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Concert: Richmond on the James Brass Band with Vince DiMartino and Christina Stewart-Bowden

Andrew Classen, reporter
Drake University

The Truman State University Trumpet Ensemble, under the direction of Gregory Jones, opened the evening's concert. They performed Jose U. do Silva's Uma Fantasia Brasileira, a piece in four movements for seven trumpet and six flugels. "Fanfarra," the first movement, had a jazz funk/ fusion feel with Latin overtones. "Marzuca" had a slight baroque feel with moving 16^th lines alternating with a blues section: quite the contrast in style. The Brazilian flavor showed in the third movement "Abertura Solen," which contained moments reminiscent of "Tequila." The piece ended strongly with "Frevo," with highly syncopate rhythms and flying runs done with great jazz voicings. This was a very fine performance.

Richmond on the James Brass Band is a relatively new group, formed by Mark La Fratta and Mike Davison for the performance tonight at the 1999 ITG convention

Christina Stewart-Bowden, Brenner Pugh, Mike Davison and
Vince DiMartino with the Richmond on the James Brass Band

. They were a tight, well-balanced group that was comfortable playing a wide variety of styles, from traditional brass band style to jazz. They opened with Marching with Sousa, arranged by Gordon Langford, which was a medley of Sousa marches. This was a great way to begin, showing off a wonderfully authentic brass band sound.

The first soloist was Christina Stewart-Bowden, the current cornet Champion of Champions title-holder from Australia. Her superb performance tonight confirms this prestigious title. Her first selection was Edward Gregson's Prelude and Capricccio, in which she displayed a pure cornet tone and highly expressive playing. She also has

great virtuosity, clearly demonstrated during a cadenza consisting of rapid multiple-tongued arpeggios. She was later brought back to play Herbert L. Clarke's Southern Cross. Her sound is captivating, with an especially rich low register. Ms Stewart-Bowden used an appropriate and effective rubato style that, unfortunately, the band didn't always follow. After an impressive ending, she presented Michael Davison with a stuffed kangaroo.

Upon first hearing Moorside Suite, you might guess it was by Percy Grainger and not Gustav Holst. But as you get deeper into the music you hear characteristics that remind you of Holst's First Military Suite, especially when the low brass take over the melody and you later hear the beautiful moving lines floating under the melody of the "Nocturne." This movement also contains a passionate duet between the Bb Cornet soloist Mike Davison and the Eb Cornet soloist Carl Rowe. The last movement, "March," contained another of Holst's great moments for low brass along with flashy multiple-tonguing in the trumpets.

Vincent DiMartino next came to the stage to play the appropriately titled My Old Kentucky Home. Mr.

Vince DiMartino

DiMartino is a consummate trumpet player, comfortable playing anything from screaming jazz solos, to piccolo trumpet, to tonight's cornet solo, all approached in his usual relaxed and confident style. It is always a pleasure to hear him play. He looks like he is having so much fun, you can't help but enjoy yourself as well. Later, Mr. DiMartino tackled Rafael Mendez' La Virgen de la Macarena, with impressive results. There was a little confusion as to when his cadenza ended, but Mr. DiMartino saved the day by taking the last note up an octave. This was definitely a performance full of bravura.

Next, we were treated to an interesting arrangement of Greensleeves, which began with off-stage trumpets that continued to interject as the melody was played by the low brass. Most of the piece contained this musical polarity which effectively produced a restless mood. Unfortunately, some intonation problems marred the overall effect of this arrangement.

The last two selections were in a jazz vein. Lil Darlin', a deceptively challenging ballad Neil Hefti penned for the Count Basie Orchestra. Although this arrangement was well performed, the translation to brass band falls short. The tuba sound is too heavy and there is no rhythm guitar to keep it driving. Michael Davison played a very nice cornet solo on the bridge. I Got Rhythm was used to showcase many soloists, including a trombonist for good measure.

This group displays a great deal of polish and musicality for a newly formed group. I sincerely hope this is just the beginning for this excellent group, and that we get to hear more of them in the future.