(Review by Russell).
Durham Brass Festival 2015 presented a recreation of
the legendary 1939 Carnegie Hall showdown between Benny Goodman – the King of
Swing – and the latest challenger to his throne – Glenn Miller. The Gala
Theatre near to capacity, the band’s MC Pete Long said it seemed rather odd to
be playing a concert at two o’clock on a summer’s afternoon. The orchestra
comprised many of the big hitters on the London scene. As the band struck up Don’t Be That Way it was with an
unoccupied trombone chair, obvious for all to see. Thanks to the inadequacies
of the rail network Callum Au was nowhere to be seen. Long suggested the
audience applaud upon his arrival. Two numbers in…huge applause as the casual
Au strolled out and took his seat in the section for the first set (a Goodman
set).
The band restored to a full compliment, One O’clock Jump made the joint jump.
Trumpet section work of the highest order, led by Nathan Bray, featured the
first of several superb solos from George Hogg. To their left stood Ryan
Quigley – the betting was he wasn’t on the gig for the ride. A box of fire
works was surely at his feet.
MC Long is a fine soloist. He featured in a Goodman
trio setting on China Boy – clarinet,
guitar and drums. Long also possesses a dry, witty line in repartee. He
introduced the boy band singer…the ever-youthful Chris Dean. A tremendous
trombone player, Dean could sing alright. The Goodman set flew by…Down South Camp Meeting (cue innuendo
from the mischievous Long) and a scorching Sing
Sing Sing brought the curtain down on a fine first set.
Interval chatter in the bar – a good set, great
players…oh, Miller next! Well, don’t knock it ‘til you’ve tried it. Moonlight Serenade – the first few bars,
then Running Wild with big tenor from
Dean Masser. A further vocal feature for the boy band singer Chris Dean on a
well received Stairway to the Stars highlighted
Pete Long’s observation that the musicians on stage at the Gala were the same –
first set, then second set, yet the sound was different due to their
musicianship and the material they were playing. Long’s comment that Miller
delivered a punter-friendly sound, and that he was clever in doing so,
registered with your reviewer. Goodman played jazz, but so too Miller in his
own way, with, as Long said, ‘the rough edges taken off it’. Certainly this
‘mature’ Gala Theatre audience loved every tune, be it Goodman or Miller.
Discerning? Who cares? In the Mood…walking
sticks waving, zimmer frames discarded, they were up – slowly – reliving
something or other. A finale heard the same tune twice. Clever stuff from Long.
Bugle Call Rag Miller-style, then by
way of comparison, the Goodman take. Hear the difference! Hear Ryan Quigley.
Didn’t you know he’d try and blow the roof off?!
The main man driving, if not conducting, the whole
thing, Richard Pite gave a flawless performance. One remarkable feature of this
Durham Brass Festival concert…the entire band played acoustically, including
double bassist Calum Gourlay! It just goes to show, volume isn’t everything. A
rare treat.
Russell.
Pete Long (MC & clarinet), Dean Masser (tenor
saxophone & clarinet), Paul Nathaniel (tenor saxophone & clarinet), Colin
Skinner (alto & clarinet), Peter Ripper (alto saxophone & clarinet), ?
(alto saxophone & clarinet), George
Hogg (trumpet), Nathan Bray (trumpet), Ryan Quigley (trumpet), Chris Dean
(trombone & vocals), Andy Flaxman (trombone), Callum Au (trombone), ? (guitar),
Bunny Thompson (piano), Calum Gourlay (double bass) & Richard Pite (drums)
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