1967-1975
In 1926 - born into a Salvation Army family where the sound of brass instruments being played, and voices singing, was a given - it followed that from an early age I acquired a cornet - and practiced! In due course, becoming a member of Gloucester Salvation Army Band, I practiced even more
In 1944 - I was encouraged to enter for a trumpet scholarship to the Royal Academy of Music, London - and got it - though entry to the RAM was deferred since I was now eligible for military service (World War 2 in UK was declared on 3rd September 1939).
June 1944 - conscripted into British Army. Following basic military training I was accepted as a member of RASC Staff Band - largely comprised of professional musicians. Nowadays, more and more, I value highly the wonderful experience of performing music in many styles, sometimes in weird and wonderful places, in the company of such fine players and musicians.
1947: on release from military service I entered the RAM, London, as trumpet and also conducting student until, in 1950 I completed my years at the RAM and embarked on life as a professional musician.
1950; a year to remember. In August I married Violet; then in October I was invited to tour USA for 3 months as a member of the trumpet section of the Royal Philharmonic Orchestra (conductor: Sir Thomas Beecham).
1951until 55 I was a member of Royal Opera House Orchestra; also free-lancing with London-based orchestras - Philharmonia: London Symphony: London Philharmonic; BBC etc.
1955 - other yearnings were being experienced, and became irrepressible when I was invited to join the BBC as a Music Producer - which embraced diverse styles of music making in radio and television - and might even allow time to pick up a baton occasionally. This wonderfully broad BBC experience continued until 1967 when the urge to conduct became more urgent and pressing.
1967: Dr.Denis Wright invited me to be his successor as Music Advisor to the NYBBGB.
From time to time we had met through my activities as a Music Producer at the BBC but, to my knowledge, DW's only "sighting" of me as a conductor was when he came with his friend Maurice Johnstone to the bandroom of the John Dickinson Band based in Hemel Hempstead, to hear Overture: Sea Dogs, a newly written work for brass band, Shortly afterwards DW, already a sick man, invited me to be his successor as Music Advisor of the NYBBGB, a role I fulfilled until 1975.
I look back on those 8 years, and working with a team of splendid instrumental tutors, backed by a dedicated Administrive staff, with great joy. To stimulate aural awareness a vocal element was soon introduced to the NYBB's courses, in the form of a choir drawn from students. Led by Peter Room, a member of the House Staff, it was great fun; soon the choir was included in end of course Concerts.
Also introduced were Sessions for would-be conductors. Nowadays I recognise names which resonate on the brass band scene to-day whose first experience on the rostrum was probably with the NYBBGB.
Continuing Dr Wright's innovation, conductors not associated with brass bands were regularly invited as guests. During my time as Music Advisor these included Vilem Tausky, Sir Vivian Dunn, Marcus Dods, Gilbert Vinter, Bernard Keeffe. Also Herbert Moller, well-known for his pioneering work in introducing brass bands to Denmark, came as a guest conductor, which led to a most enjoyable NYBB course being held in Denmark. Another over-seas visit was to the Channel Islands; these were visits achieved in spite of severely restricted funding!
Studying new works for brass band was, and remains, a highly important part of the NYBBGB policy, including an occasional commissioned work mostly, during my years, written for fees which hardly covered the cost of the manuscript paper required. ! Finance was always in short supply.
Throughout my years as Music Advisor, and subsequently, the over-riding sense of privilege, together with the enormous responsibility of being entrusted with the development of so many fine, musically gifted, young people, has never diminished. The joy of hearing and witnessing the continuity of the NYBBGB's development and influence in the world of music brings an unspeakable satisfaction which extends far beyond its telling.
