who won second prize. Two of the youngsters made it into the top band, and Benja joined the advanced CMI Chorus.

Of her experience, Benja commented: “I am very happy to have had the opportunity to be a part of CMI. I feel I have learned many things that I can use at home. Being a part of The Danish delegation at Camp Wonderland, Wisconsin, USA the solo competition has made me feel more

SA BANDSMAN PAGE 6 PEOPLE

confident playing in front of many people. Lukas Andersen was one of those who made it The openness and willingness to share in I’ve also learned what I could do better when I into Wonderland Band, the top band, but he had small groups, the display of trust shown in come home. Being confident in myself was the also chosen the praise band track. He writes: testimonies, and the encouragement given most important thing I learned in the music when challenged, proved to me that CMI was programme. It was also nice to see how The “On a personal level, the praise band track not like any other music camp. I had expected Salvation Army is in Chicago, and being part gave me the possibility to be inspired in ways to be challenged on a musical level (and I of a fellowship with people who have similar I could not have imagined beforehand. Under certainly was!), yet the attitude of being a interests to me. That was really nice.” the guidance of Phil Laeger and Joshua Turner, musician to worship first and foremost was a we studied what it meant to be a praise band reminder to me of what being a Salvation Army Attending the institute also had a spiritual and how we should focus on being able to bring musician should be about. As a musician in The impact on the youngsters, two of whom since ourselves before God, while also helping others Salvation Army, it can be easy to forget how to their camp experience have decided to become to do the same. I joined with an expectation of balance the desire for excelling musically with Salvationists. One of these, Leo Thomas being inspired, which was certainly fulfilled. The the art of worshipping, and CMI provided me explains: “CMI was an exciting and blessed praise band track invigorated and re-energised with an opportunity to be reminded of that vital experience for me. I enjoyed every second of me in my desire to worship and to help balance through inspiring faculty members, it. Taking part in CMI was just a great feeling. others before God. Together with the musical along with fellow camp students. It was great being amongst my friends, and leadership of Jonathan Corry and Peggy getting to know new faces, and a bit of the Thomas in the Wonderland Band, it served as a I have asked myself how I thought CMI had American culture. I really feel that CMI has reminder that one’s mindset should not differ not only impacted us, but how we could leave strengthened my spiritual relationship with whether playing in either a worship or brass an impact on the corps we were returning to. God, and has given me confidence and courage band.” Musically and spiritually, there has been a to take challenging decisions, that I never new-found focus and desire to excel and grow. would have thought of taking. Since we’ve come Having the group back home, it is obvious There is a recognition of the fact that God home from the States I feel that my cornet that the life of these young people have been has granted us musical gifts, and it is up to us playing has improved, which was one of my influenced musically and spiritually, and that to utilise them in the best way possible. CMI goals for this trip. they will make an impact on Valby Band, the taught us that we can impact others, whether corps and in a much wider perspective in their listening at an open-air or at a Sunday service, One of the electives I chose at CMI was daily lives. This is well summoned up by Lukas: in ways that we had not previously imagined composition. Writing music is one of my big “Leaving Denmark, none of us truly knew what possible.” passions, and getting to write and arrange to expect, yet when I look at myself and the rest music under the leadership of Dr. Harold of the delegation, I believe that Valby Corps As Lukas concludes for everyone who went to Burgmayer was a highlight and a great honour. will be seeing a radically transformed group of CMI: “This was an experience I will never forget, But most of all, getting to spend time with young people returning home. CMI impacted and being home, it is now the time to show young and old Salvationists, and getting to our ability and perception of musicianship, and Valby Corps the progress that we had made as praise the Lord together in fellowship, was yet it also affected our spiritual lives and our musicians and Christians.” really what made CMI ‘the place to be’.” relationships with others around us.

Leo and Benja Thomas (centre), pictured with special guest Jonathan Corry (left) and Dr. Harold Burgmayer (right) receive soloist awards Award winner Benja Thomas

SA BANDSMAN PAGE 7 COVER STORY

ANDREW JUSTICE 30 years isb principal trombone a journey of performance

Andrew Justice, well known for his performances and recordings with the and Enfield Citadel Band, has been a consistent performer as principal trombone in both bands for over 30 years. With over 90 recordings, 50 solos/duets/ensemble works, 39 overseas tours, over 200 ISB weekends, seven international Congresses (three as a member of the ISB), over 1,500 concerts and over 3,000 Salvation Army Sunday services, in this interview Malcolm Quinn explores Andrew’s his extensive musical career to date and his contribution as a trombone soloist.

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MQ: Andrew, when did you start this musical impressionable age was Bob Merritt, principal several of the Enfield players who were my journey that you’ve now been on for some trombone of the Canadian Staff Band under contemporaries, and they encouraged me to years, and who are those role models you (then Major) Norman Bearcroft, who brought consider a move to North . I recall my have looked up to? silky high-register playing to my attention, first few rehearsals with the band before going and who I met on several occasions on trips on my first ‘away-weekend visit’ to Leeds a AJ: I started playing a brass instrument at the to Canada at various times. More recently, week later. I had previously thought I could blow age of eight, joining Sutton SA Young Peoples Herb Bruce and his colleagues in Spiritual to a little, until joining ECB when I realised I had to Band (my ‘home’ corps) in 1965 when Dennis the Bone broadened my trombone horizons, buy a bigger instrument and get a much larger Yalden was the leader. He started me on tenor providing yet more inspiration. mouthpiece in order to match up to the sound horn, to allow me to get musical experience and volume of the ECB section. I managed to before beginning to wrestle with a trombone MQ: So what has been the motivation for develop as the months went by, and began to be that was, at the time, larger than me! you to spend the past 50 years playing in SA featured as a regular soloist with the band. bands? My father Michael was my first influence and MQ: Within two years of arriving at Enfield role model, being a trombonist in the Senior AJ ; Well to start with it would have been you joined the ISB, how did that come about? Band, and then moving on to Portsmouth to emulate my Dad, who had given me Citadel. Having played trombone and the ‘trombone gene’. My Mum was also an AJ: Having already appeared with them as a euphonium in the RAF Fighter Command Band accomplished pianist who won competitions soloist at the 1978 International Congress during his National Service in the 1950s, I was and should have gone on to music college, so at the Royal Albert Hall, I was known to the well aware of the achievements he had made she also gave me the performance trait. Over Bandmaster, Lt. Col. Ray Bowes. When the as a player and a Salvationist, and I still try to the years I’ve realised that music is both a principal trombone seat became available, it live up to the standards he set me as a person personal and corporate aid to worship. I have was suggested that I ‘apply’, and in September and as a Salvationist musician from my earliest heard many players, both close and distant, 1986 I duly became principal trombone. Within years. I always wanted to play the trombone, who are clearly using musical performance three years I had been involved in two tours so I really taught myself in the first days, to praise God. In SA bands our job is to lead (Northern Europe and USA), three Royal Albert appearing in the YP Band at Sutton with it one and accompany worship. I hope and pray that Hall performances, 20 weekend trips around Sunday, and playing a small solo part in a piece, on both a personal and corporate level I have the UK, and the production of the first SA CDs - starting me off on a long journey that continues helped others and myself to do just that. all experiences that would equip me well for the today. opportunities ahead. The ISB section at that MQ: During your early years you move to time was Chris Priest (bass trombone), Anthony I soon became aware of the sort of players worship at Enfield Citadel Corps. How did Leggett and Gordon Camsey (2nd trombone), I wanted to emulate, and my recording that improve your playing? and Paul Graham and myself (Stuart Lawrence collection began to develop quickly, with the had bridged the gap until Paul arrived). Just ISB and Black Dyke featuring early on. The AJ: Perhaps I should start by filling in a before Chris moved to the USA, Stuart Hall ISB 75th Anniversary LP featuring Ian Hankey few gaps. After moving from Sutton to joined in place of Anthony, Gordon moved to playing The Eternal Quest (regarded by many Portsmouth, I moved into the senior band bass trombone and Vanda Spence joined as the including myself as a definitive interpretation there, as well playing in the Hampshire County first lady in the ISB. Paul, Stuart and Gordon of that solo), along with earlier recordings Youth Orchestra, which I acknowledge was a were my colleagues for the best part of 25 and performances made by Cyril Brisley, John marvellous introduction to playing classical years. None of the original section is now with Cobb, Dudley Bright, Ron Prussing and Maisie repertoire and film and show-scores alike. With the band, although Stuart Hall has since rejoined. Wiggins’ (then Ringham) 78rpm recording of the HCYO I made my first tour of the Mid-West Concertino for Band and Trombone, were all of the USA, an unforgettable experience. I MQ: What are the musical challenges you rarely off the family record player. Don Lusher undertook my secondary schooling, and moved have encountered over the years? was everyone’s favourite ‘trombone man’, and as on to Portsmouth Polytechnic (as it then was) a former Salvationist himself, his ability to play to study Architecture, later moving to , AJ: One has to remember that in SA bands a melody, as well as his big-band and jazz style where I took my postgraduate Architectural we are all amateurs, we all have ‘day-jobs’, and slick technique added something extra to studies, before moving to London to work. so every time we perform with a group with emulate. the reputation of the ISB or ECB, we have to When I arrived at Enfield, late in 1984, the ‘tune-in’ to what we are about to do. I learnt I became more aware of internationally band was pretty much the one that had toured very quickly that whereas the ISB’s role is to acclaimed players such as Bill Watrous, Australasia in 1980, including legendary players constantly perform new music to move the Urbie Green, Frank Rosolino, and many of such as Keith Hutchinson, Richard Martin, SA brass repertoire forward, a corps band the other ‘Tutti’s Trombones’ players who left Peter Wise and Michael Savage on principal such as ECB was more restricted in its use of me speechless in appreciation of the sheer trombone. Having attended the SA summer repertoire, due to SA regulations at the time. brilliance of their technique. One of the special music camps for some years at Coleg-Y-Fro The emphasis in ECB was thus to take more SA players who captured my imagination at an (South Wales) and Cobham Hall, I had met established repertoire and to rehearse and

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perform it at a higher level than most other SA few chances, who will use their imagination, first senior bandmaster, was a very academic ‘corps’ bands. The challenges I had to address and who are prepared to try new things to man who had an innate musical understanding were therefore performing new repertoire at a attract folks to our membership. I also relish of composers such as Eric Ball, Ray Steadman- high level with minimal rehearsal (ISB), and on the chance to hopefully challenge and inspire Allen and Wilfred Heaton. Performances of the other hand, finding something new in more younger players who watch what I and my their music under Harold was always very established music. Both have their challenges. colleagues in both bands do, and want to measured, very musical in its’ phrasing, and I always enjoy switching ‘styles’ as a player. A emulate it. very ‘classical’ in its proportions. Don Jenkins at trombonist in a brass band needs to be capable Bristol Easton, was a very emotional conductor, of lyrical melodic playing, a jazzy big-band MQ: With your playing career being busy, very much the antithesis of a Harold Nobes. approach, and ‘straight’ orchestral style playing, how does that leave time for family? Don’s approach was to excite, to push the as well as what might be termed ‘brass-band boundaries in performance. James Williams style’ for more traditional marches etc. That AJ: I am very fortunate in being married to MBE has been the conductor under whose switching of styles is always a challenge, and is Fiona for the past 26 years, she both keeps influence I have probably developed the most, one I have worked hard to address. me grounded and encourages me when the both in terms of my musical understanding, the depth to which every detail was explored, and the expansion of my technique. Ray Bowes, Robert Redhead and Dr. Stephen Cobb as ISB bandmasters have had completely different approaches from which I have benefited enormously. Ray Bowes was a stickler for shape and phrasing. Robert Redhead insisted that communication through our music was of prime importance. Stephen Cobb has applied a whole new level of band training to the group, which has taken it to new levels of playing standards.

On a personal level, other notable conductors to whom I owe a debt are Dennis Yalden, my first YP Band Leader, John Bird, who trained Portsmouth Citadel YP Band up to playing Festival Series music, recording it on an LP, and entered all his players into music exams to encourage their development (as well as great football matches after every YP band practice!), Ivor Bosanko who inspired me with MQ: Over the next 10 years what are the challenges of balancing band with church his passionate brass and choral compositions opportunities you foresee from a music and work get a bit out of ‘kilter’. She grew up at music schools, Norman Bearcroft, who gave perspective? in a brass band family at Coventry City, so me opportunities to perform at national and understands banding and its pressures. She international events, and in the orchestral AJ: I see a gradual relaxation in the restrictions doesn’t complain when I come in from work sphere at school, Gary Holmes, who introduced of the SA in terms of playing a wider range of late and have to do an hours’ practice, and she me to a wider orchestral and choral repertoire. music than hitherto. At ECB, we have tried to is very involved in the ‘social’ side of the bands embrace a wide range of music that will appeal I play with. Membership of our corps is a joint MQ: Andrew, thank you for taking time to the average person in the street who we thing, and she has particular skills she brings to share some of your insights with us. are trying to attract to our meetings. Equally, to it. On behalf of all the readership of the SA as a ‘flagship band’ it is part of what the ISB Bandsman we look forward to your continued does, and should do, to introduce new genres MQ: Finally Andrew, you have played at the contribution to brass banding, and in by new composers. As we move into a period highest level under so many bandmasters particular the highlighting of trombone of declining numbers of SA bands and players, and conductors over the years. What are the playing in the coming years. we have to create and keep interest in our key things you have learned from each in the grass roots, whether that is youth bands, or way they operate? AJ: Thanks for the opportunity Malcolm, I’m fellowship bands, both of which have to see grateful for the chance to explain how and why I something relevant in what the ISB performs. AJ: Firstly, all the SA conductors I have played have been privileged to spend the past 50 years The levels of expectation are so high, it is a under are or were committed Christians, as an SA junior and senior bandsman. I hope real challenge, as well as an opportunity. The and that has shone through in the way they something that I have said or done will help SA will need musical leaders who will take a approach(ed) their music. Harold Nobes, my your readers in some way.

SA BANDSMAN PAGE 10 FEATURE

HERITAGE BRASS CONTINUING THE TRADITION... 1988 TO THE PRESENT AND BEYOND

In 1988, Bandmaster Victor B. Kingston (Retired) Newfoundland, Florida (USA) and the UK. in the Lisgar Street Young Peoples’ Band. At had the inspiration of forming a divisional The 42 members of the band come from many age 10, the family transferred to the Earlscourt reservist band. There was little doubt there corps throughout the greater area and Corps, where Bob was enrolled as a senior were enough band reservists in the greater beyond. They rehearse once a week at Ontario soldier and became a member of the senior Toronto area and elsewhere to form a band. Central DHQ and have at least one scheduled band. Since then, he has played cornet and flugel Commissioner Arthur Pitcher (Retired) was engagement each month. Every member is a horn with the Scarborough Citadel Band, the appointed the first Executive Officer of what veteran of Salvation Army banding and most Bloor Central Corps Band, North Toronto Citadel was to become the Metro Toronto Reservist of them have retired from their vocations. The Band, Agincourt Temple Band and currently the Band (MTRB). band member’s love of music and commitment Yorkminster Citadel Band. Bob also serves as a to this special ministry enriches as well as member of the Canadian Staff Band and is the It was on 23 April 1988 that the official inaugural challenges each member to put into practice librarian. public concert of the MTRB was held at the words of Canada’s first Salvation Army Agincourt Temple. Since then, the band has Territorial Commander, Commissioner Thomas Bob’s first leadership experience came while changed names, first to the Ontario Central B. Coombs, who said, “ on fire is what at the Scarborough Corps, where he led the Reservist Band and, in 2007, to Heritage is wanted; to bring the world to God through Learners’ Band and the Youth Band. He has also Brass but, over the years has maintained a full music.” served as Bandmaster at Bloor Central and schedule proclaiming the ‘Good News Gospel’ Yorkminster Citadel. In addition to Heritage through the avenue of music. Currently the band is under the leadership of Brass, he is the leader of the Divisional Young Bob Gray, who was appointed Bandmaster on Peoples’ Band – Blood and Fire Brass. ‘Make music to the Lord with the harp, with the 1 September 2015 and culminates his first year harp and the sound of singing, with trumpets as the group’s leader with the release of its Bob was a successful music educator with the and the blast of the ram’s horn – shout for joy latest recording, Good Old Army 5. Lt. Col. Alf Toronto District School Board, where he spent before the Lord, the King.’ Psalm 98: 5-6 Richardson succeeded Major Greg Simmons as 38 years teaching music to literally hundreds the band’s Executive Officer on 1 January 2016. of students. His education includes Bachelor of Psalm 98 is a call of celebration. It is a call to He brings many years of experience to the band Music and Bachelor of Education degrees from announce to the world the righteous reign of our board and we are enjoying his ministry. We look the University of Toronto and a Master of Arts Lord and Saviour through the use of music. forward to the years ahead. in Music Education from the Eastman School of However, the band’s purpose has never wavered Music in Rochester NY. and this commitment to spreading the ‘good For more information on the band, please visit news’ has been shared in nursing homes, seniors’ www.heritagebrass.ca Speaking to SA Bandsman, Bob Gray groups, golden agers’ rallies, various Salvation commented, “It is a privilege and honour to be Army activities, Christmas kettles, the annual Bandmaster Bob Gray the Bandmaster of this prestigious group of Seniors’ Jubilee Concert at Toronto’s Roy individuals. My father Cy Gray was a member Thompson Hall, church functions and worship Bob Gray is a fourth generation Salvationist for many years and Heritage Brass was the duty services throughout Ontario, British Columbia, who started playing cornet at the age of seven band for his funeral in 2013.”

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SHEFFIELD CITADEL BAND 135 YEARS OF STANDING FOR CHRIST

‘With trumpets and sound of cornet make a joyful noise before the Lord, the King.’ Psalm 98: 6

Sheffield Citadel Band (SCB) is believed to when the new officer was duly appointed, the was Herbert Mountain, who took over in 1922. have originated in 1881 under the leadership re-formed band turned up at the corps open-air He was known as ‘Little Herbert’ and despite of Bandmaster Charlie Wright. The band’s meeting as though nothing had happened. being regarded as a bit harsh by some, most beginnings were very humble: the first No-one had the heart to tell them they couldn’t of the men enjoyed his discipline and saw instrument was a large bell, the second an old take part and the new commanding officer was him as an inspirational leader. He wrote the drum. Despite these humble beginnings, SCB none the wiser. So the Sheffield 1 Corps had a march Sheffield Citadel in 1940, a piece which quickly grew and despite many ups and downs band again. is still played at the end of SCB programmes during its early days, continues to proclaim the today. It features the tune I’ll stand for Christ, gospel in Sheffield today. One of the early bandmasters was Tom the testimony of every band member, which Freeman Black, one of the first Salvationists is incorporated within the band’s 135 logo The band’s first Bandmaster, Charlie Wright, to study music academically. He was just 21 this year. Herbert Mountain’s band never was known as the ‘Saved Cobbler’. Under his when he became Bandmaster of the Citadel’s forgot what its primary function was and its leadership, the SCB became quite a large 38-strong band and wrote a march called the spirituality sustained it over the years. and well-equipped section and it is reported Sheffield March, which was recorded on a that Charlie had 60 in his band for a visit to phonograph cylinder and is presumed to be the Under Herbert’s leadership, SCB was the first Rotherham. However, the Citadel Band wasn’t band’s first recording. English band to make a wireless broadcast, always a good one and playing standards when in December 1923, from an old workshop fluctuated enormously. In the early 1900s, Even from its early days, SCB drew most of in Bridge Street, 15 players – as this was all the band was actually stood down by the its membership from its own Young People’s there was room for – were broadcast on the old Commanding Officer because it was so poor. Corps. In 1912 it down a well-paid engagement, crystal sets. It is said that the windows had to This was a terrible disappointment to many choosing instead to march the Sunday School be opened to give the trombone players room and a number of bandsmen left the corps as a around the city at Whitsuntide. The YPSM for their slides! result. Some didn’t give up so easily, however. presented Bandmaster Fantham with a guinea They continued to practice on their own and for the band fund in recognition of this gesture. As the years rolled by, SCB’s reputation and when it was thought that a new officer was Colonel Mitchell, a visitor, suggested the ability grew and it travelled around the country imminent, some of the diehard secretly went band should give the Junior Corps a guinea on away weekends. By 1930, the band had round those who had left and asked them for every member who had transferred to the already visited Ashton-under-Lyne, Blackburn, to come back and start practising again, senior band, to which the Bandmaster replied, Bradford, Clowne, Colne, Dundee, Edinburgh, unbeknown to the rest of the corps. They “Impossible, for we should soon be bankrupt”! Glasgow, Goldthorpe, Heckmondwike, Hull, practised for two weeks in the Victoria Hall and Perhaps Sheffield’s most famous Bandmaster Huddersfield, Leeds, Leek., ,

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Middlesborough, Morley, Notthingham, the time that Fred Gott was Bandmaster. The engagements across the length and breadth of Oldham, Wakefield, Wigan and Worksop. band sang the song What a friend we have in the country: away weekends, overseas tours, The band was also engaged by the Sheffield Jesus on the boat on the way home. In 1966, participation at large national or regional Corporation to give programmes in the city’s under the leadership of Bandmaster Stan events, but often it is the local engagements parks and in 1932 also played at the Crystal Wileman, it was invited on an eight-day tour which have the greatest personnel impact Palace in London. of Finland with National Bandmaster, Captain upon its members: the spine tingling moments Norman Bearcroft. For many, it was the first playing the National Anthem at the Sheffield Strong discipline and a sense of deportment time they had flown and it was a real adventure City Remembrance Service each November, and duty had long been drilled into every and experience. A highlight of this tour was seeing the joy on a shopper’s face as they member, but SCB always retained a sense of playing in Helsinki Cathedral. hear Christmas carols, and the appreciation humour, even called the daftest band in the of a child at The Sheffield Children’s Hospital land! It is said that when the band went to In the 1970s, SCB became regular television when SCB play carols to the youngsters, their Heckmondwike, some of its members found a stars, appearing in a full series of 13 families and the staff. As a band, we recognise battered old urn which looked like a sporting programmes of Stars on Sunday, as well as the privilege we have in ministering within trophy. They duly presented it to Bandmaster a BBC Christmas Appeal from Chatsworth these different environments and we often Mountain saying they’d “won the cup”. When House, Derbyshire, a venue to which the band go home challenged and blessed by these they were marched by the home band back to have returned on other occasions. experiences, grateful for the opportunity to the station for the journey home (as was the make a difference. tradition in those days) the band carried the The band did much travelling during Ian cup at the front of the march. Upon returning Wileman’s first spell as Bandmaster, visiting Today, under the leadership of Bandmaster to Sheffield, it was touched up and remained on Belfast, Holland and Norway within five years, Keith Wileman, SCB is also the focus of the display in the band room for many years! tours which are spoken of as unforgettable corps’ outreach ministry, regularly taking experiences and opportunities for Christian the Gospel of Jesus into the surrounding Away weekends, whilst enjoyable, were very service overseas, a privilege to take part in. community. The band’s members are employed hard work and six open-air meetings on cobble During the band’s visit to Norway in 1986, in many different types of occupation, but their stone streets were commonplace and very it travelled over 800 miles, presented ten common aim is to tell other people of the love tiring. The band rarely left before 9.30pm on a festivals and eight open-air meetings in nine of the Lord Jesus Christ. As we embark on the Sunday evening to set off back to Sheffield and towns and cities. Every day, the journey began next period of history for Sheffield Citadel sometimes it was 4am when they got back to with a prayer session on the coach and every Band, we will strive to honour the service Sheffield’s train station, each bandsmen having festival began with a chorus sung in Norwegian and commitment of our predecessors and to paid half their train fare. There was no public that simply said, ‘I know it is best to be saved’. continue to spread the Christian gospel to transport at that time of the morning and so The congregations always responded superbly. all those we meet. As the words of our march they then had to walk home - dedication indeed. In April 1988 a piece of Citadel Band Sheffield Citadel say: history was made when Bernice Treeby was Over the years, SCB was led by a succession commissioned as the first woman in the band, I’ll stand for Christ, for Christ alone of excellent bandmasters who took the band the first of many. Amidst the tempest and the storm all over Britain. The first overseas trip was an Where Jesus leads, I’ll follow on Easter weekend visit to the Isle of Man during Today SCB still carries out a variety of I’ll stand, I’ll stand for Christ the Lord.

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in the twelfth and last of the series of devotionals on well-known salvation army band pieces, stan and jan kelley here discuss dean goffin’s the light of the world.

Sir Dean Goffin had the privilege of growing up come in and eat with that person, and they with to the person inside saying, “Behold, it is me, the in a Salvation Army family. Not only were his me.’ NIV Christ, standing at your door – wishing to have parents officers, they were also musical. Dean’s a relationship with you.” It is followed in section father, Henry Charles Goffin, was well known This scripture verse and the words to the two E by a recapitulation of the internal conflict of as a published international composer within hymns represent the picture of Christ standing behalf of the sinner. Still the persistent knocking The Salvation Army. It is no wonder that son, outside the door, patiently knocking. The is heard even louder, at least in the mind of the John Dean Goffin would continue in Salvation absence of a door knob is profound, making person behind the door. There is something Army music ministry. Having been born in 1916, clear the required response of the inhabitant to unusual in the score at letter F which brings a Dean became the Bandmaster of the famed open and receive Christ, the Light of the World. return to Aurelia and O Jesus Thou art standing. Wellington South Corps Band at the age of 19. The setting of the Hunt painting shows the door It provides, for the conductor, a specific non- After a distinguished military career in World at which Christ is standing to be overgrown with musical reference to verse three noting, ‘O Jesus War II, Dean became one of the first Salvation weeds – unused. Thou art pleading’. It is the verse where the Army composers of note to complete a bachelor sinner finally breaks through to let Christ into of music degree. Not long thereafter, he entered From the first bar of the music, one can hear their heart. It is as though the composer does training and became a Salvation Army officer Christ knocking on the door of your heart – my not want us to miss the importance, the joy, of himself. After serving first in , he heart – just as in the famous paintings noted that moment. soon was sent to Great Britain, where he led above. The knocking, rendered musically by O Jesus, Thou art pleading the music forces as National Bandmaster and a quaver, followed by a dotted crotchet, is In accents meek and low: National Secretary for Bands and Songster repeated throughout the 16-bar introduction I died for you my children, Brigades. He was sent back to New Zealand in and will be prominently featured later in the And will you treat Me so? 1966, where he eventually became the Territorial piece. In fact, the knocking sound is heard O Lord with shame and sorrow Commander of the New Zealand Territory. in the euphonium in the bar just before the We open now the door: introduction of the tune. Dear Saviour enter, enter, Dean Goffin was also a prolific composer of And leave us nevermore. many major works, both Army and non-Army, Letter A features the tune Aurelia, associated such as Rhapsody for Brass, written for the with the words by William Walsham How, O Jesus Beyond the obvious message to the lost and British Open Brass Band Championships Thou art standing outside the fast-closed door unredeemed sinner, there is a message to those at Belle Vue. In 1983 he was knighted in the (SATB No. 213, SASB No. 614). The pianissimo who have already opened the door to Christ Queen’s Birthday Honours List. His list of entry by a large portion of the band is deceptive to receive his salvation. Our pilgrimage to holy compositions is a compendium of some of the in that it is mostly quavers and crotchets but, living can be like a series of doors that need to very best compositions in the Army world. In SA like the rest of the piece, is difficult to play well. be opened to Christ. As we grow closer to him Bandsman’s ‘Hall of Fame’ (Issue 7, December The turbulence of sections B and C characterise and his light, we become more aware of doors 2011), The Light of the World was voted the top the struggle that can take place when wrestling that have been closed off to him. And again, item in the category of devotional pieces. with spiritual decisions. They are strident and he knocks, gently requesting admittance to a passionate, particularly in comparison to the new area of our lives. He wants to bring his light Published in 1950, Goffin’s meditation ,The beauty and calm of the previous section. into our relationships, our finances, our work, Light of the World, portrays a spiritual journey our thoughts. The door to every room of our which has often been analysed. It is a musical Letter D is an arrangement of the chorus to the heart will be approached and the knocking will depiction of the painting of the same name by secondary tune, Behold me standing at the door, be heard. Even in the last five bars of the piece, William Holman Hunt, completed in 1853 which (SATB No. 6, SASB No. 408) with words by Fanny letter G, we hear the knocking of Christ and hear is currently hanging in St. Paul’s Cathedral in Crosby: him whisper ever so lovingly, “May I come in? London. A similar, more contemporary painting Behold me standing at the door May I come in?” by Warner Sallman is entitled Christ at the And hear me pleading evermore: heart’s door. This piece of music is as passionate Say, weary heart, oppressed with sin, As The Light of the World floods every new area as the artwork itself. It features two hymns May I come in? May I come in? of our heart, and goes deeper into each chamber, that reference a well known verse, Revelation we in turn can shine more brightly in the world as 3:20: ‘Here I am! I stand at the door and knock. If In the Sallman painting, there is a small window we reflect the character of Christ in every facet anyone hears my voice and opens the door, I will in the door through which Christ seems to speak of our lives.

Recordings

Amsterdam Staff Band The International Staff Band https://www.youtube.com/watch?v=81Vq7bHKJrg CD - Heritage Series Vol. 3 - Music from the 1950s

SA BANDSMAN PAGE 14 REVIEWS

SWING THE PEARLY GATE Executive Editor Trevor Caffull Norwegian Territorial Band Review by Major Paul Waters Managing Director Kenneth Crookston

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Although we welcome unsolicited editorial contributions, photographs and artwork, we cannot accept responsibility for their return. The opinions contained in SA Bandsman are not necessarily a reflection of those held by the publisher or its editorial advisors. Neither does the publisher accept responsibility for claims made by those advertising in SA Swing the Pearly Gate is the fourth CD whose enduring legacy as both musician and Bandsman. production from the Norwegian Territorial Christian disciple is still highly valued throughout Material in this publication may not be reproduced or transmitted in any form without the Editor’s written Band, and the third to showcase music Scandinavia. These include the only march on permission. from the ScanBrass collection. ScanBrass the CD, the breezy Look Forward, and a gem of a SA Bandsman is published on behalf of The Salvation Army by is a series of music composed or arranged meditation, Each Day is a Gift. KGC Media Ltd. by Scandinavian musicians and published Address: 68 Westgate, Mid Calder, West Lothian, EH53 0SP. jointly by the Norwegian, Swedish and Danish The title track is Andreas Holmlund’s territories. Salvation Army music in Scandinavia arrangement of an old Swedish song, He will open has traditionally been light and popular, and the Pearly Gates, at one time almost a theme- VERSE OF THE MONTH this CD is no exception, with some traditional song for The Salvation Army in Scandinavia, ‘My voice rises to God, and I will cry aloud; My voice rises to God, song arrangements and meditations sitting here given a light swing arrangement with some and He will hear me.’ happily alongside light swing. This is everyday nice free-form solos along the way. Territorial Psalm 77:1 music which is light on the ear, although some Bandmaster Espen Ødegaard makes the most of of the melodies may be little known outside the contrasting material, and the band produces Scandinavia. a nice round sound in the lyrical passages, while keeping tight and light for the swing numbers. Several of these deserve a wider audience, in particular Thor Fjellvang’s beautiful song Rest This is not a CD with the grand gestures or in your care, arranged here as a euphonium virtuosity of the Army’s major works – but as a solo by Philip Hannevik and played by Joakim collection of light inspirational music it works Holm Hansen. The CD is also notable for four very well. contributions from the late Erik Silfverberg,

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