Record Keeping: An Interview with Stuart Hall, Regal Zonophone

In my down time, when I'm not playing in or writing about brass bands, I like to listen to music. All kinds of music but mostly....well, you guessed it... brass bands. I have quite a collection of CD's which I have bought, been bought, or inherited over the years and as a result I have something of a library of brass band recordings from the mid nineties onwards. A few years ago I inherited some old vinyl records and, after purchasing a turntable, my collection of these too also began to expand, mostly with Salvation Army recordings. A conversation with a friend about this led me to the website 'Regal Zonophone' an online collection of Salvation Army recordings by the label of the same name. Started by Ian Barton and, subsequently passing into the care of Stuart Hall, formerly of the International Staff Band of The Salvation Army, it is a treasure trove of recordings and I could (OK...have) spent hours scrolling through it. I caught up with Stuart to discuss the website but, as is often the way, we ended up discussing much more, including his fascinating career as a trombone player, his time in the ISB, and Salvationist Radio. 

A bit about you

BBH: Where and when did you learn to play? Who were your inspirations and teachers?

SH: I started playing the trombone at the age of 7, joining the Young People’s Band at West Hartlepool Citadel (now Hartlepool Temple), under the leadership of my dad who was the YP Bandleader. My dad played G trombone in the senior band; he was the inspiration and reason I wanted to play trombone. Just before my 12th birthday the family moved to Partington, Cheshire and we attended Cadishead Corps. The YP Bandleader was Syd Davidson who I had the greatest respect for the enthusiasm and commitment he gave me; he became my accompanist for many solos. Cadishead was very different to Hartlepool; it was a small corps and I didn’t have to wait until I was 16 to join the Senior Band. By the time I was 14, I was playing in the School Band, the Corps Band, the Liverpool and North Wales Divisional Band and the Cheshire County Youth Band but wanted more. My big break came when I became a ‘junior star’ at the Royal Northern College of Music, travelling on my own every Saturday morning by bus to the centre of Manchester and taking lessons from Mr David Loukes (trombone, Hallé Orchestra). He opened a completely new world of trombone playing and technique. There are two more teachers who had an enormous influence on me. The first was Mr Bill Teskey who was the trombone tutor at the Royal Military School of Music, Kneller Hall. He used to drill all the trombone players into the benefits of scales and arpeggios. Then Mr Christopher Mowart. When I heard the news that Chris had just taken the principal chair of the BBC Symphony, I called him and became his first pupil after his move to London.

BBH: What were your earliest musical experiences?

SH: I guess my earliest musical experiences will have been as a baby when taken to Salvation Army meetings in a pram by my mother. With dad playing in the band and both mum and dad singing in the songsters, music was always being played or sung in the home. Dads record collection consisted mainly of brass bands whereas Mums collection was light orchestral such as Mantovani Strings. Whenever my grandfather, Adam Hall, was staying with us, he would finish each day with us standing around the piano while he played and sang many of his own compositions published by The Salvation Army, such as ‘Rejoice’. There was a time in my early 20s when I rejected the Army. But as it turned out God had other plans for me, and one day a Salvation Army Bandmaster put out his hand and asked me to come back and play in his band. Today I soldier at Maidenhead, West of London, and have been since 1986. After four years as the deputy bandmaster, in 1991 I was appointed Bandmaster; a position I held for 25 years before retiring in 2016.

Your Musical Career

BBH: I understand you had a 7-year career in the Band of the Grenadier Guards. Tell us more about this?

SH: At the age of 16, I joined the British Army as a Junior Musician attached to the Grenadier Guards Band. My initial training was at the Guards Depot at Pirbright. The change in lifestyle was big for many, living in a barrack room with 19 other lads, sharing washrooms and no private space was a challenge for many of the lads. Initial training completed I was then sent to the Royal Military School of Music, Kneller Hall to further my musical training. Whereas at Pirbright they honed not only skills of marching but marching with and playing an instrument. Kneller was full on music all day every day and it was at Kneller I had the first experiences of playing in different styles, jazz, big band, orchestral, brass and military bands. Styles like jazz and big band were completely new and in many ways alien. Another trombone player that was an influence with me at that time was Don Lusher. He came to Kneller and did a master class. The previous Saturday he had been in concert with Chalk Farm Band and as it happened, I was helping the band out that night. At the end of the master class Don came over to me. He was pleased to see me again and for some time we chatted about the difference of brass band playing and big band and he gave me some great advice on how to play in a big band style. Arriving at the Band of the Grenadier Guards I found myself to be one of 9 tenor trombone players and was placed way down the bottom of the section. I had to work hard and before I left, I was playing number two to Sergeant Micky Dabbs who taught me a lot about Yorkshire humour, but also how to develop a big sound. I was keen to learn more and volunteered for a place on the band’s fanfare team. As a result, I got to play fanfares at St Paul’s Cathedral, York Minster and Winchester Cathedral to name a few, as well as film premieres and much more. Because Guards musicians had to be proficient in two instruments, of which one was a stringed instrument, I also got to be part of the band’s orchestra playing at investitures and banquets at Buckingham  Palace. I often used to pinch myself taking part in things like Changing the Guard and Trooping the Colour that the little lad from Cadishead was taking part in such prestigious events.  Overall, playing in a fine band with such great players helped me to appreciate an array of musical styles, and because we played so much music during a season, there was a vast amount of sight reading. I’d like to think all that sight reading I did every week in the ISB was easy, in part because of my time in the Grenadiers. Military life also helped me prepare in advance, work with the section, play as a team and the importance of time keeping. 

BBH: Have you ever played in any non-Salvation Army bands? If so, could you tell us a bit more about this? If not, is there a reason? Is it something you’d like to do in the future?

SH: During the early 1980s I ‘went my own way’ and stopped attending The Salvation Army. It was during that time that I was invited to attend the Hanwell Band, who were preparing for the area contest conducted by Frank Renton. At the same time, I was also approached by the Hendon Band conducted by Don Morrison. I decided to sign up with Hendon and did a couple of years, but contesting didn’t thrill me, going over and over a test piece week and week just didn’t thrill me.

BBH: Tell us about your time in the International Staff Band. How did you come to join the band?  What are some of your highlights?

SH: When I linked back up with The Salvation Army, I found myself helping several SA bands in concerts or weekend engagements. I did a tour of Europe with Staines Band (Brian Bowen), and it was whilst on that tour that I realised that my boyhood dream of joining the ISB was still in me. On bass trombone at Staines (and the ISB) was Chris Priest and I made it known to him I was interested. Years later I received a call from the band secretary of the ISB who advised that there was a vacancy on 2nd Trombone and asked if I would be interested in having an audition. I started attending rehearsals in November 1989. Ray Bowes was the Bandmaster and I was the last Staff Bandsman to be appointed before he retired. I went on to serve in the band for 10 years, taking part in several recordings, overseas tours to Canada, USA, Australia and Japan as well as monthly weekends away to Corps around the UK Territory. Then in 2000, due to a change in job I was unable to commit my time to the ISB, so I stood down. In 2007, I had a surprise call from Stephen Cobb. The ISB trombone section was running with three players and in preparation for a special concert to celebrate the 80th birthday of Ray Steadman-Allen, Steve wanted to play several of Ray’s compositions that needed four trombones. The question was ‘would I be free just for that concert’? It was a thrill to once again play in the band and it continued for another couple of weekend engagements. It was Steve who made the decision to go back to four trombones and he asked me if I’d be interested in once again taking my seat in the band. Fourteen years later, in January 2022, I played my last engagement with the band, after 24 years’ service in the band. When I look back there have been so many highlights and privileges I could mention. I was privileged to be part of the band when it made history visiting Japan for the first time. Playing a concert to the children in a blind school in Tokyo was a very special moment. I’ve done two tours and both had so many special memories. The Canadian tour will be remembered for the Four Staff Band Festival in Toronto. I’ve been privileged to play in concert halls around the world and here at home, including the Royal Albert Hall, where again history was made when for the first time the ISB and Black Dyke did a joint concert. But the biggest honour was ISB120 in 2011 when seven Staff Bands from around the world came to London to celebrate the ISBs 120th anniversary. I was heavily involved in organising large sections of that weekend, not least the main concert at the Albert Hall and the march down The Mall on the Sunday.

BBH: What were the reasons behind your decision to step down last year?

SH: There is a saying in the ISB that you know when it’s your time to go, and if you don’t the Bandmaster will soon tell you! My wife has been very supportive of my service in the ISB, sacrificing family holidays and much more in order that I could give 100% commitment to the band. She was due to retire in the summer of 2022. However, due to Covid and her own health reasons it was brought forward to 2021. I had always said that when she retired, I would retire from the band. We would then take time out to travel and do many of the things we had on our bucket list while we had the health to do so. I know Steve wanted me to continue, but 24 years is a good stretch and I was aware there are young trombone players who like me dream of playing in the ISB, and the time was right to hand over the opportunity and privilege of playing in the Salvation Army’s Premier Band.

Regal Zonophone

BBH: Can you tell me about the original idea behind the genesis of the website from its creator Ian Barton?

SH: Ian Barton lives in Adelaide, Australia. His idea was to create a repository where all Regal Zonophone (RZ) recordings could be found and shared with a greater audience of every age. I had the pleasure of meeting Ian when on tour with the ISB and during our conversation talked about updating the site and building a wider community. In 2018 I took over the running of the site and Ian is now enjoying retirement.

BBH: Are you able to tell us a bit about the label ‘Regal Zonophone’ and its significance?

SH: Regal Zonophone was a British record label formed in 1932, following the merger of the Regal and Zonophone labels. Over a 30-year period, The Salvation Army recorded many of its fine bands and songster brigades on this label. These old 78s, Extended Play (EP) and Long Play (LP) records provide an encapsulated history of The Salvation Army and its musical heritage 

BBH: The website seems to have a wide appeal, and I have come across Salvationists (and non- Salvationists) from a wide variety of backgrounds that appreciate the website. What do you think it is that appeals to so many people and makes it so popular? Do you think nostalgia plays a part?

SH: Nostalgia does play a part, I cannot deny that, but it is a place where a younger generation can explore a variety of pieces, many of which are no longer heard.

BBH: Do you think the website does, or could, serve an educational purpose, in connecting people with music from years gone by? What lessons do you think could be taken from this?

SH: I’m aware there is a good number of `younger’ listeners and I firmly believe that what the website offers is an educational opportunity to not only to them but to the wider audience. They are not only hearing the music, but also discovering the types of music which were published in what many would say was the heyday of Salvation Army banding.

Fortress Radio

BBH: Tell us a bit about how Fortress Radio came to be. Was it born out of Regal Zonophone, or was it a separate idea?

SH: When I took over the running of the Regal Zonophone website I started receiving messages and calls from people who had records or 78s they wanted to donate to the archive. One day, my friend Austin Burn had a conversation with an elderly gentleman when he went to pick up some 78s. The conversation included a statement that due to his advancing age and health issues he could no longer attend the SA and he wished he could have some way of hearing the Army on a Sunday. This was the catalyst for our deciding to start a station. We set about researching options and ideas as well as what music to play. We initially thought of using the RZ database but decided to use recordings from the last 10 years (recordings not available on RZ). After months of planning we launched Fortress Radio in March 2020.

BBH: The station was a great comfort to people during the Covid-19 pandemic. Did you have a sense at that time of what it meant to people, particularly during lockdowns and periods of isolation and solitude for so many?

SH: In the first week of broadcasting there was just over 100 connections (as an online station I could monitor the number of people connected but not how many people at that connection were listening). The following week the Country was in lockdown and the number of connections increased to 5,000. I had no idea that it would take off the way it did and in the height of the pandemic over 17,000 connections a week were tuning in to Fortress Radio. I had several messages and correspondence from listeners, many of whom used the term `lifeline’ during Covid. It brought comfort and blessing to so many people and I was delighted and truly humbled.

BBH: The station was very recently taken over by The Salvation Army and has been rebranded as ‘Salvationist Radio’. When did this idea first come up, and how did it come about? Can you give an insight into the process?

SH: The popularity of the station was immense, and yet I knew there was so much more the station could offer. I approached The Salvation Army and they too could see the station was another opportunity for ministry. They also had the time, resources, people and equipment that I could not offer the station. I’m pleased to say the ownership and day to day running was transferred to United Kingdom Territory and they have recently relaunched the station under a new name ‘Salvationist Radio’.

BBH: How do you think the move will help the station to grow and develop moving forwards?

SH: As already mentioned, I realised there was more that could be done with the station. The move will not only help The Salvation Army expand its mission but include an increasing overseas audience as well as using new initiatives in programming.

BBH: Will you miss being actively involved?

SH: Part of me misses being involved, but I take pride in what we founded, and I wish The Salvation Army all the best in this new venture for them.

A Bit of Fun

BBH: What is your favourite march and why?

I have so many favourite marches including ‘To Regions Fair’ (Bearcroft) and, of course, with links to my military service I enjoy ‘Red Shield’ (Goffin). In the ISB I’ve played so many great marches including ‘Beaumont’ (Dickens), and ‘Rosehill’ (Jakeway) to name two. But if I had to choose one it would be ‘Praise’ (Heaton). When Robert Redhead became Bandmaster of the ISB in 2000, he introduced this march to play as an encore. It’s the only march I know that has a 2nd trombone solo (second bar of letter E), and in my 24 years’ service, that bar was played without fault.

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

Five recordings I would take would be:

1. Staff Bands in Concert – ISB120 – Live recording from the Royal Albert Hall

2. Feel the Spirit – live recording of Spiritual to the Bone at Regent Hall

3. Parsifal – Wagner (four hours epic opera)

4. Salvation Saxophone – Birmingham Citadel Band

5. Lassus Trombones – Black Dyke, Grimethorpe and ISB trombones

For a book, I would take an epic novel ‘Anna Karenina’ by Tolstoy. The book is often considered to be Tolstoy’s finest work, surpassing even War and Peace. Plus, it would take me so long to read it that by the time I’ve finished, I can start again afresh! 

In the hope there is a cocoa plant and a sugar cane I’d like a cooking pot so I can make my own chocolate.

BBH: Thank you Stuart for your time, it's certainly been a fascinating discussion!