(Review by Russell)
The Mask Orchestra’s new album, the seventh release in
its quarter century existence, is a sprawling work across two discs drawing
inspiration from the world of theatre. The CD is Colin Towns’ response, and
contribution to, major British theatre productions. Drama – a succinct title – is realised by a wonderful array of
British jazz talent. Veteran, established and emerging names are to be found in
all sections of the band which must make life a lot easier for the bandleader
as he writes material knowing that he can call upon some of the finest
musicians available to him.
Colin Towns stated it was important that the musicians
knew the synopsis of each play so they would have an understanding of the
composer’s inspirations and intentions. Meeting theatre director Terry Hands
opened doors for Towns; visiting theatres, discovering many texts and
ultimately collaborating with directors.
Drama
opens with classic works; Anton Chekhov’s The Cherry Orchard and Shakespeare’s Macbeth. The compositions feature a raft of soloists, the latter
hears Julian Siegel’s baritone motif with a firing trumpet section behind him.
Tom Stoppard’s Rosencrantz &
Guildenstern are Dead has a demonic sense of fun about it (Andrew
McCormack, piano), Equus a Modernist
filmic/theatrical quality. Arrangements throughout are never too far from suggesting
a sense of urgency. Hysteria (Terry
Johnson, playwright) closes the first CD with a three way tenor exchange
between Tim Garland, Nigel Hitchcock and Julian Siegel.
Two of Peter Shaffer’s plays make it onto the
recording, Equus, on disc one, and on
disc two The Royal Hunt of the Sun.
The music for the latter takes as its starting point the Art Sphere Theatre,
Tokyo production (Terry Hands, director, 1994). Percussionists Stephan Maass
and Joji Hirota duel (opening and closing the composition), Gateshead born
Chris Montague, a singular emerging guitar talent, suggests an Americana feel, and
Peter King has a blast on soprano giving way to the orchestra’s tumbling
momentous finale.
Ken Kesey’s One
Flew Over the Cuckoo’s Nest would suggest all things American and it
doesn’t disappoint. Barnaby Dickinson (or is it Jack Nicholson?) plays crazy
trombone as Peter King switches to alto, Montague finds a disturbing chord or
three and the ensemble
retains a collective sanity amidst institutional
bells, alarms and on-street sirens. Michael Frayn’s Copenhagen (Emma Lucia, director, Clwyd Theatr Cymru, 2013) doesn’t
allow a slackening of the pace with more superb, frantic ensemble work
featuring the trumpets of Rory Simmons, George Hogg and Graham Russell. Jane Eyre offers some respite; Simon
Allen’s soprano solo a calming influence.
Arthur Miller’s The
Crucible (Terry Hands, director, 2003) comes in at nineteen minutes and
forty nine seconds. The composition features so many soloists it is easier to
indicate that almost all step up; a proud brass band emerges expertly combining
the sounds of the British colliery band and a French Quarter marching band.
Veteran Alan Skidmore, tenor, leads the way for the reeds, a contemporary big
band at its best.
Colin Towns’ Mask Orchestra has three concert dates
this week: Thursday 15 Manchester at the Royal Northern College of Music,
Friday 16 Southampton, Turner Sims Hall and at LSO St Luke’s, London, Saturday
17. Colin Towns’ Mask Orchestra Drama is out now on Provocateur Records PVC1044.
Russell.
George Hogg, Graham Russell,
Henry Lowther, Rory Simmons (Trumpet/flugelhorn); Barnaby
Dickinson, Tom White, Harry Brown, Roger Williams (trombone); Peter King, Simon Allen (alto/soprano); Tim Garland, Alan Skidmore, Nigel Hitchcock (tenor/soprano); Julian Siegel (baritone/tenor/soprano/bass clarinet/clarinet/flute); Stephan Maass (percussion/electronic percussion); Andrew
McCormack (piano); Arnd Geise (bass); Chris Montague (guitar); Ralph Salmins (drums); Colin Towns (keys); Joji Hirota (percussion).
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