Superbrass
(Published in The Brass Herald)

It is in fact away from London, in a dark back street tavern, where the secret content of this article is revealed to me. I am standing alongside Roger Argente, Bass Trombonist with the Royal Philharmonic Orchestra and Head of Brass at Trinity College of Music. All is kept shrouded in mystery and I am told to report to Music Bank Studios the following week. It is only later that I fully appreciate Roger's concept. SUPERBRASS; a brand, inaugurated by the release of an album dedicated to the unsung heroes of the music business entitled 'Under the Spell of Spain'.

I arrive at Music Bank Studios and am immediately intrigued when I see renowned saxophonist and composer Colin Skinner disappearing round the corner. I am still unprepared however for the wealth of musical elite which greets me as I enter the studio. The majority of the Royal Philharmonic Orchestra Brass Section are chatting in the corner; Brian Thomson, Mike Allen, Adam Wright, Matt Gee and Kevin Morgan. I look the other way and see trumpeters Toby Coles and Paul Mayes talking to trombonists Mike Hext and Phil White. French Horn celebrity Chris Parkes is there and so are percussionists Andy Barclay, Paul Clarvis, Michael Doran, Matt Perry and legendary drummer Mike Smith.

It is lunchtime and people are dashing around in a frantic buzz of productive energy. Roger approaches and I manage to ask him the first of so many questions I have running through my mind; how did this all begin? "SUPERBRASS started in early 2005," he told me. "I was hurriedly given an opportunity to put together a brass dectet following the last minute cancellation of a concert at Blackheath Halls. The concert in question was, and still is, an annual event at Trinity College of Music called the TCM Brass Massive. This event is still considered the highlight of our brass students’ year and was conceived to inspire and stimulate brass playing in that part of Town. It not only 'shop windows' our own students, but just as importantly involves younger musicians from the community working alongside a professional brass soloist or ensemble. Four days to go, I quickly telephoned around and persuaded colleagues I really admired to come along. They did, and the rest is as they say history! The name SUPERBRASS itself just popped out in a hurried conversation with the programme designers to be used as working title for the fabulous group of brass players I had persuaded to travel over to Blackheath that day. It has been the name ever since!"

We are interrupted as Frank Renton and Pete Beachill take Roger away for a video interview. At that moment, Mike Lovatt walks past holding a SUPERBRASS mug filled with tea! I jump on the opportunity!

I have no doubt that Mike is frequently asked to participate in a spectacular array of projects knowing of his work with the stunning John Wilson Orchestra and singer Jessye Norman. I quiz him as to his initial reaction when Roger approached him with the concept of SUPERBRASS. "I must admit, like any of these projects, time is always the worrying factor," he reveals with typical Mike Lovatt honesty! "But I think Roger has got it right here," he continues, "we've really been allowed to get into the 'nitty gritty' of the music, it's been great!"

I enquire as to any particular highlights. "My first professional gig was actually with the BBC Symphony Orchestra, so it's lovely to sit next to guys like Phil (Cobb) and copy that style again," he smiles with his typical humility.

Mike heads off to chat to Tom Watson from Prozone Music who is engineering the recording and album producer John Hutchinson. I am not alone for long though as an excited Roger Argente comes beaming towards me. I ask him why he has waited until now to make a recording. "I suppose the easy answer is lack of time," he says, "but using the old cliché; every cloud has a silver lining; I came off my motorbike on some black ice in the early part of 2010. Fortunately though, I didn't really hurt myself but the weight of the bike landed on my ankle and resulted in me being stuck at home with my leg in plaster for over three months. Even though a recording project had been discussed for a couple of years prior, quite simply if it hadn't been for that enforced home exile I don't think this would have ever happened," he admits.

Roger soon dashes off again and this time I am left talking to the friendly face of Andy Wood. I ask him how these sessions compare to his 'day job', considering he works alongside such luminaries on a daily basis. "Normally we are all working on the music that is put in front of us," he tells me. "The difference here is that Roger has had the music specially written with all of our fortes in mind, allowing us to be really creative. Working with such a wonderful set of guys produces an amazing feel good vibe, it's very enjoyable," he smiles.

Just as everyone is about to head back into the recording studio I manage to ask Roger how he has approached picking the musicians here today. "There is no point in picking all the top players if they don't get on with each other or if they aren't prepared to work together and play in the same style!" he exclaims. "Additionally it's a case of judgement and personal taste. In my professional life I regularly look around and consider what strengths we have here in London and it's quite frightening, especially right now with the standard of some of the younger players coming out of the colleges. Some people will disagree, but effectively the vast majority of London brass players are freelancers who turn up to work on a daily basis in studios, rehearsals rooms and concert halls. We are expected to come together as an ensemble or orchestra straight away, even though collectively we may all come from different orchestras with different personal styles, tastes, educations and attitudes. To be able to survive in this tremendously fickle and difficult world, you've got to have your musical radar on at all times and I believe the players on this album have an abundance of these skills which ultimately makes for a strong team ethic and dynamic."

As the guys head back into the studio I sit back with a great feeling of anticipation and excitement growing inside me of what I am about to hear. I am not disappointed! The first piece is from the pen of Mark Lockheart, winner of the 2010 Parliamentary Jazz Musician of the Year. Named 'Castles in Spain', it features Frank Ricotti on marimba and solos from Jim Lynch on trumpet and Andy Wood on the 'Flugalbone'! The playing is stunning. With the typical clarity of work ethic which has become expected by the echelons of the music business from these highly talented musicians, my enjoyment is short lived; only because the track is 'in the can' without any fuss and they are ready to move onto the next number. It is a trombone feature written by celebrated trombonist and composer Mark Bassey. Again showcasing the ubiquitous talents of Andy Wood, this time on his indigenous trombone! I listen on in amazement as he displays his flamboyant technical ability whilst always taking care with musical lines. Suddenly it is over to Mike Lovatt; mighty bold lead trumpet playing with a real classy finish. The musicianship is simply outstanding; so together, in tune and with constant stylistic consideration. Something very special is going on in that studio!

I have one last opportunity for a chat with Roger during the afternoon tea break. I ask his thoughts on what makes SUPERBRASS different compared with other brass groups. "I find this question difficult to answer," he admits, "but what I can say is this group of players is very much influenced by the Philip Jones Brass Ensemble, which coincidentally first started 60 years ago this year. The baton was then handed over to their successors London Brass who have continued development in the fashionable area of 'cross-over music'. I also really enjoy the theatre and versatility groups such as Mnozil Brass and Spanish Brass bring to the arena but, being practical, you can't ask leading players drawn from London orchestras to commit to the amount of rehearsal that such choreography and memorising of music takes and which those guys have dedicated themselves to for many years. I really admire what they've done, but all the SUPERBRASS guys have other gigs to do. I decided very early on that it was the choice and style of repertoire that would be our strongest calling card. We originally had eight new commissions plus seven arrangements done for this album, stylistically starting with Medieval, through Baroque, Renaissance, Folk, Classical, Contemporary and Jazz and fused together through the country and people of Spain; a land which is very close to my heart. I've worked with all the composers in different guises either in a teaching or playing capacity and the fact that all of them are still working musicians themselves allowed us to have simple lines of communication; we'd meet in the corridor at college or on gigs and the pieces evolved around these chance meetings. It also allowed us as players to then have a special ownership of our material, to challenge our own playing and take it to the next level. In addition several of the compositions have been written to feature certain players' styles and strengths and all of the music will be available to buy."

Finally, I wondered what plans Roger had for the Group in the future. "We've got several education projects lined up plus we've got a gig in a few weeks time on the Southbank at the Royal Festival Hall as part of the Festival of Britain and the BBC's Light Fantastic Weekend. There are potential touring and festival offers, but I must admit that although I'd be very pleased to take a few more dates on it's difficult battling schedules. Consequently, the main emphasis is on expanding our educational links, while developing another similar recording project for March 2012. Considering the Olympics, we've already done several projects for the Cultural Olympiad, but performing during the main sporting period next summer will be down to funding. If it does come off it will be a huge project involving all the London boroughs, fingers crossed!"

I had planned on concluding this article by proclaiming that I could not wait to hear the finished product, and that ordering a copy of the CD was merely a necessity having had my appetite already whet. However, I must confess that by the time my schedule has allowed my pen to touch this paper the dulcet tones of the album are bellowing across my lounge from a Hi-Fi! I am highly conscious that this script is not a review of the CD, however what I can say is that having now heard the fruits of the playing from the day preceding my visit to the studio, my levels of amazement have been pushed as far as I can ever recall.