Arrangements for Brass

Record and Artist Details

Label: Orfeo

Media Format: Cassette

Media Runtime: 0

Mastering:

DDD

Catalogue Number: M166881A

Label: Orfeo

Media Format: CD or Download

Media Runtime: 74

Mastering:

DDD

Catalogue Number: C166881A

Label: Orfeo

Media Format: Vinyl

Media Runtime: 0

Mastering:

DDD

Catalogue Number: S166881A

The name of the group, Munich Brass, is not a translation, the notes tell us, Munchner Blech was thought not to sound right, as well as being difficult (though not for the three Bavarians in the group, surely?) to pronounce.
What does undoubtedly sound right, however, is the quality of the group's playing, and, where relevant, the quality of the arranging. A wide range of music is covered, as the titles clearly show. This gives the exceedingly skilled players an opportunity to display their understanding of many different styles, ranging from classical in the Bach, romantic (within the context) in the Ewald, through salon in the Monti to idiomatic even in the jazz mode for the Gershwin and some others. Throughout this very varied repertoire nobody could wish, surely, for better performance, or better recording.
Where I do think there is room for doubt is about the quality of booklet information; searchers after facts are going, too often, to have to search elsewhere. The Bach Introduction and Fugue, for example, is identified only by ''... Bach, who gives us some mighty and dazzling trumpet sounds''. In fact what Bach gave us was taken from a harpsichord partita and an organ prelude and fugue. Some slip of tongue or pen faithfully reproduced, gives the fourth tune of the Gershwin medley as The lady is a tramp; as this is a Richard Rodgers tune, anyway, should not somebody have queried it, and found that the fourth tune was in fact Lady be good? Yet I was delighted to see Tailgate-Posaune as the German for ''tailgate trombone''; less delighted to see the French translation as trombone a piston if you are playing a valve trombone on the back of a lorry, in New Orleans or anywhere else, you do not have to let the tailgate down to accommodate the slide, do you?
In fact the Gershwin medley is beautifully arranged by Richard Roblee, who is properly identified, and who also contributes three most agreeable American Images in something of a Copland vein. There is also the Malcolm Arnold Quintet, impeccably played. This is a very good record, in all the more important ways.'

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