Unsung Heroes: Mike Warriner, Fodens Band

Hi everyone and welcome to the first part in a new series of interviews I will be running. Focusing on the 'unsung heroes' of the brass banding world, these will give an insight into the lives of those people who make our movement what it is.

To start the series the spotlight shines on Mike Warriner who has for seventeen years been 2nd Baritone player for the Fodens Band. I caught up with him via email to discuss his playing history, practice routine, and his love for the famous red jacket.

A Bit about yourself

BBH: How did you get involved in banding, how old were you when you first learned to play and was baritone your first instrument?
MW: Both of my older brothers played so I probably didn't have a choice. I think I was seven when I started learning to play and I’ve pretty much always played baritone. There was a very, very brief switch between horn and euphonium early on.

BBH: Who were your early musical Inspirations and influences?

MW: I guess I have to look at some of my former teachers: Alan Thomas (father of Dan Thomas, principal euphonium with Brighouse), John Hudson the former Fodens principal cornet and Ian Peters, former solo euphonium with Fairey’s. They were all very different in their approaches with hindsight maybe Ian’s was the approach I appreciate a bit better now. He was much more about the tough love and believed that you should always, no matter what, strive to do even better.

BBH: What do you do for a living? 

MW: I am a window fitter by trade. Things are difficult at the moment and I’m a little bit in limbo like a lot of other self-employed people; not quite sure when I’ll be back at work properly.

BBH: Which band did you start your playing with and which bands have you played with throughout your career? 

MW: As a youngster I played with various youth bands, but my first proper band was Eaton’s Farnworth, now Farnworth and Walkden Band. My first contest was The National Finals which were at Wembley that year which we won. We ended up winning about five of the first six contests I played with them - I was young and naïve enough to think it was always going to be like that. I have since played with Walkden, Trafford, Bolton Hoover, Tyldesley and Freckleton before arriving at Fodens.

BBH: What is your favourite banding experience?

MW: It's hard to say as I’m lucky enough to have won some major contests. While that's seemingly the be all and end all for some for me having the pleasure to work with musicians of the calibre of Bramwell Tovey, Howard Snell and James Gourlay (there are others) has been amazing. Just inspirational the knowledge they have, something I could only have dreamt when I was younger. The performances under Bramwell Tovey at the 2017 Open and Nationals was amazing to be part of. The results were irrelevant, the performances I will never forget.

BBH: Do you play for other ensembles outside of brass bands – if so, what are these?

MW: No, Fodens takes enough of my time. It’s a one hundred and fifty mile round trip twice a week, not including concerts or rehearsing for a contest. My job can also be very physically and mentally demanding particularly, as until recent events, when I am very busy.

BBH: In your playing career, do you ever wonder where you might have been had you made different choices?

MW: I guess not, all roads have led to Fodens as it were; I have been here seventeen and a half years. There have been bad experiences along the way including one in particular where I seriously considered stopping playing. I owe a special mention to Graham McEvoy, a euphonium player who had been with, I think, Besses o' th' Barn and Faireys. I had a couple of lessons with him but it was enough to get me back in love with playing again as his was a very pragmatic approach. He left me in no doubt what I had to work on and I owe him a lot.

BBH: What advice do you have for players of all ages and abilities that they may not have heard before? 

MW: Well practice is obvious, that's a given and everything comes through that. What I will say is always strive to be better - no matter how well you think you have played something always look for ways you can improve it for next time and remember to make the most of your opportunities; it's frustrating to see so many young players who have so much talent just not wanting to play anymore. Also never forget where you came from, be humble. I’m very fortunate to have met some lovely people through playing in brass bands and I will always be grateful to them.

The current situation:

BBH: How has the lockdown impacted your personal practice and routine?

MW: It has had a big impact. I was due to playing at The Europeans in Lithuania next weekend which would have taken up a lot of my practising time. At the moment I'm keeping my lip in every day and the band have created a number of 'social distancing' videos on social media recently which is helping.

BBH: What is your personal practice schedule? Do you have a set structure for sessions? Are you willing to share all (or some) of it with the myself and the reader? 

MW: I always try to practice 20 minutes a day. It’s not always possible of course but if I don't play for a week, I know my chops aren't going to be in good nick for rehearsals. Of course, that's just a personal thing. There’s always a test piece for a contest never far away and whilst my parts aren't always the most demanding, I still have to make sure I am on top of what I have to do.

BBH: It’s been noticeable in these trying times that a lot of people have turned to music and other creative arts to help them get through. Why do you think this is?

MW: When is music not important? It’s definitely keeping a lot of people busy. It’s been interesting watching a lot of the social distancing videos from all ages and all abilities. It's quite inspiring really.

About Fodens Band

BBH: How and when did you come to join Fodens?

MW: I joined Fodens at the end of 2002. I knew the bass trombone player Tim Bateman, who had joined earlier in the year and he recommended me as a vacancy had come up. I auditioned and it was all signed and sealed the same night. It was a lot of travelling but just too good an opportunity to turn down and I would have been mad not to want to play for one of the very top bands. Fodens is probably the band I always wanted to play for; my older brother Andrew played here previously so I had always felt like I had an affinity with them.

BBH: What is it about Fodens that you love and why have you stayed so long?

MW: My father, who sadly passed away in 2011, was always a big follower of the band. He was a huge Howard Snell fan and he had seemingly instilled into me that Fodens were the best. I wish he had been around in 2012 to see the band win the double. They are a great set of people and I have so many great memories. Yeah for sure, I have regularly thought about leaving through travel and other things but other times I can scarcely believe I am part of it.

BBH: Outside of Fodens you are involved in the Wessex band summer school. How did you come to get involved with this, and what is it about the course that keep you coming back every year?

MW: I went on a National Youth Brass Band course but, to be honest, I didn't enjoy it and Wessex was really the only other established summer school around at that time. This year (if it goes ahead) will be my thirty first involved with the course and there are others who have been involved a lot longer. I have forged friendships for life; I'm still in touch regularly with people

who don't have anything to do with the course. I seem to say it every year but the people at Wessex are just the best people you could wish to meet, I can honestly say in all that time I have never had a cross word with anyone. I'm extremely fortunate to be working along some great tutors as well, the musicianship and professionalism as well as their outstanding abilities as players is something everyone associated with the course should be proud of.

And a bit of fun

BBH: What is your favourite test piece and why? 

MW: I’ll always love playing Paganini Variations (Wilby). There are some I hope I never see again with Montage (Graham) being one. Similarly I had never played Pageantry (Howells) up until 2017 when it was the area piece. I survived and would be happy to never see it again. On the other hand, Fraternity (Deleruyelle) was just superb to play as it is such a difficult but very emotional piece and I hope I will get the chance to play it again some day.

BBH: Is there any instrument, from any genre that you would like to be able to play – and why?

MW: I regularly wonder why I never learned to play the piano. If I could go back I would definitely take lessons at an earlier age, particularly when I hear what even the most average players I’ve heard get paid for doing it (not that I would be doing it for the money of course).

BBH: You’re a keen runner and have in the past run the London marathon and even ran a half marathon the day after last year's national finals. If you had to give up one thing, would it be banding or running?

MW: I'm not sure I can answer that! Whichever answer I give someone will accuse me of lying. (I think I dodged that one quite well).

BBH: Finally, if you had to pick four other members of Fodens to play in a five a side football team, who would they be and why? Who would the manager be?
MW: Blimey, I might upset one or two here! Richard Poole is a handy striker and goalkeeper, Mark Wilkinson is a handy finisher too, Mark Landon and Anthony Mann as well. I guess I will have to be the creative force. Robin Basu has a decent left foot. That would be the squad. It’s been a while since we’ve played so not sure what the collective abilities of the others are. Think we will have to make Mark Wilkinson manager.

BBH: Thank you for you time Mike, and for allowing me to share some of your story with the readers of this blog.