Unsung Heroes: Alison Childs, Black Dyke Band

Hi everyone and thank you for reading the latest edition of The Brass Band Hog blog and the next in the series of interviews with banding's 'unsung heroes'. This time, I have spent some time with Alison Childs, currently first horn at the world famous Black Dyke Band which she has been a member of for over twenty years. 

BBH: Alison, thank you for agreeing to take part in this interview. As a starting point, please tell me a bit about yourself. As a youngster you started on cornet before moving to tenor horn. Was there any reason for this switch, and do you think you made the right choice? 

AC: The reason for the change from solo cornet to tenor horn was purely for the band. The new conductor asked me to go onto Solo Horn and that was that!

BBH: I understand that you studied under Gordon Higginbottom. What was this experience like? How important is it that new players (of all ages) have strong role models to look up to – how can we make a difference to others? 

AC: When I first went onto solo horn Gordon Higginbottom came down to the band, and offered to give me lessons, which continued for several years, he has so much experience (especially to a then, inexperienced horn player), and is a nice guy too!

BBH: Outside of playing, I understand you are involved in the recording and production of band CDs, including the area recordings. Has your work ever adversely affected your opportunities for and/or enjoyment of playing? 

AC: I was part of Doyen Recordings team for over twenty five years, as producer and office manager/administrator, working alongside the Managing Director, Professor Nicholas Childs. There were only a couple of times when I wanted to play instead of record, thankfully.

BBH: Starting at Blackley, you have also played with Rochdale (Wilsons) and Fodens bands before joining Black Dyke. From each of these three bands what is your favourite banding experience? 

AC: With Blackley as a young girl, winning my first ‘senior band’ contest and qualifying for the Nationals in London. Rochdale (Wilsons) Band was my first Championship section band and we had a great team, playing wise and socially. Joining Fodens with Howard Snell was amazing and a quick learning curve, with lots of new music to sight-read.

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

AC: No I don’t think I would have chosen a different path. I have played under some distinguished conductors such as James Scott when I first joined Rochdale, Howard Snell, James Watson when I joined Black Dyke, Sir Colin Davis (LSO), Elgar Howarth and now Professor Nicholas Childs; their achievements are all in the record books! 

With brass bands, I have been extremely lucky and travelled the world, played in some of the most fabulous concert halls, KKL in Lucerne, Sydney Opera House, Royal Albert Hall, Symphony Hall Birmingham, Greig Hall, Bergen to name but a few!

The current situation: 

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

AC: Although disappointed not to be with the band for rehearsals, recordings, concerts etc. the lockdown has actually given me more time for personal practice.

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? 

AC: At the moment I am practising twice a day (a luxury), always starting with breathing, long notes and listening to your tone, moving to intervals and then flexibility exercises. Ensuring my band parts are correct and I might even practice a solo!

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? 

AC: During this unprecedented time having time to enjoy music without rushing around, is definitely a positive! 

BBH: If you believe that music can have a positive impact on peoples’ health and wellbeing what advice would you give to policy makers and educational strategists for future curriculum design? 

AC: Keep music on the school curriculum, without doubt! If you want professional musicians to play in concerts, on CDs, in films etc, you need to keep music alive in schools as the young musicians of today are the professional musicians of the future!!!

Black Dyke

BBH: How and when did you come to join Black Dyke? 

AC: My first concert with Black Dyke was on 2nd June 1999 at the Bath Festival, and during the interval James Watson called me over and asked me to join! 

BBH: What are some of your highlights from over the years? 

AC: There are many highlights, my first National win in 2001 at the Royal Albert Hall, London, winning the British Open and European Championships are also highlights and I am lucky that I have been part of the winning team! 

BBH: Over the years you’ve moved across all three seats in the horn section – what is it about that band that keeps you loyal and prepared to be flexible. Have you ever considered leaving for a more certain seat? 

AC: I am a bands person at heart and I want the band I play in to be the best it can be. When a younger person joins who shows great potential, you want to give them a chance to shine, and in the past I have moved seats for this reason, however when I put on the Black Dyke jacket I still feel immensely proud wearing it, whichever seat I am on! There are excellent players all round the stand at Black Dyke!

BBH: You have been at Black Dyke for twenty one years and, over that time, will have seen plenty of ‘high profile’ players come and go. What do you think it takes to be successful over such a long period of time – how do you motivate yourself to maintain consistently high standards? 

Commitment is huge part of being in a band like Black Dyke, with its busy concert, recordings, tours and contest schedule, getting the right player to join the team is important. Motivation is difficult at the moment, with the Covid-19 situation and everything being in lockdown, however I try to keep to a schedule of daily personal practice.

And a bit of fun

BBH: What is your favourite march and why? 

AC: Queensbury - obvious choice!

BBH: If you could choose any solo (any instrument) you would like to play what is it and why?

AC: I don’t do solos any more - leave these for the young ones!

BBH: If you were on Desert Island Discs what would your five recordings, one book and one luxury item be and why? 

Robbie Williams - Swing when you are winning - A great album that you can really sing along too!

Michael Buble - Crazy Love - Such a velvet voice and a what a guy! Music to totally relax!

Black Dyke - Respighi - Pines of Rome - absolutely love Respighi’s music - the brass is always fabulous with lots to do!

Maurice Murphy and Don Lusher - Just Good Friends - Two wonderful gentlemen sadly missed. I produced this CD when I was 8 months pregnant with Rebecca and throughout the 2 days both Maurice and Don were bothered about me doing too much! Fabulous players, so professional and yet very caring - always brings lovely memories when I listen to it! 

William Walton’s Facade - with Lady Walton and Richard Baker as narrators - this was a recording never forgotten as Lady Walton, with her various hats, was a joy to listen to, and even when she was in the recording studio listening, was effervescent and bubbly - even though I was working, I had a great time!

Book - Alex Ferguson - My Biography - I am reading this at the moment, a great guy, with the commitment and determination to success - a lot of this can be related to the top brass bands.

Luxury item - my Kindle - so I can do lots of reading! - solar charging pack included!

BBH: Thanks again for taking the time out to chat with me Alison.