These numbers demand above-average skill

Press, 26 September 1984, Page 14

These numbers demand above-average skill

By

ALLAN FRANCIS

THE HENDON BAND. Brass Sentimental Style. 18 tracks by the Hendon Brass Band of traditional and popular numbers, arranged and conducted by Donald Morrison. CHANDOS BBR 1010.

Following the popular fashion of adapting numbers from unlikely sources such a Kreisler, Mancini and Count Basie, the Hendon Band manages to unbend quite significantly with the demands of such varying numbers as ‘'Summertime,” “Banks and Braes” and “St Louis Blues.” The latter is custom-built for a strutting brass ensemble anyway but to get a convincing performance out of Basie’s “Lil Darlin’ ” or “Cute” the band has to use above-average phrasing. The product of the Count’s then chief arranger, Neil Hefti, these tunes demand skill to prevent the music from stopping. There is plenty of good old-fashioned oompah in “The Way You Look Tonight” and a very eloquent solo trumpet by Peter Monk in “Summertime” — leaning towards the Harry James tradition of the 40’s.

“In the Still of the Night” is Latinesque, “Liebesleid” is pretty much according to the book, “Over the Rainbow” warmly lyrical and that dreadful product of Ron Goodwin, “Magnificent Men in Their Flying Machines” is simply an orthodox march.

It is the older, and possibly more enduring numbers from the 30s and 40s that take more skill and imagination. Here, the real talent of the arranger is tested but the rewards are correspondingly greater. What adds as much to the whole venture — apart from the sparkling percussion — is the quality of the recorded sound by Chandos. The 30 men and one woman who comprise the ensemble come across in truly faithful style — just “as though one were there”.

G.U.S. BAND. Rhapsody in Blue. Keith Wilkinson conducts the G.U.S. Band with Don Lusher, trombone, and Frank Wibaut, piano. CHANDOS Digital BBRD 1015

Those with longish memories will recall that Don Lusher was associated with Ted Heath for all of this

apprenticeship (and formerly with the wartime “Squadronaires”), so his present appearance is something similar to the career of Stephane Grappelli. When simply buried in the brass section of the jazz bands, Lusher had little opportunity to spread his wings, a chance he now enjoys to the full. Here, he is the solo voice with the supportive G.U.S. Band urging him to greater heights of inspiration.

Cast in the mould of Tommy Dorsey, his silken trombone is at its best in the poetic “I Loves You Porgy,” “Nobody Knows the Trouble I’ve Seen,” or the “Three Songs of the South”. His own “DL Blues” reveals a’quirkiness that Is associated more with George Chisholm than the immaculate Lusher, but it is a welcome addition to his usual calm sytle. To close, we are treated to a full-length “Rhapsody in Blue,” all the more remarkable for its arrangement by the conductor, Keith Wilkinson, and the presence of the stylish piano of Frank Wibaut. The trombone takes that clarinet glissando at the beginning. It would be hard to claim

that this recording is anything but a classy combination of many talents, but I would have to give the last word to the trombone of Don Lusher.

BOBBY McFERRIN. The Voice. 10 tracks by Bobby McFerrin, vocal, with no accompaniment. ELEKTRA WEA 60366-le.

How McFerrin manages to follow a vocal line with his contortionists rhythm effects going on below I’ll never know, but the end result is astonishing. . He bends a few standards to his unique style, which is a sort of solo Swingle Singers, with rare improvisational skill and some physical prowess. From the boppish Parker “Donna Lee” to the Harry Warren “We’re in the Money” and the Duke’s theme tune, “ATrain,” McFerrin doesn’t appear to be hard-pressed to find endless variations on many old and new themes. McFerrin acknowledges Fred Astaire, Charles Ives and many more for his success, which is unlike any other, unless it reminds one vaguely of Reginald Gardiner’s old fun sketch, “Trains”.