Messages to Cala
before the release....
I hope it will be a superb CD!
Donald D Krause, Horn Teacher
Fox Valley Horn choir director
Can't wait for the new London Horns CD to become available. I'm sure it will
as exciting as the other London Horn CD and as popular. Can't wait for the upbeat
CD that will be conquering the horn world as soon as it hits the news media.
Bring it on!!!
Rodrigo Nunez Miccono
When is available the cd??????
Jeffrey Agrell, Classical improv
I can't wait to get my copy of Give It One
(I may have to re-order London Horn Sound, which I have also almost worn out
[difficult to do with an optical disk...]). The gold standard for nonjazz improv
for me is still BackToBackToBack, with Pip, Richard, and Jonathan Williams
making spine-tingling how-the-hell-do-they-do it spontaneous music that is off
the charts and out of the park. I wish they would do B2B2B: The Sequel!
For the rest of us, if you are interested in a handhold on the slippery cliff
of getting started in (nonjazz) improvisation, you might have a look at Improvisation
Games for Classical Musicians (www.giamusic.com/products/P-7173.cfm) by,
um, me. It's a compendium of over 500 musical games plus a lot of explanatory
and reference information to get you in on the fun.
I was sent a copy of Give it one, with the
instructions "Put it on the stereo system and stand well back". I was not able
to thank the sender until about 36 hours later, as I had to spend most of the
intervening time tracking down brickwork from the house, which had been dislodged
by the emanating torrent of sound. He had said to stand well back, but he didn't
say anything about physical disruption.What an absolute ripper! As with the
original London Horn Sound recording, I drooled over Anthony Halstead's low
register work. How does he do it?! NB: when I am not playing the horn, I am
playing bass trombone... and the inventiveness of the arrangements was amazing.
I have been fascinated by large horn ensembles since hearing a couple of late
'70s - early 80s recordings of the Horn Club of Los Angeles, but they are really
quite different in comparison with Give It One and The London Horn
Sound. I read somewhere that the arrangers are the unsung heroes of these
CDs - how true. Also, I always enjoy the extensive detail in the liner notes
of these Cala recordings.
Hugh Seenan - Jazz horn. Which
Pip Eastop has played an enormous part in the success
of this recording and quite honestly he was the only horn player capable of
playing the solo part in some of the tracks. When he first mentioned to me that
he wanted to play his jazz solos on an Eb horn an inner voice in me was thinking
"hang on a minute son, this is a HORN CD."
I know Pip's playing extremely well
having sat next to him on many recording sessions and he can play high notes
on ANY horn. I decided from the start that I wanted to feature Pip's particular
genius and I also decided not to get involved at all with what instruments the
guys were going to use. The results from Pip are of course extraordinary and
his particular horn and sound has a great impact on the album.
What about the other jazzers? Richard
Bissill is at the other end of the spectrum. He simply will not use ANYTHING
other than his Yamaha 668 full double horn in F/Bb for everthing he plays. Richard
is one of my dearest mates and I really thing he is a genius, however I think
his attitude that you should never use alto horns is very brave to say the least.
I'm not that brave! (Well maybe I was when I was younger, I did play the horn
solo on Titanic on my Paxman Model 23 double horn). He played all his solos
on his Yamaha and he also sounds absolutely marvellous.
Jim Rattigan played an F/Bb compensating
Paxman double horn and Tim Jackson and Gwilym Simcock both played F/Bb full
Yamaha 668 double horns for all their solos and equally did an incredible job.
When we were recording the jazz solos all the guys were a bit nervous. Even
although these players are all hardened pros, this was uncharted territory for
most of them except Jim Rattigan who is an experienced jazzer. However even
Jim had a big weight of responsibilty on his shoulders. How Gwilym sat there
and knocked out a huge jazz horn solo when he spends EVERY day playing the piano,
was quite extraordinary. Richard, Tim, Jim, Gwilym and Pip all improvised on
the day though it was honest of Pip to write that he wrote out some of his stuff
in advance. I am so grateful to them and ALL the other players who rose to the
formidable challenge presented to them. With deep appreciation!
Wow!! I just listened to the Give It One clips
on the website. Great horn playing - I've been hoping to find something like
this for years. Now I can't wait to get my hands on the CD.
Geert De Vos
I had heard before about The London Horn Sound, but
I never heard them actually play. Till now... What a stunning CD!!! And then
there's also the line-up... WOW. I'm a big horn fan, because I think the horn
is such a great instrument with a big range (in this case a VERY big range)
and the sound is so beautiful and rich as well in pp as in ff.
For me it's also the first time that I hear horns play some 'lighter' music,
and I must honestly say that I'm amazed! As a bass trombonist I'm especially
impressed by the low horns. Lovely how they can make it growl! While listening,
many smiles have come to my face :)...Great job and I'm looking forward to your
Heather de Haes
Outstanding cover design, interior layout exceptional,
and musical content of the highest calibre.
Thanks, I just purchased the CD from TAP Music as part
of a large purchase taking advantage of a clearance sale that they were having
that encouraged me to buy every horn CD I don't already own. Frankly, I'm sure
I would have purchased the disc sooner if it had come to my attention in The
Horn Call or Fanfare. Since I have been a horn player since around 1961 and
collecting horn recordings almost as long (the L.A. Horn Club Color Contrasts
was a major listening presence in my teen years; more than the records by that
other group, current at the same time, the Beatles), it was a given that I had
to own this CD.
I am listening to it for the first
time now as I am writing and it is pretty much beyond criticism. The arrangements,
the soloing, the ensemble playing are all uniquely mind boggling; you even got
my current favorite journalist/author, Jasper Rees, to do the booklet. The only
negative that I can come up with is that it is fairly depressing to consider
the gap between my own marginally professional skills as a horn player, acquired
by study with exemplars of the horn world and countless thousands of hours of
warming up, practicing and performing (resume on request) and what I am hearing.
I feel blessed that there now seems to be an unofficial horn ensemble recording
contest that Vienna, London, Berlin, Texas, NY and other locales are engaged
in. What could be better for someone in my shoes? Thanks and Happy New Year.
Donald D Krause
Got the CD yesterday and since I have a kick butt stereo
system the overwhelming sounds really put me into musical orbit--- like wow
what a great set of pipes (no pun intended) that just really show that horns
can play jazz. Great job.
The Right Hornary Mr Garth Morton
Excellent, informative and useful notes. However, for the record I must mention
the talents of Toni Cooke, who was at the Academy with Jeff Bryant. She was
the first British woman to play serious jazz, featuring with John Dankworth
and Ronnie Ross to whom she was married. The only surviving recording of her
work is on a broadcast made in the old Paris studios in 1979 with the Ross ensemble
'Eight to One'. Also the horn call on the Black Magic advert resounded round
cinemas and televisions for a decade or so. Pity she didn't get any repeat money.
She played an Alexander GBBR, Maine built back to front so the bell faced to
the left. This happened because of a physical defect. She was a child prodigy
and appeared with Stanford Robinson in respect of her talents as a composer.
We just had a fourteen horn reading session at a north
Shore church in Vancouver, B.C., Canada. This is about to become a monthly event
using both pros and serious amateurs. The London Horn Sound CD has been inspiring
for all of us. We will need to get some of the larger ensemble charts to take
advantage of larger number of hornists.
Maestro Simon, love both the London Horn CD's. How
about one of nothing but film music? BTW, I played 3rd horn for you in a performance
of Rite of Spring with the North Texas State University orchestra back in the
Fantastic CD - bought it today and listening to it
now! But am I the only person too stupid to work out how to get access to the
much trumpeted (possibly not the right word in this context) digital download
of the Sound of Music suite?
Way to go dad! Yo Dad, can't get enough of that album,
especially your Give It One screeching! And Hughie, in case you haven't
realised, your album has become a huge cult success amongst young brass players,
and (this bit applies to Dad), made Pip a cult sensation. Muchos Gracious
For those wondering about the charts from the GIO CD,
they are all available from Cala Records. The site page is here.
The solos from all tracks have been transcribed and now form part of the scores
and parts package, so everyone can have a go at getting Pip Eastop's top Zs!
Eldon Matlick, Prof. of Horn Univ.
I just got the CD and a bunch of your arrangements
that I'm ready to work on with my group, but I would like to get a complete
reference recording of the SoM suite.