Recording Reviews, #2 of ??: "American Visions" - Garth Simmons, Trombone, Michael Boyd, Piano

I met Garth Simmons years ago when we were both students at the Aspen Music Festival studying with Per Brevig. We didn't get to know each other all that well at that time, but I distinctly remember Mr. Brevig giving Garth the kind of tough love he reserved for the most talented students he knew had the drive to succeed. Just as I'm sure Mr. Brevig predicted, Garth has done extremely well, and he is currently Principal Trombone of the Toledo Symphony and Associate Professor at Bowling Green State University. 

I've become reacquainted with Garth on facebook and ran into him again at this year's International Trombone Festival. His debut solo CD, American Visions, is an essential addition to a good trombone library; as far as I can tell, these are the first commercial recordings of  four of the six pieces. Garth makes a great case for every one of them being performed much more often. 

 

Robert Sanders' Sonata in E-flat is a piece I knew about, but I'm not sure I'd ever actually heard it. Like his brass quintet, I find it easy enough listening, if a little bit unmemorable. Still, it's a tuneful, well-constructed piece that deserves a place in the repertoire. I'm much more captivated by the two other large pieces on the disc: Richard Monaco's Sonata was written in a very attractive Hindemith-inspired language of open intervals and rhythmic energy, and George Frederick McKay's Sonata is likewise a great example of the kind of muscular music that was being written by many American composers in the middle of the 20th century. Sometimes I find myself pounding my fist on a table late at night over the absence of this music from American symphonic programs, but I digress...

There are two unaccompanied works on the disc: David W. Brubeck's (the bass trombonist and composer, not the late jazz pianist) StereoGram No. 12 "Spain," and "Dynamo," written for Garth by an Eastman classmate named Michael Johnson. "Spain" comes from a wonderfully challenging set of etudes exploring the idea of establishing multiple lines on a single-voice instrument. Intended originally for bass trombone, some of Brubeck's StereoGrams are finding their way onto concert programs because of their engaging grooves in a variety of styles. "Dynamo" is a virtuosic tour de force highlighting many of Garth's formidable strengths as a performer: big colorful sound, strong and secure range in both extremes, extended techniques, etc. For my taste the piece could be even more effective if it were a little shorter and more compositionally unified, but it's a great alternative to some of the other unaccompanied showcases we've got.

The last work on the recording might be the biggest find. Paul Tanner's Aria for Trombone is a light-hearted encore-style piece that allows a player with a strong high register to sing out freely. It's also more rhythmic than its title suggests and exists with both piano and band accompaniments. 

All in all, this is a disc you should have if only as reference for the music on it. Garth's great sound and stylish playing make it all that much more valuable. 

Recording Reviews, #1 of ??: Triton Brass

I've received some excellent new recordings recently, and I'm going to do a series of short reviews. I hope you'll buy them. The artists invest a lot of energy, time AND MONEY to do these, and every little bit of their financial investment they can get back helps them to do more.

So...first:

My friends of the Triton Brass Quintet have just released their debut recording. I work with every member of this group often in my freelance travels. I have tremendous respect and admiration for every one of them as individuals, and on top of that they have achieved the chamber music ideal of making a group that transcends the sum of its parts.

The recording opens with an original work by one of Triton's trumpeters, Andrew Sorg. Andrew is an amazing musician, and his piece, "Mental Disorders," highlights everything he and the group can do: all-in performance, shifting styles on a dime, with sounds that range from achingly beautiful to shocking and even ugly - all at the service of the music.

I won't say too much about the rest of the music, as I think it's best left to the listeners' ears, but I will say that this is black belt brass playing from everyone, in a range of styles of original music and transcriptions that I can guarantee are not already in your library. More importantly, it's a recording that captures the kind of freedom and excitement I hear from this group in live concert, with a beautifully clear and warm recorded sound.

I'm so proud of my friends Andrew, Steve, Shelagh, Wes and Angel.

Buy the recording at itunes, Hip-Bone Music, CDBaby, Amazon