A time to take stock and to be thankful

Apologies for the reflective post, but 2021 has been the toughest of years for me, for both personal and business reasons, (hence the lack of blog writing in the last few months), however there is so much to be thankful for despite all this.

Even though 2022 is already looking very uncertain for many industries (especially the Arts), I would encourage everyone to take a moment to think about what’s really important in our lives at this time of year and be grateful for the simple things.

Savour that mouthful of food, the warmth of the home that you live in and the company of family and friends surrounding you – many don’t enjoy these “luxuries” – and count your blessings that you are safe, well and loved! Gratitude for what we have is something we take for granted far too often!

For those of you who are not blessed with such an easy time of it (and there many I’m sure), I hope that your circumstances improve very quickly and that you can make the best of your situation over the Christmas period and that 2022 brings new hope and better circumstances for you.

To those who have supported me both in my work and personally, thank you so much and I hope that I can reciprocate in some small measure in the future.

I wish you all a peaceful, safe and healthy Christmas and New Year and look forward to a better 2022 for us all.

For more information about Andrew Jones (Trumpeter) and Music for You please go to www.andrewjonesmusic.com

Open letter to Welsh brass band colleagues (No.2)

Dear colleague,

I hope that you and your families are safe and well and are surviving these strange times. Please forgive the long post so you might want to get a coffee and settle down to read!

Owing to the pandemic, brass banding has, like many other activities taken a huge hit due to lock-down and the restrictions on playing brass/wind instruments indoors. It is now coming up to 5 months (March 22) since I tried to arrange a gathering of interested parties to meet in Cardiff, to discuss the formation of a unified Welsh brass band organisation. Sadly lock-down was implemented just before we were able to meet therefore we initiated Plan B and met online through a Zoom Meeting. This was admittedly with limited success owing to technical issues and was met with some scepticism and even derision from certain quarters.

Music For You

A unified Welsh brass band organisation. Can we turn a dream into reality?

 

My reason for writing is that since then, absolutely nothing has happened in moving this proposal forward and I don’t think I’m over-egging the pudding by saying that the movement is in a significantly more precarious position, than we were 5 months ago, with the prospects of “normal” banding as we know it a distant dream as things stand. There is also the concern whether players (particularly the younger ones), conductors  and officers will return to the fold, having now discovered other activities and interests to occupy their time and attention. Concert/Contest venues may not even be in existence for us to perform anywhere decent in the future and with further public spending cuts highly likely, to cover the huge costs of the pandemic; music in education will be non-existent. We are also approaching the Autumn months, meaning our potential activities will be curtailed even further, further affecting revenue and membership retention/recruitment.

I have been “encouraged” by a few colleagues (some who were a part of that initial meeting in March, as well as some new faces) to once again ask the question whether now is the time for action and get the ball finally rolling, before it gets too late to salvage what is already a serious situation for brass banding in Wales. The meeting on March 22 was the warning call that an “iceberg” was on the horizon and action was required. Covid-19 happened and I believe we have now truly hit that “iceberg” and if we don’t act now, then with no representative body the “ship” WILL eventually sink, with almost all hands on board.

The response following the last meeting was to wait until restrictions and lock-down etc. had ended and then to have a face-to-face meeting to discuss the matter. Great, who’s going to suggest an appropriate central venue in Wales and then jump in the car for a potential minimum 2-3+ hour drive, plus the drive back, plus to agree a convenient date to wipe off their schedule, so that we can discuss things? It was a minor miracle that I got 20+ people to agree to meet initially in Cardiff. Yes Cardiff, not central I grant you and I got it in the neck for that too, but the geographical spread of respondents able to attend meant that it was the BEST place for those to attend.

So, is there anything really wrong, now that people are so much more tech-aware and receptive to Zoom or Teams, that we can’t meet once again, being older and wiser with it all and get things moving finally?

OR DO WE INDEED LOOK AT PREFERRED PLAN A?

PLAN A

Are you truly happy to invest in the future of Welsh banding? To invest your time, money and energy by jumping in the car and driving to Newtown or somewhere similar in order that we can discuss these matters face to face? I believe the Welsh Regional Council met this week (observing social distancing of course); therefore it seems people are prepared to get out and about in the name of Welsh banding! Either way, the choice is yours.

The “encouragers” who have prodded me to write to you have also added that as nobody else has initiated any progress do we need to wait for the approval or blessing of others? Frankly, no we don’t and as long as we can gather a decent sized cross-section of the banding world in Wales to get things started in a democratically and constituted manner, then why not? The detractors will continue to detract, the whingers will whinge and the cynics and critics will be ever cynical and critical. In fact the cynics probably won’t bother turning up because “what’s the point, nobody else will?”!!!! We are no longer a brass band movement as the hand-brake is well and truly up. We need action and fast!

This is a massive undertaking; however change can only be implemented by drawing a line in the sand and making that first step, followed by one more step, followed …… I hope you see where I’m going with this? But, yes it is really as simple as that!

We may well be looking at the long term goals, where a Welsh Brass Band Organisation is able to; organise the 2025 Welsh Youth Brass Band Festival, to provide online resources for member bands covering a geographical area from Ynys Môn to Chepstow to Pembroke Dock, to secure funding streams from Arts Council Wales on behalf of member bands or to send a Welsh Representative to the next European Brass Band Association AGM however, if we have no central organisation with proper governance, these will be just “dreams”.

If there is a majority agreement from you to have another go and make a fist of things, great, then let’s crack on with it. If not, that’s fine too, as I’m not claiming to have all the answers or any magic spell to make things right, however to sit back and suck our thumbs whilst watching the ship go down, in my view is a dereliction of duty to the pastime that we so love. By the way, did anyone ring the coastguard to say we’re sinking? Perhaps we should have a vote as to who rings? No, let’s wait until we can meet face-to-face!

This is not intended to be a “join me or I’ll have a hissy fit, throw my toys out of the pram” letter, but it is to encourage you to do SOMETHING. If I’m not your cup of tea to do something, fine, just find someone who is and who will take that first step in making some progress and I will be happy to pitch in and help them if asked.

Canva - White tablet and cup of coffee (1)

So let’s do something and get things started!

 

So after all that sabre-rattling, I will close by inviting you to take action and join me and other willing participants for a meaningful and productive discussion:

When: Saturday 12th of September 2020

Time: 11.00am – 4.00pm

Where: Plas Dolerw

Milford Road,

Newtown,

Powys,

SY16 2EH

Or Online where we hope to live-stream the meeting for those who can’t travel.

Yes, I bit the bullet in an effort to appease everyone and it’s provisionally booked!

The venue can safely accommodate a maximum of 12 people observing social-distancing. “But that’s limiting how many can attend!” I hear the whingers and nay-sayers immediately cry! I’ll counter that with “So what if I book the Royal Albert Hall and only 8 people turn up ….?”

I’d be delighted if we were over-subscribed, but on current track-records, people won’t be queuing round the block!

So if you’re ready, willing and able to commit, please respond ASAP to andrew@andrewjonesmusic.com or call 07973 869621 or easier still, fill in the contact form below.

The clock is ticking! Tick-tock, tick-tock ……..

Yours optimistically.

Andrew Jones

 

Coronavirus – The harsh reality of life now as a freelancer

The last few months will have been the most difficult many of us will have encountered in our lifetime. Up until late last year, most people weren’t even aware of Coronavirus or Covid-19, but by the time of writing this blog (August 2020) it will have affected most people across the world in so many different ways, causing untold heartbreak and suffering that will have a long-lasting legacy that, for some, will never be overcome.

My first “encounter” with C-19 was in March whilst sprawled on a sun lounger enjoying a much needed holiday  in Thailand. I started reading news reports of flights being instructed to turn around mid-air and return to their point of departure, as countries starting going into immediate lock down. This was quickly followed by a succession of e-mails and messages stating that a number of future music events were either being postponed or cancelled due to the uncertainty of what was happening.

Coronavirus

Fast forward to August and the landscape is so unlike anything anyone could have predicted, it borders on the surreal! No gigs, no rehearsals, no weddings, no concerts, no playing brass instruments indoors! No income!!!

Before I continue, I must be grateful. Grateful that I am alive, that I have not contracted C-19 and thankfully neither has any of my family nor my friends, therefore I have not suffered, as many thousands of people have truly suffered. I have not had to risk my life on a daily basis and don uncomfortable protective clothing (PPE) for hours on end in order to try and treat patients suffering from this terrible pandemic, nor have I been stranded in a foreign country (although it was touch and go getting home from Thailand!) or totally isolated from loved ones – my Mum might disagree with that latter statement, but we got there in the end.

Now to my reason for writing. This pandemic has caused another form of hardship and suffering. Regardless of whether you “do politics” or not, the harsh reality is that there has been a huge schism created between the “haves” and the “have nots”.

In an effort to maintain lock down and at the same time protecting jobs and the future economy, Chancellor of The Exchequer Rishi Sunak announced that UK companies would be able to furlough employees, who would receive 80% of their income whilst staying at home, in order to reduce the potential spread of the virus. This seemed like a sensible idea initially, however once the criteria were scrutinised, it became apparent that this was deeply flawed, especially when it came to people who were freelancers, self-employed, company directors and those working on freelance PAYE (Pay as you earn) contracts.

Coronavirus disease outbreak (COVID-19)

Despite numerous funds and support schemes being made available, many of these above mentioned people were ineligible for ANY kind of support and sadly, I was also one of them! The Self Employed Income Support Scheme (SEISS), the Culture  Resilience Fund, the Urgent Response Fund, the Stabilisation Fund for Individuals, local Council Grants, Universal Credit, Job Seekers Allowance etc. etc. etc.

So many people in fact, they number in excess of 3 million workers and are now known collectively as ExcludedUK. People, many who had spent years investing both financially and in blood, sweat and tears to establish successful businesses, or who had recently gone to “the other side” and left secure employed positions to follow their dream and run their own business. No income, no support, no hope!

This little piggy couldn’t afford to go to market,
This little piggy stayed at home (due to lockdown),
Other little piggies had roast beef,
This little piggy had none.
And this little piggy went…
“Why are wee wee different to all the other piggies” all the way through this pandemic…?

Despite vociferous protests and pleading, the Chancellor was, and remains deaf to our pleas for help, despite the fact that all of us have worked and paid our taxes over the years and will be expected (rightly so) to contribute to the State taxation system in the future. So why should 3 million people be left to hang out to dry?

Over the last few months, members of ExcludedUK have not only had to endure financial hardships, whilst their family and friends around them enjoy Government support, but also the sort of bigoted and misinformed opinions that have really shown how little understanding there is of our plight and how the economy works, particularly for the self-employed. Comments such as “well you’ve enjoyed being paid cash in hand over the years, so stop whining!” or “you pay less tax than employed workers so what’s your problem?” really does cut to the quick and the inference that we are anything less than honest or transparent about our working practises, is quite frankly insulting.

To put the record straight, as a self-employed musician, I declare ALL my income for ALL the work that I do and pay my taxes as expected on time and in full, as do the vast majority of my law-abiding colleagues . Running a business means that I am the operations manager, the transport department, the marketing department, the accounts department, the customer service department and in charge of professional development and training. We DO NOT enjoy the perks and benefits of sick pay and holiday pay,  we often don’t get paid on time (sometimes not at all) and we are often seen as a vehicle for extreme bartering on our rates and fees.

The retort is usually “Why are you self-employed then, get out if you can’t stand the heat?” Simply, I wouldn’t change it for the world and enjoy every minute of it “living the dream” and doing what I love, despite the above problems.

All I (and my 3 million other Excluded colleagues) ask for, is parity and justice. Not too much to ask for surely – is it?

The new “normal” – Girl with mask to protect her from Coronavirus

So next time you see a family member or friend mention the Excluded in a social media post or hear it in conversation, don’t just walk on by as “it doesn’t affect me”. Please spare a few minutes to hear what that person’s struggles are, they are very real and they are possibly at breaking point. The stories that have circulated on the ExcludedUK chat groups are truly heart-breaking and if you can lend a sympathetic ear, it may have far more impact than you could ever imagine and help that person get through one day more!

My wish is that we ALL come through this safely, with our families and current jobs intact and AS EQUALS.

This blog is written as my personal story and is not intended to represent ExcludedUK or any other member of the group. There are 3 million other stories to be told!

For more details about Andrew Jones , please visit the Music for You web-site

 

How do the valves on a trumpet work?

Despite the trumpet having been around (in its various forms and guises) for a few thousand years, it may surprise many people that the development and addition of valves (the buttons to change notes) to the instrument didn’t occur that long ago, with the early versions dating from approximately 1825.

Adolphe Sax

Regardless though of who actually should be credited with the honour of inventing the valve as we know it today, one thing is certain and it is  that the addition of piston valves to brass instruments –in particular the cornet and trumpet – allowed the instrument to increase the extremely limited range of notes it could play.

Prior to the advent of valves, when performing the music of Purcell, Handel and Bach, certain adaptations were made to the Natural or Baroque Trumpet to enable modifications to keys and pitch, such as the addition of crooks – which were additional lengths of tubing to change the pitch or Harmonic Series (see below) available to the player – or the addition of holes (similar to a recorder) in order to improve intonation and make certain notes more “listener friendly”. There was still however a massive gap in the range of notes that the instrument could deliver. 

The next major development was supposedly from Viennese court trumpeter, Anton Weidinger who is reputed to have invented the keyed trumpet in 1770. This instrument was the catalyst for Joseph Haydn writing his much-loved Trumpet Concerto in Eb Major for Weidinger in 1796 and revolutionised what the Trumpet was capable of performing. The instrument however was to have a short lifespan, as due to its design flaws the tonal quality was deemed too unsatisfactory.

A Military Bugle

Playing the Bugle would be the equivalent of playing the modern-day trumpet with no valves pressed down (open valves), and a relatively experienced player would expect to be able to play a pattern of 5-7 notes (called the Harmonic Series) i.e. Bottom C, G, Upper C, E, G, Bb and High (Double C) as shown below. 

No valves pressed down (Open valves). Stomvi “Elite” D/Eb 3-valve Trumpet

The method of securing these notes is a separate blog in itself, but for now we’ll keep it simple and say that as the notes get higher, the player adjusts the air velocity by buzzing their lips faster.

The Harmonic Series (Open/no valves)

So back to the trumpet and the use of valves. When pressing the 2nd valve down, the air is diverted through a small length of tubing attached to the side of the valve, making the initial note sound half a step (semi-tone) lower. Therefore, this creates a new pattern of notes (or Harmonic Series) and instead of Bottom C, G, Upper C as above, the new series of notes is: Low B, F# (F sharp), Upper B, D#, F#, A, High B.
The slide attached to the 1st valve is the one closest to the player’s mouth and is twice the length of the 2nd valve slide, so when pressing down the 1st valve, the notes descend by 2 semi-tones (a whole tone). This creates the following Harmonic Series of Bb (B flat), F, Bb, D, F, Ab and High Bb.

Still with me so far? Good!
The 3rd valve slide is the equivalent in length to both the 1st and 2nd slides combined, so now you’ve a Harmonic Series 3 semi-tones lower and the ability to mix and match i.e. any note played on 1st and 2nd valves can also be played on 3rd only, facilitating “cheats” in difficult passages of music or when trills (a form of ornamentation, moving from one note to another rapidly) is easier to play on a “false” fingering.
You can then take the combinations further, with 2nd and 3rd valves; 1st and 3rd valves and finally 1st, 2nd and 3rd.
As a result, your Harmonic Series now looks like this:

The Harmonic Series using all valve combinations

For those of you who are one step ahead and thinking of the 4-valve Piccolo Trumpet from a previous blog that I wrote Why are there 4 valves on certain trumpets?, the 4th valve is used to add further notes to the range of the instrument and it can also be used instead of 1st and 3rd for better tuning and intonation, plus using it in combination with other valves, again facilitates an easier life for the player in certain tricky passages of music.

A 4-valve Piccolo Trumpet (Model is a Stomvi Elite) (Instrument Pictures courtesy of Paul Fears Photography

I hope that this has demystified “the valve” a little and given you a better understanding of how any valved brass instrument works. Thanks once again for reading the Music for You blog and would love some feedback from you in the Comments Section, including any future topics you would like to read about.
For further information about Andrew Jones, please visit my web-site.

An Open Letter to the brass band movement in Wales

The Blaina Band based near Brynmawr was formed in 1817 and it was claimed to be the first band in Britain to become ‘all brass’. In the intervening 203 years, the brass band movement in Wales has successfully produced some of the movement’s best and most successful players, conductors, ensembles, educators and teachers, composers and arrangers, administrators and commentators.

Welsh banding is firmly on the international contesting map

Ebbw Valley Brass – 2013 National Champions (Section 4)

Names such as; David, Nicholas and Robert Childs, the Cyfarthfa Band, the Cory Band led by Philip Harper, T.J. Powell, Bram Gay and Philip Morris, Iwan Fox and 4barsrest are just a handful of names recognised not only within the Principality, but across the world. These are luminaries who have successfully put Wales on the “musical map”, and through their work have ensured that the movement has grown and flourished.

In 2013 no less than 4 Welsh bands were crowned National Champions of Great Britain in all but the Third Section. This was a truly remarkable achievement for such a small nation; however these successes, along with significant contest successes by Tredegar and the No.1 World-ranked Cory Band before and since, have masked the underlying decline of fortunes for Welsh banding at grass-roots level.

Demise of brass banding in Wales

With the demise of music in education due to austerity and the reduction of funding for the Arts in general, and with music services having to introduce charging for instrumental tuition in schools, the number of young player either joining, or being retained in the movement has reached extremely worrying numbers. More than ever, bands are relying on a small group of (mainly unpaid) volunteers, who are struggling to keep some semblance of a production line going in terms of young players. Bands in all sections are struggling to fill seats, with the pool of players ever-diminishing.

The administration and governance of banding in Wales, has to date lain with the respective BB Associations in West Wales, South East Wales and North Wales, with additional tiers added for the Welsh Regional Contest and the National Eisteddfod. These however, (with isolated exceptions) have almost exclusively existed in order to organise and oversee competitive banding in the Principality, with no clear structure or pathway mapped out to develop and nurture new projects and initiatives to benefit the movement in general.

Lack of a single unified voice to benefit from Arts Council Funding

Thus far, funding for any new projects has always been as a result of the diligence and initiative of hard-working individuals who have secured money from a variety of sources, usually benefiting an individual band, or small cluster of bands. Arts Council Wales have not been receptive to approaches for such funding, as the contesting tag has always been inextricably linked with most of the ideas presented and more importantly, the movement does not have a single unified voice to make those representations in the first place.

 One representative body for Welsh banding

Surely the time has now come, before it is too late, to introduce a model similar to the Brass Band England organisation and have one representative body, speaking on behalf of the interests of ALL brass bands in Wales. This organisation would oversee ALL Youth and Senior Bands, ALL Competitive and non-competitive Bands and its primary function would be to nurture and encourage some “joined up thinking” across a wide range of stakeholders, including;

  • All Bands
  • Conductors
  • Arts Bodies and Administrators i.e. Arts Council Wales, the 3 Welsh Brass Band Associations, Tŷ Cerdd
  • Music Services and Hubs
  • Schools and Colleges (including Royal Welsh College of Music and Drama)
  • Peripatetic teachers
  • Educators
  • Composers & arrangers
  • Industry suppliers – i.e. instrument manufacturers, repairers, insurance providers, publishers
  • Arts and Concert venues
  • Influencers i.e. 4barsrest, Brass Band World, British Bandsman & others
  • Arts Festivals
  • Other Arts organisations e.g. Choirs, Folk Music, Theatre, Dance

These stakeholders could all contribute their knowledge and expertise and assist in the following areas:

  • Administration – help with running a Band on a day-to-day basis, access to template documentation, running a library, contracts for engagements
  • Governance – e.g. ensuring bands had a proper Constitution, Safeguarding & GDPR policies in place, advice on DBS checks, returns to the Charities Commission, Health & Safety and Risk Assessments
  • Funding advice – where to access funding, assistance with completing applications
  • Finances – accessing the best deals for; insurances (such as Public Liability or instruments), utilities, travel and accommodation
  • Artistic and Creative Development – Encouraging collaborative work amongst bands, new commissions, workshops
  • Education – developing new conductors and teachers, sharing good practise, collaborative projects

The new organisation would NOT be involved with;

  • The organising or promoting of any competitions

Many of these suggestions are not new ideas and this concept has been attempted once before, when Brass Band Forum Wales was launched in 2012. Sadly it did not achieve the traction and impact that was hoped for, however nearly 8 years down the line, the banding movement is in a much more precarious position and things needs to be revisited – and fast!

The need to promote Welsh banding interests

This is also not an attempt to reinvent the wheel and for sure, Brass Bands England fulfils many of the above issues, indeed there is no good reason why Welsh bands shouldn’t be encouraged to join BBE, and make use of many of the resources already available. BBE however doesn’t promote Welsh banding interests specifically. We need an organisation to be run by Welsh banding for Welsh banding.

Until the Welsh banding movement has one unified voice to represent the interests and promote the movement for ALL participants, I fear that the very existence and future of our wonderful movement is in grave jeopardy.

I have no mandate from any banding organisation to initiate or promote this venture, just a deep love and passion for a form of music-making which has given me so many opportunities and experiences over the last 40+ years and sincerely wish to see it flourish and bring the same joy to others for many years to come.

If you agree or have thoughts to add to this letter, please feel free to e-mail me at andrew@andrewjonesmusic.com or call 07973 869621 and together, see if we can formulate a plan of action for the good of Welsh banding.

Returning to your roots and giving something back.

Going back to your roots, whether it is researching your family tree (as I have recently started doing), visiting your old school or driving past a former home, I always find to be a rather surreal experience. It doesn’t matter whether some or all of the people have long gone, there still remain some sights, sounds and even smells that that can trigger a myriad of deep-seated memories, which have lain dormant for countless number of years, transporting you in an instant back to a bygone age.

My “blast from the past” has been a return to both my spiritual and musical roots. One might argue that they are one and the same, as they are inextricably linked.

I was brought up in the small village of Llangyndeyrn in the Gwendraeth Valley – a very rural part of Carmarthenshire, Wales. So rural in fact, that the last bus into Carmarthen (5 miles away) and any semblance of civilisation, left the village at 5.05pm. Even worse was the last bus back left at 5.45pm, thus curtailing any potential fun and nighttime revelry, before it had even started!

Bearing in mind that the local Primary School only had a total – yes total! of 14 pupils at the time I attended it, one had to be fairly creative as a result, when it came to childhood “recreation” and “entertainment”.

My good luck and salvation was music. Both my parents were extremely musical with my Mum having sung in the London Philharmonic Chorus, under the great maestros such as Beecham, Boult and Barbirolli. Dad meanwhile was a keen singer too, having sung on the Eisteddfod circuit, with a certain degree of success too. In addition to this, he also played in the local brass band – Crwbin Silver Band (The difference between Silver and Brass I hear you ask? Silver was deemed posher, as it was a more valuable commodity than brass, therefore gave the band a tad more credibility).

So at the age of 7 and with a limited number of friends in the village to fulfil any meaningful sporting activities – cricket or rugby played by 3 people has its limitations you know! – and with a suitable number of trees climbed (and fallen out of), one looked to new horizons and took the obvious choice of learning to play an instrument in the local band. I was given a cornet to play. Like Father, like Son.

Lessons commenced, with my first teacher being my Uncle Stan, who also conducted the Band. Although I viewed him more as a grandfather figure, he was certainly no soft-touch and ensured that all who attended behaved and put in some hard work each rehearsal. Hymn tunes were the first melodies attempted once we had “mastered” enough notes and my first public performance was on the hymn “Hursley”, quickly followed by “Whitburn”.

Opening new bandroom

Stan Jones (pictured left) who was my very first brass teacher. He is pictured at the opening ceremony of the new band room in Crwbin.

Much practising and hard work followed over the next couple of years and this was eventually rewarded with “promotion” to the full senior Band. Now things got serious as rehearsals were held 3 times a week – Tuesday, Thursday and Sunday afternoons if memory serves me correctly. Hard to imagine a Championship Section Band attempting that sort of commitment nowadays, not to mention a Fourth Section Band, but it certainly beat 1-a-side cricket and falling out of trees, so this was my pathway to a lifelong musical journey. No chance of getting bored now!

scan0004

Yours truly sat in front of the Bass drum. Stan and my Dad are either side of the Drum, with my Cousin Julian in the back row (6th from right).

So, back to the reason for the blog. Having started my musical journey some cough, splutter, ahem years ago – okay, okay it was 45 years ago, happy? It was a huge privilege, buzz and pleasure to be asked back to the Band as a guest conductor a couple of years ago, with the working relationship getting stronger especially over the last few months, as the previous Musical Director had moved on to pastures new.

The return to the old band room where it had all started did indeed reignite all those memories with a sensory overload to boot. Apart from many friends who are still members in the Band, my cousin Julian (Stan’s son) also still plays, so a stronger link from past to present you couldn’t wish for. Pictures of family and friends (and one or two of me) on the wall, as well as memorabilia from times past, the view of the Gwendraeth Valley down to my home village, not forgetting the “Welshness” of the surroundings, where Welsh is still the main language spoken most of the time. Something I rarely get a chance to do even though I still live in the Principality.

Crwbin 3

Crwbin Silver Band c. mid 1960’s. (Back row 4th from left is my cousin Julian, centre front row in the bow tie is my Uncle, Stan Jones (Bandmaster) and on the right hand end of the front row is my Father, Morley).

Imagine my delight then last weekend (03.08.19) when the Band were crowned 2nd Champions at the National Eisteddfod of Wales in Llanrwst. This was a true return to my roots in every sense, allowing me the opportunity of giving back and thanking the organisation and some of the people who helped nurture me into the person that I am today.

Diolch Seindorf Arian Crwbin.

Thank you Crwbin Silver Band.

National Eisteddfod Llanrwst 03.08.19

Crwbin Silver Band – 2019 National Eisteddfod 2nd Section Champions

For more information about Andrew Jones and Music for You, please visit http://www.andrewjonesmusic.com  Contact andrew@andrewjonesmusic.com or 07973 869621.

Music for You – it’s just that!

 

5 Trumpets and a Flugel Horn

Following on from my last post, where I shared a recording I made of Thomas Morley’s  “It Was a Lover and His Lasse”, here is another track, but from a totally different era.

This one will be instantly recognisable to many of you (especially of a certain age and generation), however the title may well be unknown and l can almost hear the cogs whirring as you try to remember where you’ve heard it from. To find out the answer, you’ll need to read the programme notes at the bottom of the video.

As for the arrangement, it was done by a colleague and friend of mine, Mike Linskey, who I met when I was a student at the Welsh College of Music and Drama in Cardiff (way back in 1985-89). Mike ran his own brass quintet and was a real whizz at arranging an assortment of pieces for the quintet and I asked him to arrange this for a Concert I organised at the College with my Trumpet Ensemble. He scored it for 6 Trumpets, but I added a little extra colour with a Flugel Horn on the 6th part, just to give an added bit of tonal contrast.

Flugel Horn

As always, thanks for your continued support and I hope that you enjoy it!

Click here to view the Video

It’s been a while – to say the least! – since I last posted. Life has been extremely hectic and often things gets in the way of projects that we plan to carry out.

During this period, I’ve been trying to fulfil certain goals and among these goals was a project to record some further music tracks of Trumpet repertoire, both solo and ensembles. If truth be known, it was a bit of a vanity project, however there was a serious aspect to it too, in as much that during the quieter periods of work, one needs to keep playing standards to the highest levels possible and not lose focus on maintaining core skills, such as technique, stamina, range, as well as the ability to swap from one instrument to another.

The track entitled “It Was a Lover and His Lasse” is by English Renaissance Composer Thomas Morley (c.1557-1602), who was Organist of St. Paul’s Cathedral in London and one of the foremost composers of his time, particularly in the writing of Madrigals. It was recorded by James Clarke at Ty Cerdd Recording Studio, at the Wales Millennium Centre in Cardiff.

I hope you enjoy it!

For more information about Andrew Jones, please visit http://www.andrewjonesmusic.com

 

Farewell and hwyl fawr to a National icon

He made the headlines, not only in Wales but all over the United Kingdom and beyond.

He was one of the most well-known and much-loved icons of Wales and his face was recognised by all wherever he went.

His appearances at the Millennium Stadium, (later to become the Principality Stadium) were legendary and caused England Rugby Manager Eddie Jones to name him as one of Welsh team’s added threats. His performances on the field were first class.

He was on first name terms with Royalty, politicians, celebrities and the average man and woman on the street. Children loved him and everyone wanted to have their photograph taken with him.

He was a true figurehead and represented his “Team” with great pride and was the first person you saw leading his Comrades out on public engagements.

He did have a tendency to smell at times and would give you a fair bashing (if he was feeling grumpy) and even though he was only with us for just seven and a half years, he will be greatly missed by all who knew and loved him.

Rest in Peace Lance Corporal, your duty is done!

Lance Corporal Shenkin III (Regimental Mascot of the 3rd Battalion, The Royal Welsh)

 

Who is your favourite Trumpet player of all time?

It never ceases to amaze me how people can differ in their taste and opinions of everyday things and this is certainly no exception when it comes to choosing your favourite trumpet player.

It got me thinking, how do you decide who your favourite is? Is it based on sound alone, is it interpretation, style, phrasing, technique, or a heady mix of all of them? And what would be the spread of votes between A and B or between X and Y?  There are so many different categories and sub-categories of trumpet players that you could compile endless lists of too e.g. classical, jazz, soloist, orchestral, big band, commercial, chamber music etc. etc.

My list is unashamedly self-indulgent and based on my favourite classical solo trumpeters. Whilst I’m sure many of you will have your own thoughts and question the inclusion/omission of certain Illuminati of the  trumpet world, these are just 10 of the many amazing musicians that have inspired, educated and brought us so much pleasure through their performances over the years.

Thanks for taking part and perhaps you’d like to comment why you made your choice.

Music for You – it’s just that!

Music for You is owned by trumpeter Andrew Jones and can be contacted on +44 (0)7973 869621.