Concert Review: Cory Band Saturday 11th June 2022
Recently, I was able to make a short notice and impromptu visit to hear the awesome Cory Band who were in the neighbourhood. Well... not quite my neighbourhood but just about close enough to justify travelling to on the spur of the moment. This was a night off, a night to relax; I had absolutely no intention of reviewing this concert. And yet, the notebook and pen that I always have in my bag 'just in case' found their way into my hands almost without my realising. Before I knew it, I was taking notes and jotting down thoughts and subconsciously piecing together what I was going to write. So, with this in mind, please enjoy my accidental review of the Cory Band in concert at Plymouth on 11th June 2022.
The Build Up
I arrived at the Central Methodist Hall rather hot and sweaty having got lost trying to find the venue on what was a beautiful June evening. Standing in the foyer, fumbling for my ticket and exuding enough heat to power the city for the evening, there was an obvious and palpable sense of excitement among the gathered punters. In queuing to get in I had to pass the strategically placed trade stand and, as I browsed (and dripped on) the table, weighing up whether to buy a signed headshot of Phillip Harper, I found myself standing next to Lee Harrelson, principal Euphonium of the Fountain City Brass Band from Kansas City. So thrown was I by his unexpected presence that, despite my best efforts, I failed to muster an audible greeting and missed my chance for, what I'm sure would have been, a fascinating conversation. With that, there remained nothing to do but to head to my seat which, I had been warned, would have a restricted view as the band was on floor level. In reality it wasn’t too bad. Anyway, in my opinion, the most important part of a brass band is sound not the sight. That said, if you were after a view of the back row cornets and left-side of the percussion, my seat was second to none.
A traditional first half
Audience Participation
During the first half it had become apparent (and this may sound strange) that Phillip Harper was absolutely integral to the flow of the concert, engaging with the audience in a personable yet entertaining way, imparting information about pieces but telling a story. He clearly was an artist, totally at home in his surroundings. I am also very impressed by the way Cory utilise social media to engage with their followers, not just those in the hall. For example, a photo was taken of the band and the audience with those present being invited to comment on Facebook how far they’d travelled. Not only did this encourage further participation from the audience during the interval, but it also drew comments from people further afield who were not present. And the winner of the 'furthest travelled to be there award'? I had no doubts that Mr Harper knew Mr Harrelson was in the audience, and later learned that Lee and his son were supporting Helen Harrelson who was playing second baritone for the evening. So it was that, although there were visitors from Norway present, the guests from Kansas took the win having travelled some 4,234 miles to be in the South West.
A Celebration of Adventure
After starting the second half in bright fashion with Gordon Langford’s Carnival Day, the stage was reset for the section that I had most been looking forward to. Put together by Phillip Harper for Cory’s winning performance at Brass in Concert last year, Treasure Island took us on a voyage across in a musical retelling of Robert Louis-Stevenson’s classic novel of the same name. Mr Harper had made mention previously of the excellent and fruitful link the band has with the Royal Welsh College of Music and Drama with almost all of the band having had some association with the college. I would suggest (but stand to be corrected) that the benefits spread wider than just music with the first rate video accompaniment for this section of the programme possibly also having its roots in the RWCMD.
I could sum up this part of the review in one sentence: I absolutely loved
it.
As you’d expect from Phillip Harper compositions and arrangements, there was detail, energy, colour, and life, culminating in an evocative showcase of world class playing and story telling which swept the audience down the road to Plymouth Hoe and out into the channel for a journey of adventure on the high seas.
The Admiral Benbow (Harper), with cornets spread out around the back of the hall and featuring Helen Williams on Flugel was an exciting, and perhaps slightly ominous, scene setter which laid down the spirit of adventure, and heralded the arrival of A Motley Crew (trad. arr. Harper), a piece which hinted at the mystery and menace of what was to follow. Captain Glyn Williams then invited all aboard The Hispaniola (trad. arr. Harper), an enthralling melody showcasing one of the country's finest euphonium players at the top of his game. Cocktails in coconuts (with little umbrellas, thank you) were then served as we relaxed in the Caribbean to Island Vibe (Camilo, arr. Harper) featuring again the blistering talents of Tom Hutchinson. At the commencement of this segment it was made clear that, as well as a retelling of the novel, this set was a musical reflection of the coronavirus pandemic and the hardship faced during this time. Soliloquy (Harper), performed by the incredible Chris Thomas was a haunting, but beautiful, reflection on isolation; the church venue perhaps the perfect setting. To finish the set the band turned to the theme from Cutthroat island (Debney arr, Harper), a film which actually holds the Guinness World Record for the 'Biggest Box Office Loss'. The score though, is brilliant and was a thoroughly fitting finale to a fabulous musical journey through a classic story. The evening was rounded off with Beyond the Sea (Trenet arr. Harper) which sent the audience out the door in high spirits. There was a further encore which I didn't recognise but, quite honestly, who cares? It had been an absolutely fabulous evening's entertainment.
All Encompassing
It had been a decade since I'd last heard the Cory Band, when the band was still under the baton of Robert Childs. In many ways, nothing had changed; the standard of musicianship incredible, the venue full to capacity, the anticipation of hearing the world's best band palpable. In a very crucial way though, everything has changed. This was not a band concert. In my opinion, this was a real and complete performance - the music, the media, the man in the middle. There was moving around, there was kinetic energy but it wasn't for the sake of it. Every aspect of the performance had been rehearsed to minute detail. It was like no brass band concert I'd ever heard and, I hope, it is the a sign of where concerts might be going. It was absolutely brilliant.
Full Programme:
The Red Shield (Henry Goffin)
Swan Lake Overture (Tchaikovsky, arr. Harper)
How Great Thou Art (Boberg, arr. Harper)
Cornet Soloist Tom Hutchinson
Only in Sleep (Esenvalds, arr. Littlemore)
The Piper of Dundee (Kenneth Downie)
Horn Soloist Ailsa Russell
La Fiesta (Corea, arr. Harper)
Crown Imperial (Walton, arr. Wright)
Carnival Day (Langford)
Treasure Island: A Celebration of Adventure
Introduction - The Admiral Benbow (Philip Harper)
A Motley Crew (Trad. arr. Harper)
The Hispaniola (Trad. arr. Harper)
Euphonium Soloist Glyn Williams
Island Vibe (Camilo arr. Harper)
Soliloquy (Harper)
Trombone Soloist Chris Thomas
Theme from Cutthroat Island (Debney arr. Harper)
Beyond the Sea (Trenet arr. Harper)
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