Going through some old threads and this one stood out to me. I grew up in The Salvation Army and even bought my 967 through Bill Himes. I heard hin on a recording play "JOURNEY INTO PEACE" (one of his compositions) and never realized how good of a euphonium player he is/was. As a young Euphonium player at 12ish, Major Thomas V. Mack (New York Staff Band) was my tonal Idol. Tom's sound was so warm and beautiful. In my first soloist competition at age 15, someone compared my sound to his and that is STILL the greatest compliment I could ever receive. I played 2nd Baritone in the NYSB when Tom was playing 1st Baritone and just being around him was an incredible experience. Derek Kane of the International Staff Band was also an Idol of mine. In 1992 when the NYSB toured Great Britain, I had a chance to pose for a photo with the two of them. Their sound and technique is so amazing. I left the NYSB in 1994. At that time Aaron VanderWeele has joined teh band from California. He's a good player.
Growing up in The Salvation Army was such a surreal experience. Guys like Peter Graham, Steve Bulla, and so many others were my camp music instructors, I didn't realize how much today, I loathe The Salvation Army and miss it at the same time.
Originally Posted by
davewerden
I'm pretty sure I did not have a modern concept of the "British sound" in my early CG Band days. I had old records from British brass bands and know what some of their soloists sounded like. The tone color appealed to me (although in that era they cut off notes with their tongue in an obvious way and had vibrato that was wider/faster than I liked). The NS Besson I had sounded better than my old King, so I had that much of a concept. In 1978 at a T.U.B.A. conference I had a chance to try to Willson and Hirsbrunner, and thought they sounded nice, but too sterile compared to the Besson. Still, I desired a larger, darker sound. Next I heard a couple British players, or at least British concept players: William Himes from the Chicago Staff Band of the Salvation Army and Wilfred Mountain of the Hollywood Tabernacle Band (also SA). Himes especially had an amazing tone. It was dark, rich, and filled a large concert hall with no sense of strain! In 1980 I heard 21 brass bands in Royal Albert Hall (London) and got a reinforced concept, but along the same lines.
At that 1978 conference I played a (privately-owned, not-yet-imported) Besson 967 and fell in love with the tone. I was able to get one in 1980 when I became a Besson artist.
My concept is that a British sound should rich and full, and I also like it to be large (though some Brits prefer the smaller sound of the NS or the Sovereign 968). There has to be an attractive "core" to the sound.
In my experience, I find that sound in the Adams, Besson (though not as much as when they were made in Britain, and allowing for that fact I have not played the new -2 model), and Sterling Virtuoso.
DANA
Meet the Family
Junior - Euphonium - 1906 - Henry Distin Mfg.
Hastings - Trombone - 1952 - Boosey and Hawkes
Bramwell - Euphonium - 1988 - Besson/Boosey and Hawkes (BE967)
Margaret - Baritone - 2015 - Sterling1050HS
Albert - Eb Bass - 2023 - Dillon 981S
New York Staff Band - 2nd Baritone - 1991-1994
Philadelphia Freedom Band - Euphonium
Lancaster British Brass Band (all hail the 2nd baritone) - 2022-