Boneman Walking Brett Baker (Trombone) with Fenella Howarth-Head and Steve Jones – Reviewed by Chris Thomas for BBW
After 13 years in the role, it is not easy to separate Brett Baker from his long-standing position as principal trombone of Black Dyke; the leader of a section, which along with bass trombonist and Dyke stalwart, Adrian Hirst, shines forth as a beacon of solidity and longevity amoungst our leading brass bands.
Yet one of the pleasures of this CD is that it does just that, placing a multi-faceted player in a less familiar performance landscape that allows us to enjoy his playing in its purest form. Hence was we get is essentially 'Baker unplugged' – an opportunity to hear him ply his skills away from the brass band with piano accompaniment from Fenella Haworth-Head and a dash of percussive exoticism, courtesy of Cory percussionist and fellow Forest of Dean native, Steve Jones.
As Brett mentions in his introductory sleeve note, the programme is a diverse and sometimes quirkily eclectic collection of predominantly brief pieces reflecting his childhood memories as a young player, along with a generous handful of originals and arragnements written for him in recent years.
The notable exception in terms of scale is Rob Wiffin's engaging and substancial three-movement concerto. With its sentimental, but never slushy song-like central movement, flanked by an initally declamatroy opening movement and contrasting jazzy finale, it is a fine vehilce for the breath of the soloist's stylistic range, and Brett Baker gives the music both vigour and a commending sense of authority.
Elsewhere, the unaccompanied number of Michael Davis's Boneman Walking get sht edisk off to a toe-tapping start, and the infectious Latin Rhythms of Philip Harper's Salsa Panadero, Robin Dewhurs's Brasilia and the old favourite, Bolivar, are delviered with panache and vitality by the soloist. Baker is often at his best , however in the pieces hat aloow him to demosntrate his silky legato style to its greatest advantage. Bill Broughton's affecting Sarah, Goff Richard's Demelza and Andrea Prices's evocative Nightfall in Joao Passoa are played with abundant warmth and control, along with an ease of delivery that engages from the start.
Arguably less effective are some of the classical arrangements including Winter from the Four Seasons and the Intermezzo from Cavalleria Rusticana, althoug one of the most ear-opening surprises is Simon Kerwin's arrangement of Cleopatra. after years of listening to James Shepherd play Damare's classic cornet solo, Brett Bakrs trombonist take might initially come as a shock, but one that ultimately has to be marvelled at.
Chris Thomas
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