Soloist Spotlight: Brett Baker, Black Dyke Band

In the latest interview for the Brass Band Hog Blog, I have caught up with one of the most recognisable faces in the movement. Principal Trombone player of the famous Black Dyke Band, Brett Baker. Growing up, Brett was something of an inspiration for me and I have a large collection of his CD's and one of his study books. We caught up about his early playing career, how the move to Black Dyke came about, and his career as a soloist, conductor and adjudicator. 

A bit about you?

BBH: Firstly, tell us a bit about yourself. 

BB: I grew up in the Forest of Dean, Gloucestershire. I began playing in the local village band, which was Bream Silver aged 10. My first teachers were Bryan Nelmes, the trombonist at the Band at the time, and David Rudge the drummer and the youth band leader. I then moved to Lydbrook Band aged 13 after I was spotted playing at a local contest. This would be about 1986/87.

BBH: Could you tell us a bit about what you do for a living?

BB: I have been involved in lots of different careers such as working in HR, working as Business Development Manager of a web development agency in Stockport, as a secondary School teacher as Head of ICT in Chester and as a Sales Manager for a Fork Truck Tyre Manufacturer in the Forest of Dean. All these careers were to pursue a high level of playing in brass bands and to have the flexibility to travel as a soloist which I was doing in my late teens. Eventually after moving back to Manchester in 2000 to study for a post graduate performance course at the RNCM and then a Masters in Music at Salford. I went from Teaching ICT in a secondary school, to teaching music performance and conducting, art administration and professional practice at the University of Salford whilst completing my Doctorate in Performance.

BBH: Originally from the West of England, how did you end up in the north? 

BB: I learned a lot about Manchester from my A' level teacher who was from Manchester, as well as my peers in the NYBBGB. I planned to study Economics to work in banking and I enjoyed the subject at College. I only achieved a D in A level music in my second year but thanks to my other grades, was still offered a place at Salford University to study economics. Moving to Salford also provided me the opportunity to play in Manchester based bands and learn from other players and teachers such as David King who conducted the University College Brass Band. In 1992, the year I stared, the College and the University merged so I was able to study Economics and just about work the timetable to play in the band. It was an incredible band when I look back; Ben Godfrey on Cornet, Sheona Wade on Horn, Iwan Williams on Flugel and Glyn Williams on Euphonium among others. Most players in Salford joined the YBS Band as it raced to the top of the brass band rankings.

BBH: What were your playing experiences before you joined Black Dyke?

BB: Whilst in the National Youth Band in 1992 I sat next to Simon Johnson, then Solo Trombonist of Fairey Band. I was playing in Flowers Band at the time and Simon explained during the Easter Course that he was leaving Faireys to freelance. After much pestering Fairey allowed me to do a weekend of recording in the summer and then an audition and, fortunately, I was asked to join just prior to starting on the University course. It is fair to say I was a very 'green' player at the time but, as Dave King would say “I had potential”. Faireys was the band I had always dreamed of playing for; previous teachers such as Steve Walkley, John Maines and Lyndon Baglin, had played for them and they were about to take the contest season by storm. At the time I was just delighted to play in a top six band and learnt so much from players like Bryan Taylor, Ian Peters, Sandy Smith and Shaun Crowther. In two years we had won the Open, Nationals and European Championships.

Black Dyke

BBH: How did the move come about? What was it like to be appointed as a principal of the most famous brass band in the world? 

BB: When I moved North in September 2000 to study at the RNCM, I planned to join Black Dyke as I had done some concerts with them after the areas in March 2000. James Watson had asked me to join the band during those concerts so I thought things were set up for my move north. However James Watson left the band in May that year and it didn't materialise. As I was free, I went to listen at the Cambridge All England Masters that Year in May at which Leyland (BNFL) Band asked me to join. I liked working with Richard Evans, so I agreed. I went to Germany with them in the June and, having been to the USA with them on several occasions previously, I knew I enjoyed playing in the Band. On my return from Germany I went on holiday coming home to find several messages from Bob Childs, Black Dyke's solo Euphonium at the time. As I had already joined Leyland, I rang him back saying I was not interested in the Dyke position having not been able to find out what was happening. Bob tried to explain he was going to move to South Wales to conduct Cory (they were 20th in the rankings at the time) and his brother Nick was going to be appointed at Dyke. I was very confused by all the changes having just got back home to Gloucestershire from being abroad and explained I had joined Leyland so would not be joining Dyke. Nick Childs then rang me minutes later asking me if I would meet him at Frankley Services that weekend so he could explain what was happening. I agreed to meet, though explained I was not going to change bands. After 15 minutes in the services with Nick I had agreed to join Black Dyke and would play in a concert in a weeks time.

BBH: What are your highlights from your time with the band? Do you have any ‘off camera’ highlights?

BB: There are many highlights, such as trips to Bermuda, Japan and Australia come to mind for the social aspects as well as the performances but I’ll keep the off camera highlights, off camera! I love travelling and experiencing new cultures so they were great trips.

BBH: As well as the band, you’re also a member of the Black Dyke trombone quartet - how did this come about? What was the idea behind it?

BB: In Bermuda the then second trombone player at Black Dyke Paul Woodward wanted to give notice to leave the band by the summer that year due to work and family commitments. I thought it would be great for him to cover for me if I could not make a concert or rehearsal and therefore he became co-principal. As a result we set up a trombone quartet when Garry Reed joined the band nearly 20 years ago. Since then I have had three youth quartets that have travelled with me to the USA and Singapore.

As a Soloist

BBH: What are some of your highlights as a soloist?

BB: Playing the Bourgeois Concerto with an Orchestra at the Trombonanza Festival in Argentina is a highlight but playing Outrageous Fortune, a 25 minute work with Wind Band in Murfreesboro in Tennessee (with Nigel Clarke the composer narrating Shakespearean text) was a special performance.

BBH: What are some of your favourite solos to play?

BB: That is tricky as it changes over time. I’m enjoying playing Light Fantastic a trombone concerto by Philip Wilby at present but I like to change solos often.

BBH: Do you, or have you, ever felt pressure associated with being a world class player and instantly recognisable figure in banding? If so, how do you cope with it? Has it increased or decreased over time?

BB: I did used to get very nervous as a player and this is a constant battle but generally I have learnt to think of pressure as par for the course and to enjoy each performance as it could be my last. Contests are more challenging but I rarely now get nervous playing a solo as not many trombone players get the chance to solo as often as I do. I enjoy the international festivals as I feel I have to represent brass band trombone playing which, although similar, is a different approach to orchestral trombone playing.

Conducting and Adjudicating

BBH: Away from playing you have also had experiences as an MD over the years with a variety of bands. Do you prefer playing to conducting? What are the similarities and differences to the two roles?

BB: There are lots of transferable skills between playing and conducting though my teaching experience and qualifications have also hugely helped me with my approach to conducting. I am very keen to try and find a band to conduct local to Runcorn where I now live but most bands rehearse Mondays and Thursday so it has been near impossible to contest with a band, whilst remaining a player at Black Dyke. I very much enjoy conducting and would like to do much more, but to keep up playing standards, I have been reluctant to seek a permanent conductor role with a band.

BBH: You are also known in banding as an adjudicator. How do you find this?

BB: I find judging similar to playing, I do a lot of prep up front and always feel nervous for the bands playing. That said, in almost every case I enjoy listening to all the different approaches that bands take with the same piece of music. I recently judged at the lower section finals in Cheltenham and really enjoyed the piece and every performance of a challenging work.

BBH: This year you were also announced as the Vice Chair of AOBBA. What does this position entail? Is it a challenge to combine playing and adjudicating commitments?

BB: I do limit the amount of judging I do, as most weekends I am out playing somewhere but then it remains enjoyable and fresh. The role at AOBBA is much less time consuming than a secretary, treasurer or chair position. It has been busy of late though as we are working on launching a new website and I chair the sub committee for that.

BBH: As someone who has enjoyed an amazing amount of success as a player what are your thoughts on the existing contest set up?

BB: I am all for reviewing the contest set up. I think the format works but we do need to review the regions as it cannot be fair to have 24 bands in the fourth section at the West of England regionals and 7 bands in the championship section in Wales but this needs to be altered with sensitivity and empathy towards all bands concerned.

Ambassadorial Roles

BBH: How did you come to be involved with Michael Rath trombones? 

BB: I first met Mick Rath coming back from a festival in New Orleans. I had asked Mick if he could take a look at the Besson I was playing as, whilst the previous two Besson instruments I played were really good, this one seemed edgy and stuffy. I went along to Honley (where Mick has his factory) and he suggested that I might try his trombone range. Within minutes I realised that I had missed out on playing on his fantastic products for far too many years. It took some time to find a trombone I really liked but the partnership has been very rewarding and Mick is not just a great trombone maker but also a close friend.

BBH: Similarly, you are seen as an ambassador for trombone playing more generally because of your profile but also your involvement with organisations such as the British Trombone Society. How important is the BTS to you and what benefits do you see it having for trombone playing?

BB: I am chair of the research committee of the International Trombone Association and was chair of the awards committee for many years before that. Although no longer involved, I was chair of the BTS for many years and then President for two years. I probably over stretched myself and did too many events but I am proud of what I did at the BTS including having much input into the magazine that is sent out to members. 

BBH: What advice would you give to aspiring trombone players wishing to follow in your footsteps?

BB: I get asked this question frequently. I would say, follow your dreams, work hard and be a good person. As a wise man once said to me, “be careful and courteous to those who you meet on the way up as it’s quite likely you will meet them again on the way back down”.

A bit of fun

BBH: Which four brass players would you choose to form a quintet (any instrumentation) with and why?

BB: I have a six piece group that alters depending on availability but if I could play in a quintet of Joe Alessi, Wycliffe Gordon, Christian Lindberg and Denson Paul Pollard then I would be very happy. All fantastic trombone players but also fantastic people.

BBH: If you could commission any composer, past or present, to write a solo for you, who would it be and why?

BB: Very tricky. I think I would ask John Williams to compose a piece for me and also Aaron Copland, more feasible would be asking Gavin Higgins to compose another piece for me with Brass Band Accompaniment as I am a big fan of his writing.

Thanks for taking the time to be interviewed Brett, and for sharing your fascinating story with us. All the best for the Nationals next week!