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I first met Bill Pearce in 1974 while a student at Wheaton College. My friend, Jim Roskam, was playing an LP of Bill's down the hall from my dormitory room and I was astounded with his tremendous trombone artistry. Of course Bill was far more than a trombone player - he was a pioneer of Christian radio broadcasting, and a gifted vocalist who sang in a duet team with Dick Anthony. He was also a member of the Melody Four Quartet and the Sixteen Singing Men. His radio program Nightsounds is heard around the world with Bill's unique blend of music and commentary.

Earlier today, I was interviewed for the radio program Prime Time America, produced by WMBI Radio, the radio station of Moody Bible Institute in Chicago where Bill got his start in broadcasting. I was honored to be asked to say a few words in tribute to Bill, along with Dick Anthony and George Beverly Shea (who is 101 years old and worked alongside Bill in many vocal groups). If you have a chance to listen to this program, I am sure you will be moved, as was I, by George Beverly Shea's account of Bill's final moments before he died. You can hear the program (archived on the Moody Radio website) in the first hour of the Moody Radio Prime Time America on February 25, 2010.

It is impossible for me to sum up Bill's influence on me. Along with Edward Kleinhammer and George Roberts, Bill Pearce is one of my greatest trombone role-models. His sense of phrasing and legato - and the beauty of his articulation - are things I have worked to emulate for all of my professional life. Bill was also a person of great humility and kindness. His willingness to narrate passages from the Bible on my CD Cornerstone is indicative of how Bill did things. To say his voice added measurably to the album is a profound understatment. I am just so pleased that even though he is now gone from this earth, his voice, trombone playing and legacy continue.

In 1998, I interviewed Bill for an article for the Online Trombone Journal (photo at left). That interview has been read countless times, and each reader has gotten to see Bill talk about the trombone, his work in radio, and his Christian faith. He was also very open about his struggles with Parkinson's Disease which had then just recently been diagnosed. Over the years, I kept in touch with Bill. He rarely complained about his condition; instead, he always wanted to talk about the trombone, about trombone players and to find out how I was doing. He rarely allowed the conversation to turn to himself.

When the interview went online, I invited readers who wanted to send Bill a note or card of appreciation to send it to me and I would then forward it - unopened - to Bill. Over the years, many people did this, and Bill often talked of how he was so greatly encouraged by those messages. He was not able to reply to them due to the Parkinson's Disease, but they meant so much to him. Those of you who are reading this should know what an encouragement you were to Bill.

If you have a chance, visit the Nightsounds website and order one of Bill's many trombone recordings. His "Touch of Gold" anthology is a convenient way to sample Bill's trombone playing over a nearly 50 year span. You will not fail to be impressed - not only by his unique kind of trombone artistry, but by the man who meant so much to so many, including me.

In our house, we always tune in the Tournament of Roses Parade, held annually in Pasadena, California. The beautiful, colorful floats - that must be covered entirely with natural flowers and vegetation - are certainly a focus of attention. But for us, it is the bands that bring us back year after year. Because in 1973, I marched in the Tournament of Roses Parade - a memorable experience that gave me my first taste of significant travel as a member of a musical organization.

In 1972, shortly after I began my senior year in high school, I was chosen for the McDonald's All-American Band. This band, put together for several years by the McDonald's Corporation, selected two high school students from each state and one from the District of Columbia to form a 101 piece marching band. The band marched in two parades: the Macy's Thanksgiving Parade in New York City (November 23, 1972) and the Tournament of Roses parade, always held on January 1. I was a senior at Jefferson Township High School in Oak Ridge, New Jersey, having moved to New Jersey from Valley Stream, New York, in the summer of 1971. That same fall, I was selected to be principal trombonist of the New Jersey All-State Orchestra and bass trombonist of All-Eastern Orchestra (which met in January 1973 in Boston - my first trip to what was, many years later, to become my home town). My fellow member from new Jersey in the McDonald's All-American Band was Jeffrey Venho fro Glen Rock, New Jersey (Jeff has been principal trumpet in New Jersey All-State Orchestra that year).

The trip to California with the McDonald's Band was a thrill; I shall never forget the feeling I had when I stepped to curbside at Los Angeles International Airport and saw a live palm tree for the first time in my life. From there it was to the campus of UCLA where we rehearsed, and then finally to Pasadena on January 1 to march in the great parade. The photo above shows me (far right) with Jeff Venho, Betty White (grand marshall of the Parade), conductor Paul Lavalle (who at the time was music director at Radio City Music Hall in New York City) and Sally Noren, the Rose Queen. The day dawned with beautiful weather and the parade was a blur of memories. The crowd was enormous, the parade route very long, and the sense of "moment" very strong. In the photo at right, I can be found in the front rank of the band, third from the left, marching along the double line. January 1, 1973 - a big day in a decade long past, but a day that each year brings back strong and wonderful memories.

The decade we have just completed - what WILL we call it - the "zeroes" - the "Ohhh's" - the "Oughts"?? - was full of events that are unforgettable. Surely the most memorable were the terrorist attacks of September 11, 2001. A day doesn't go by without some reminder of that terrible day and its effects are still with us, nearly 10 years later. Yet time moves on. In my own life, there have been many memorable personal experiences in the last 10 years, many of which are documented on this page. I do not know what the future holds, but I do know that God will lead in the life of me and my family, and I consider myself a very blessed man to have a wonderful, faithful wife of nearly 35 years at my side with whom to walk side-by-side into what awaits. Happy new year, friends. On to the 10s.

My daughter, Robin, recently sent me a link to a YouTube video that was filmed during my first season in Boston, 1985. It shows John Williams leading the Boston Pops Orchestra in Leroy Anderson's classic, "Sleigh Ride." Watching this video brought back so many memories of colleages now long gone, and of a time when the pace of concerts was more relaxed. Perhaps you, too, might enjoy this trip down memory lane. For those interested, the brass section includes: Norman Bolter, Larry Isaacson, myself (trombones), Chester Schmitz (tuba), Charles Daval, Peter Chapman, Andre Come, Bruce Hall (trumpets), and Richard Sebring, Daniel Katzen, Jonathan Menkis and Richard Mackey (horn). Click on the image below and enjoy it yourself. Merry Christmas!

The Symposium was devoted to the cornett - also called the cornetto or, in German, zink. The cornett (not to be confused with the brasswind instrument that is a cousin of the trumpet) is one of the most beautiful sounding instruments in the world. As the serpent has often been considered part of the cornett family (although there are significant differences between the two instruments), the serpent was grandfathered into the Symposium. This was a happy decision for serpent players and it is what allowed me to take part in the Symposium in some particular ways.

After an overnight flight from Boston to Frankfurt, I took a train to Hanover where I was met and driven to Michaelstein. Stiftung Kloster Michaelstein has taken over a 12th century monastery that houses their institute for the study of musical instruments. It is a stunning facility, with a medieval cloister (see the photo above, left), a Rococco chapel (built after the monastery was dissolved and converted into a school), and many other buildings with three foot thick walls. To be in such buildings is to be transported back to an earlier time - a time without heat in every room, with windows that were Roman or Gothic arches, and a feeling of a different pace to life. My room was simple but well appointed (photo above, right), and I was inspired by practicing in a room that was centuries old.

Over 40 scholars gathered for the Symposium and papers were presented on a great many topics. The serpent was well represented not only by me, but by the fine French serpent player, Volny Hostiou. While I had known of Volny's playing for several years, we had never met, and Symposium organizer Monika Lustig asked if the two of us would give a recital of duets for serpent. Volny and I agreed, and when we both arrived in Michaelstein, we found we had an immediate connection that made preparing the recital great fun. The small chapel where we gave the recital was unheated - my guess is it was about 55 degrees inside at the time we gave our recital (photo at left). Yet it was the perfect location, one that made us and all those who filled the chapel recall a past time when heat could not be taken for granted. Our program contained music from the 16th to 20th centuries. For many who were present, it was the first time they had ever heard the serpent and judging from the generous applause and later comments, it seemed we made a positive impression and helped to further the positive reputation of the serpent.

The presentation of papers by scholars was the main part of each day. For my topic, I chose a subject that has been of great interest to me, "Marches and Divertimenti: Haydn and the Serpent." 2009 is the 200th anniversary of Joseph Haydn's death, so with this topic, I hoped to add something to both the serpent and Haydn literatures. Haydn's writing for serpent - in three Divertimenti for winds that are attributed to him and in four marches for English military bands - is superb. I collected all of the existing manuscripts of these pieces and prepared a Powerpoint presentation of the scores along with images of serpents, iconography from the British Museum, and audio recordings of the works I discussed that were made by several of my Boston Symphony Orchestra colleagues who joined my playing serpent. I was very gratified by the tremendous and generous response of those present and since I have arrived home, I have been working to put the finishing touches on what will be the print version of my paper that will be published in a book of the Symposium's proceedings sometime next year.

There was also a fine exhibition of musical instruments that had been assembled for the Symposium, focusing on the cornett and serpent (shown at right). The serpent in the display case is a fine example of an early military serpent (possibly German in origin, c. early 19th century) that has some significance to my paper and my search for the earliest English military serpent. The serpent Forveille (shown at far right in the cabinet) is a form of upright serpent that I also played and demonstrated on my upcoming serpent DVD project (for more on that, see my sabbatical diary entry for June 10, 2009). The exhibition was a great way to bring more tangible reminders of what we were studing to the participants. For me, music is always to be played, and bringing more instruments to us allowed all who were gathered to bring the music alive off the page.

In addition, there was a vigorous "round table" discussion on the subject of the bass cornett, an instrument that scholars are certain existed but whose use is really not completely known. As I had played one of three bass cornetts that have been made in modern times (once again, see my sabbatical diary entry for June 10, 2009 for a photo of me with a bass cornett), I was asked to take part in the discussion. It was fascinating to say the least.

I left Michaelstein exhilirated and energized, with many questions answered and many new trails down which to walk. My new friendship with Volny Hostiou will, I am confident, lead to future collaborations. Already an International event devoted to the serpent is being planned for Paris in 2011 - I will be there, for sure. As I continue to explore early music, I find the lens through which I view my trombone playing with the Boston Symphony changing in ways big and small. Next week, the Boston Symphony will be playing Beethoven's great Symphony 9 and in those performances, I will be playing a German bass trombone made in the 1920s by Kruspe. Playing these old trombones - which represent the zenith of German trombone making - adds a different kind of sound to our trombone section and to the BSO. It is a sound that has captivated every conductor who has heard them. I feel very fortunate to be in a trombone section that appreciates the value of the old as we push forward into the future. My experience in Michaelstein is just another in my musical journey that has given me much to consider and which is leading me into new ways of thinking and performing.

In 1979, I interviewed for the position of Director of Bands at St. Thomas Aquinas High School in Edison, New Jersey. The advertisement in The New York Times said to reply to "Father Alliegro." Misreading the name, I assumed that "Father Allegro" was a code name for the music position at the school. It wasn't until I arrived for my interview that I realized that Father Alliegro was not only truly a person, but he was a person who would have a significant impact on my life.

I was hired for the position at STA (now Bishop Ahr High School) and knew I had work to do. I am certain there were better qualified candidates than I that were passed over. But there was something about how Father Alliegro and I interacted that was more than that of employer and employee. Eight years my senior, he was still a young man at the time, and he had his hands full administering a high school. My hands were full, too, leading the concert band, marching band and beginner band, teaching music theory and a class titled, "Bach to Rock," conducting the school musicals and scoring half time shows. The pay was low and the work was hard, but with the support of of "Father Mike", I pushed forward and did my best.

Michael Alliegro was a kind man who was intelligent and wise beyond his years. His confidence in me bouyed me and helped me shepherd my students to be not only better players but better people as well.

The highlight of my two year tenure at St. Thomas Aquinas High School came early in my tenure, when our band was selected to perform at Pope John Paul II's visit to Battery Park, New York in October 1979. I wrote about this in my "What's New?" entry for April 2, 2005, below. It was a big moment for our school and its students, and Father Mike and I often talked about the special significance of the event for all of us.

I left STA in June 1981 after the school's annual graduation ceremony was over. I had won the position of bass trombonist in the Baltimore Symphony and I was leaving for Baltimore the next day. After graduation, I cleaned up (I am convinced that half the life of a high school band director is spent "cleaning up"), locked up the band room and went to the main office to turn in my not inconsiderable ring of school keys. I saw Father Mike at the end of the hallway and after getting his attention, I sent my keys down the hall as if they were a bowling ball. They came to rest at Father Mike's feet. "God bless you, friend," he said. And I was on my way.

We kept in touch from time to time, and several years ago I learned he was dealing with cancer. Last October, my wife and I had dinner with him and Dr. Glenn Fortin, one of my former students at STA all those years ago (Glenn was a flute player and is now a pediatrician) in New York City, before a Boston Symphony Concert in Carnegie Hall. Our dinner was a very special time, and I took the opportunity to thank Father Mike for his confidence in me, for his giving me a chance at my first full time music job. He was gracious but I could tell that he was very happy for and proud of me. A piece of him went with me from STA on to Baltimore and then to Boston. It was the last time I saw him.

Later this week I will drive to his funeral at the Cathedral of St. Francis of Assisi in Metuchen, New Jersey. Rev. Monsignor Michael J. Alliegro will be laid to rest. I am a better person for having known this Godly man and man of God. Requiem aeternam dona ei, Domine.

Several months ago, I was asked to help in the development of the trombone area of a new Yamaha website titled, MEET THE BAND. This site is designed for beginners to learn more about the instruments of the band, to get some information about the instruments, view a short instructional video, and get advice from notable professional players. I was very pleased to be asked to help put together the trombone area of MEET THE BAND and today, the trombone section of the website was launched. I hope you will enjoy this new resource and that you will pass it on to others who might find it to be helpful. Click HERE to go to MEET THE BAND. Once there, click on the musical note icon above the word "trombone" and you'll be on your way.

Readers of my website know of my long time love of early bass brass instruments - in particular the serpent and ophicleide - and the Early Brass Festival afforded me an opportunity to engage in performance on both of those instruments.

Several years ago, my good friend, Craig Kridel, founded Berlioz Historical Brass, a collective of players who share a love for early brasses. Through BHB, we have engaged in a number of performances and scholarly explorations as we continue to work to understand the sound and role of these instruments.

At this year's Early Brass Festival, I took part in two events. The first was a lecture/demonstration on the bass cornetto. This instrument is a curiosity in the early brass family and there has been virtually no significant research into its shape, size and sound. Craig commissioned a modern reproduction of a bass cornetto from the maker Roland Wilson (a photo may be seen on my sabbatical diary entry for June 10, 2009). Craig and I demonstrated both the serpent and the bass cornetto, and then engaged in a discussion of what the sound of the bass cornetto might have been liked by using a variety of mouthpieces on the instrument. The purpose of this presentation was to, in a sense, toss a match into the discussion about this instrument and see what might come of it. Already there is new discussion about the bass cornetto and we look forward to continued explorations.

The main event of the weekend was the presentation of a concert by Berlioz Historical Brass. This concert had three parts. In Part 1, Ralph Dudgeon (keyed bugle), Jeffrey Snedeker (natural horn), David Loucky (19th century trombone) and I (ophicleide) performed a fanfare that was written for the Historic Brass Society by British composer Simon Proctor. It was a treat to work closely with these friends, and David Loucky and I enjoyed particular conversation about the ophicleide. David is a fine ophicleide player; you can hear samples of his playing on his website. The photo at left shows Craig Kridel (English bass horn), Ralph Dudgeon (keyed bugle), myself (ophicleide) and David Loucky (19th century trombone).

After the fanfare, the concert turned its attention to the premiere of a new work by the English composer, Clifford Bevan. Mendelssohn's Seasons was commissioned by Berlioz Historical Brass and was written for natural horn, trombone, English bass horn and ophicleide with choir. Conceived as a tribute to the great composer Felix Mendelssohn, the piece utilized four brass instruments that Mendelssohn used in his works. The conductor was Wim Becu, the noted Belgian bass sackbut player, and the choir was the Anglican Singers of New London. The photo above, at left, shows the forces assembled before the performance.

Performing this work was a joy. Clifford Bevan is a friend, and I have recorded two of his previous compositions, Les Mots de Berlioz and Variations on "The Pesky Sarpent" on my compact disc of music for serpent, Le Monde du Serpent. A member of the London Serpent Trio, he is also the author of the definitive book on the history of the tuba and the bass brasses that preceeded it - including serpent and ophicleide - The Tuba Family. The choir was excellent and Wim Becu brought out the very best in all of the participants.

Craig Kridel played the English bass horn (pictured at left, along side me, playing ophicleide), a short-lived form of upright serpent that Mendelssohn used in a number of his works including A Midsummer Night's Dream. This concert was a rare opportunity for people to hear the sound of the English bass horn as it is exceedingly rare to see one in performance; in fact, Craig is the world's leading exponent of this fascinating instrument.

The final part of my involvement in the concert was giving the world premiere of Therese Brenet's De bronze et lumiere, a solo for serpent and piano. This was a special opportunity to bring the serpent squarely into the 21st century. My accompanist, John Anthony, and I were delighted with the strong response of the audience that enthusiastically greeted our performance. Therese Brenet is perhaps the most well known composer to write for the serpent since Hector Berlioz, and giving the premiere of this new work was a very satisfying way to conclude my involvement at the 2009 Early Brass Festival.

July 1, 2009 - NEW
Today I officially completed a six-month sabbatical from the Boston Symphony Orchestra. This was a remarkably rich time for me, during which I logged over 40,000 air miles, travelling around the world to engage in trombone recitals and teaching, early music performances, guest conducting and much more. During this time I kept a diary of my activities which I updated every few days; today I posted the final update. Click HERE to visit my SABBATICAL DIARY.

I auditioned for the Boston Symphony twice. While I was the winner of the first audition I took in 1984, then Music Director Seiji Ozawa decided not to hire anyone at that time. Instead, I was asked to play with the BSO at its summer festival home, Tanglewood, for two weeks, travel with the orchestra on a European tour for several weeks, and return to Boston to record Strauss' Don Quixote with Yo-Yo Ma as cello soloist. That was a great, memorable time for me, and I got a taste of what my musical life might be like if God led my life in such a way that I might win the next BSO audition. Win it I did, in December, 1984, and on May 14, 1985, I officially joined the Boston Symphony and played my first concert as a member.

On the night before my first BSO concert I played a concert in Carnegie Hall with the Baltimore Symphony Orchestra, my last with that fine orchestra with which I played for four years. The concert in Carnegie Hall had several Boston connections. The violin soloist in the Dvorak Violin Concerto was Joseph Silverstein, the Baltmore Symphony's Principal Guest Conductor and then concertmaster of the Boston Symphony. Joe Silverstein was the person who told me that Boston would be having a bass trombone opening and he was always very kind and encouraging to me. The final piece on the concert was Bartok's Concerto for Orchestra which received its world premiere by the BSO in 1944. After the concert, I drove to Boston and the next day began my career with the BSO.

In May, the BSO puts on its "other hat" and turns into the Boston Pops Orchestra. My first service with the orchestra was a concert - no rehearsal - that was televised for broadcast on "Evening at Pops," one of the longest running television series on our Public Television network. Norman Bolter was playing principal trombone in the Boston Pops Orchestra, John Huling (who later went on to play second trombone with the National Symphony in Washington D.C.) was playing second trombone and Chester Schmitz was the tubist. John Williams was on the podium. When I look at that first program I played (above) I smile and remember that feeling I had when that first downbeat came. It was the begining of something very special.

There were no fireworks tonight, no big celebration to commemorate the beginning of my 25th season with the Boston Symphony. But when this day rolls around each year, I spend some time thinking about that day many years ago when this important chapter of my life began. It has been a great ride and Lord willing there is more yet to come.

For more information about the DVD, or to view the interviews of me and Terry Everson, visit my new Opening Ourselves To Grace page.

Phil and enjoyed collaborating on two pre-concert talks on December 20 and 21, introducing the serpent to audiences. Phil played his c. 1840 English military serpent by Francis Pretty and I played my English military serpent by the late Keith Rogers, which is a copy of a Pretty serpent owned by Andrew van der Beek, an original member of the London Serpent Trio; the photo at left was taken in my locker room at Symphony Hall in Boston as we rehearsed and planned our talk. We had such great fun, and I recommend the Revels to anyone who wants to have a very creative, enjoyable evening of entertainment centered around Christmas time.

I will look forward to seeing Phil again in May when I travel to England to take part in the 2009 Serpentarium. My serpentine adventures continue!

In 1997, I had played Simon Proctor's Serpent Concerto with the Boston Classical Orchestra, conducted by its then music director, Harry Ellis Dickson. The BCO is a chamber orchestra, now conducted by Steven Lipsitt, that gives a series of concerts each year in Boston's historic Faneuil Hall. The orchestra has hosted many soloists of "unusual instruments" including a tuba duet, glass harmonica, alphorn and serpent. The venue is intimate and the audience is always very engaged. I approached Steven Lipsitt earlier this year about the possibility of my premiering a new concerto on serpent and, as well, playing a solo on ophicleide. Steven was immediately responsive to the idea and the performances last weekend were a rousing success. Gordon's serpent concerto is the most difficult thing I have ever played on serpent, a tremendous challenge. The orchestra played beautifully and I was especially happy that the composer could make the trip to Boston to enjoy the performances. I also played an aria by Handel, his "O Ruddier Than The Cherry" from the opera Acis and Galatea, on ophicleide, in tribute to the great 19th century ophicleide player, Samuel Hughes, who had popularized the piece in performances with the celebrated Cyfartha Band (Wales) and Jullien's orchestra in the mid 19th century.

The photos on left and right show me in rehearsal with the Boston Classical Orchestra in Faneuil Hall. A special part of the week of rehearsals and concerts was a radio interview I gave in the studios of WBUR, Boston's National Public Radio station, on the nationally syndicated program "Here and Now" with Robin Young. The interview afforded me an opportunity to talk in some depth about the serpent and ophicleide and demonstrate both instruments. The interview is archived on the "Here and Now" website along with photos and a video from the interview.

I was also pleased that the Boston Globe's music critic, Jeremy Eichler, gave the concert a positive review titled, "A serpentine member of orchestras past." Complimentary of not only my own playing but of the orchestra and Gordon Bowie's compositional gift, the review was a generous and satsifying conclusion to a very special week of music making in my home town.

Earlier this month I made a trip to The Netherlands to take part in one of the most memorable trombone events of my career, the Dutch Bass Trombone Open. This event, held near Amsterdam, was the brain-child of three Dutch bass trombonists: Marcel Schott, Erwin Dijkstra and Bert Damsma. I had heard about the first DBTO, held in 2006, where Bill Reichenbach, Ben van Dijk and Csaba Wagner were the artist/teachers. When I was invited to come to the 2008 edition of the DBTO, I was thrilled to hear that my friend Ben van Dijk would be there as well as Phil Teele, one of the great bass trombone players in the west coast studio tradition. The photo at left shows the team, with Bert, Erwin and Marcel (top) with me, Ben and Phil (bottom)

Held in the castle (now converted to a hotel and conference center) Oud Poelgeest, this was one of the best organized and most enjoyable events I have ever been a part of. This is due to the fact that the DBTO team - Marcel, Erwin and Bert - did a fantastic job of organizing the event and providing both faculty and participants with every possible convenience. It was a fast paced but also very relaxed event. In total there were 42 bass trombone players in attendance from 13 countries (the DBTO is very proud to say that, "No tenor trombones were harmed in this event."), and they were divided into two groups. Each group met concurrently with either Phil Teele or with me, and we gave the same sessions to each group. My topics were, "Legato: Unlocking the Mystery" and "One Size Does NOT Fit All." I also gave a session for the whole group on the important subject of ergonomics. I found the participants to be very responsive to all of the comments of the teachers throughout the weekend, and we all interacted very well and collegially. To see a group of players of various playing levels and ages - from students to retired players, from fine players to those who were less accomplished - work together so nicely was a real pleasure. There was no sense of competetiveness between all of us - we were all there to learn, interact and have a good time.

I couldn't possibly mention all of the highlights of the weekend - which went by much too quickly - but here are a few. The food was absolutely fantastic. Oud Poelgeest is a really interesting place to have the event and I enjoyed the architecture of the various buildings and the setting was truly beautiful and inspiring. Seeing Phil Teele in action - his book of pedal tone warm-up exercises is nearly legandary - was a special treat; we became good friends through the weekend. Phil has played on over 1000 movie scores and we enjoyed sharing stories about John Williams and other conductors and composers for whom we have each worked. Being with Ben van Dijk again was wonderful; Ben is one of the most positive people I have ever met and he demonstrated his fine playing at the faculty recital on the first evening. The trombone ensembles were great fun to work with - whether I was conducting (20 bass trombone players in Ben's arrangement of excerpts from Wagner's "Ring Cycle" for bass trombone ensemble - see the photo, right), listening (to Phil conduct an arrangement of music from "The Pirates of Penzance" for 20 bass trombones) or playing (in Bill Reichenbach's "Getting Medieval" played by 41 bass trombonists).

It was also great to see Yamaha (which was a major sponsor of the event), Thein and Atelier Pfeiffer (a leading music shop in The Netherlands) all display instruments and accessories for everyone to try and buy. A special highlight for me was performing as soloist with Brassband Schoonhoven conducted by Erik Jansen. I chose to play several pieces that I recorded on my CD, "Proclamation" including the title track by Gordon Langford and Bill Geldard's "Stella By Starlight" in tribute to George Roberts. A special treat was being asked - at the last minute - to play Joy Webb's "Share My Yoke." The timing of that request was nearly perfect as I had been rehearsing that piece to play at my youngest daughter's wedding a few days after the DBTO. It was very rewarding to hear several participants tell me that my performance of "Share My Yoke" was a highlight of the weekend for them.

In all, the DBTO 2008 was a very satisfying experience in every way. I could not have asked for better hosts, better organization, more responsive participants and a more ideal location for such an event. Happily, there are many ways people can learn about the DBTO - through the Dutch Bass Trombone Open Website (once in the site, click on Fotos and you can see many photos of both the 2006 and 2008 event), on YouTube - search for both Dutch Bass Trombone Open and DBTO, and on the Dutch Bass Trombone Open Facebook site. Thanks again to Marcel, Erwin and Bert for organizing a great event. The next DBTO will be in 2010 and I highly recommend it to all bass trombonists who want to enjoy a weekend of good teaching, playing and collegial interaction with bass trombone players from around the world. Bravo to the DBTO team!

This week, I've been taking part in one of the most interesting and unusual musical performances of my career. Over the summer, we in the Boston Symphony got word of two possible Boston Pops concerts/media projects. They were tentative at first but firmed up just as we were leaving for vacation at the end of August. Both are occurring this week and the first is already under way. Sony is producing a new event with jazz trumpeter Chris Botti and the Boston Pops Orchestra is backing up the concert in Boston's Symphony Hall. Botti is a fine trumpet player - the real deal - and this concert (actually two concerts - one was last night and the other is tonight) is more than just a concert with Botti and his combo. Rather, it is an event full of pop and classical music superstars including Sting, Steven Tyler, Katharine McPhee (of American Idol), John Mayer, Josh Groban and Yo-Yo Ma. It's a "who's who" of American popular culture. Ordinarily these kinds of things don't even appear on my radar screen - I don't have any interest in the "cult of the personality" and most rock and pop music leaves me looking for musical substance elsewhere, but I have to say that this event has been very satisfying in many ways. While the orchestra has its role to play, it's been interesting to be on stage and watch the whole thing unfold - the collaboration between the artists, the way these kinds of pop/rock concerts are produced, and all the rest. The photo to the left was taken from my seat on stage at yesterday's rehearsal and shows Chris Botti (with trumpet, left) with Josh Groban and Sting (Boston Pops conductor Keith Lockhart is also seen, on the right), rehearsing Sting's "The Shape of My Heart." It is a haunting song and easily the highlight of the evening for me.

Look for a CD release of the concert in December, "Chris Botti Live in Boston". A TV show will be on the Public Broadcasting System (PBS) in the USA in March and a concert DVD will also be released at that time. For a slice of American pop culture, this has been a surprisingly enjoyable experience. I'm heading over to iTunes to download some more songs by Sting.

As to the other Pops project this week, it occurs over the weekend and is a "heavy metal" version of Handel's "Messiah." Wow...

When I was nine years old and started playing the trombone, if someone had told me that as a result of playing the trombone, I would have played at a National Football League Superbowl (Superbowl XXXVI), an NBA Finals game, and a Major League Baseball American League Champoinship Series game (Boston Red Sox vs. New York Yankees - the Red Sox won), as well as innumerable other sporting events, I would have told you that you were crazy. But such is my life, full of unexpected blessings and pleasures. Go Celtics! Beat LA!

I can thank my friend, Roger Green, of County Wiltshire, England, for introducing me to the sound of the British Brass Band in the mid 1980s. My interest in this kind of ensemble - which I had never heard or even heard of before Roger introduced me to it - grew over the years and reached a climax when I travelled to England to record my first solo CD, Proclamation with the Black Dyke Mills Band. Several pieces were commissioned for inclusion on that recording and when I asked around the Boston area if there was a brass band with which I might be able to read through the new music, I was introduced to the New England Brass Band. Several years later, when then Music Director William Rollins stepped down from leading the band through its first nine years, I was asked to take over the podium. Initially a bit reluctant due to my already busy schedule, I was persuaded to accept the band's invitation - by my wife, who had for some time wanted a group in which she could play baritone horn. And so began a 10 year collaboration that has far exceeded my wildest thoughts when I first began.

The activities of the band are detailed on the New England Brass Band's website. But a few highlights are worth remembering here. The NEBB has attended the North American Brass Band Association Championships five times (and will return a sixth time in March 2008). In 2004 the band won first place in the "Challenge" section and in 2006 it took first place in the "Honors" section (scroll down on this page to the entries for April 2, 2006 and April 17, 2004, for some commentary on those events). These trips to the NABBA Championships have been rich times for the band as we have prepared to give very special performances. We have also recorded five best selling CDs, the most recent of which, Be Glad Then America, was released in November of this year (see the entry for November 17 on this page); it has subsequently been awarded first place in the 2007 North American Brass Band Association "Recording of the Year" contest. Recorded in Boston's Symphony Hall, these recordings have been one of the great joys of my 10 year collaboration with the NEBB. We have played concerts throughout New England, from the Berkshire Hills of Massachusetts to Gorham, Maine, and dozens of venues in between. A concert at the 2007 International Trumpet Guild Conference, a program in Symphony Hall celebrating the 125th anniversary of the Boston Symphony (where the band was guest conducted by Boston Pops conductor, Keith Lockhart) and a concert celebrating the Golden Jubilee of Queen Elizabeth II (sponsored by the British community in Boston) are among other highlights.

Yet the greatest highlights have been our weekly Monday night band rehearsals. These have been memorable times, both musically and socially, when the band gathers to prepare our concert programs. I am so pleased to have been a part of this hard working, talented group of musicians who, without receiving any salary or payment of any kind (I accept no salary, either), bring their best to the band's rehearsals each week. I will miss them. But nothing can go on forever and I feel I am being called to some other activities that simply cannot be squeezed into my schedule as it is currently structured. This is the right decision for the right reasons at the right time, but it is still a bit bittersweet as my wife and I will leave a group that has become such a big part of our lives.

My last concert as Music Director of the New England Brass Band will be on June 1, 2008, at Hope Church in Lenox, Massachusetts (see the band's website for its full concert calendar). As I cut off the last chord of the concert, a flood of memories will come over me as I move to the next stage of my relationship with the NEBB - that of enthusiastic audience member. Until then, we will enjoy our remaining concerts and rehearsals together as we enjoy the conclusion of this 10 year collaboration. Sempre avanti!

Together Norman and I have shared countless musical moments. They have not all been transcendent - no honest musician will tell you that every moment in performance is all he would hope it would be. But there have been many, many special moments that we have shared, moments that have forever shaped me. Mahler 7 with Bernard Haitink, Bruckner 3 with Kurt Sanderling, recording sessions with John Williams, premieres of Norman's compositions, "Le Grotte Cosquer" (duet for tenor and bass trombone) and "Passions of Survival" (for trombone and orchestra - I conducted the premiere with Norman as soloist). I could not name them all if I tried. But they are all out there, moments in time that inform other moments. And after today, they take on a new kind of meaning because I know that Norman and I will not create any more of those moments together as members of the Boston Symphony.

While this transition is difficult and very emotional for me - after all, Norman and I are good friends who have shared music over the last two + decades of working together - I am very happy for him. Norman and I are nearly the same age - he is five months older than me - but his life path brought him to the Boston Symphony 10 years before I came in 1985; I held many other jobs before I came to Boston (playing for four years in the Baltimore Symphony, working as a high school band director for two years and free lancing in New York City for three years). As a result, Norman has an opportunity to take advantage of retirement from the Boston Symphony at a relatively young age. He has many plans for whatever days he is given in his future. You can read about Norman and his activities on his blog, frequencybone.blogspot.com and on the website for the company he and his wife manage that is the umbrella for the publication of Norman's compositions and his and Carol's shared musical endeavor, the "Frequency Band," which is Air-ev Productions.

There is much, much more I could write about such a friend as Norman, and the meaning of this transition. But for now, it is best for me to use the words that cannot be spoken. I wish my friend well in his new journey and look forward to the continued development of our friendship in the days ahead. This photo, taken by BSO principal oboist John Ferrillo just a few days ago, shows Ron, Norman and me at Symphony Hall. I like this photo. I like it a lot. There are many stories behind our eyes. And many more yet to be told.

Jay Krush (of the Chestnut Brass Company) and I played ophicleide in the performance and I also played serpent in the opening statements of the "Dies irae," following Berlioz's original intentions. During Kelly's lecture, I also came to the apron of the stage where I spoke a bit on the history of the serpent and then played the "Dies irae" on serpent with a group of six male singers from Harvard, simulating performance in a French church of the time. I played his Monk Workshop serpent (1996, London, walnut, 1 key) and Roehn ophicleide (c. 1855, Paris, in C, 9 keys) and Jay played his Butler and Son ophicleide (c. 1860, Soho, London, in C, 11 keys). It was a great pleasure to work once again with Jay Krush, a tremendous person and musician, and to hear this movement of Berlioz's "Sinfonie" with period instruments (I had previously played the fourth movement of the "Sinfonie" for the same class at Harvard in 2002) was enlightening.

Trombonist Howard Knapp obtained copies of these recordings and when I was made aware of them, we learned that they are the earliest known recordings by any group of players from the Boston Symphony Orchestra. These historical recordings caught the attention of both the Boston Globe newspaper and Boston radio station WGBH. On October 21, the Boston Globe ran a lengthy story about the recordings by Geoff Edgers on page one of its "Living/Arts" section and on October 22, I was interviewed on WGBH radio when host Ron della Chiesa and I discussed the recordings and the players and the recordings were aired, perhaps for the first time. All of this coincided nicely with the 125th anniversary of the Boston Symphony which gave its first concert on October 22, 1881.

I have written a new article about these recordings, The Boston Symphony Orchestra Trombone Quartet: The 1906 Victor Recordings which includes many photos, archival documents from the Boston Symphony and BMG (Victor) archives, commentary and mp3 files of these important recordings. Research is ongoing and I expect to be updating this article from time to time as we learn more about the recordings and the players who were part of making history as a result.

Yesterday the New England Brass Band (NEBB), of which I am music director, competed at the 24th North American Brass Band Championships held on the campus of Indiana Unviersity Southeast in New Albany, Indiana (across the river from Louisville, Kentucky). Sponsored by the North American Brass Band Association, this year's contest was the fourth time the NEBB had particpated. In 2004, the NEBB took first place in the "Challenge" section at NABBA XXII (see my commentary below for April 17, 2004, for my thoughts on that contest victory). This year, the band decided to move up to the "Honors" section which meant being in a more competitive section and having to play significantly more difficult music. The test piece for the Honors section this year was Gilbert Vinter's "Spectrum" and we played Philip Sparke's "The Year of the Dragon" to fill out our contest program. At the awards ceremony after the contest, we were thrilled to have our band announced as the winner of the Honors section. Running up to the stage to accept the trophy (the photo at left shows my wife and me with the first place trophy) and banner (the photo at right shows me accepting the banner and trophy which was presented by NABBA President Anita Cocker Hunt) was an unforgettable moment - looking out at our band members who were standing and cheering I could only think what a privilege it is to work each week with such a talented and committed group of people. Brass banding, to me, represents the best of the amateur music world. Players getting together not for money but simply to make music together. The NABBA contest is a special way for us to interact with people in other bands from around the country and to spend more time with our own band members as we eat meals, travel and play together. Our hosts at Indiana University Southeast organized an excellent weekend which included a solo and small ensemble contest as well. NEBB Eflat bass player Mark Fabulich won third place in the Adult Low Instrument Slow Melody solo contest and the band's flugelhorn player, Kevin Maloney, won third place in the Adult High Instrument Slow Melody solo contest. In all it was a special weekend for all of us in the New England Brass Band and one which found the band growing musically and inter-personally. Full results of the contest can be found on the NABBA Music Resources Website and a full report about the contest can be found on the website of 4BarsRest.com.

To the members of the NEBB I am happy to say, once again, how proud I am of all of you and how fortunate I am to be the leader of a band full of such high quality individuals.

Reprinted from the Boston Symphony Orchestra Program Book, March 15 - May 6, 2006.

Celebrating Berlioz: A Special Display at Symphony Hall, Boston.

No single composer has been more closely identified with the Boston Symphony Orchestra than Hector Berlioz (1803-1869). Championed here in the past half-century particularly by Charles Munch and Seiji Ozawa, Berlioz's music continues to figure prominently in the BSO's programming under James Levine, who led Berlioz's "Le Corsaire" Overture and "Symphonie fantastique" earlier this season and has scheduled "La Damnation de Faust" for 2006-07. This April, guest conductor Rafael Frubeck de Burgos leads the composer's monumental Requiem. BSO bass trombonist Douglas Yeo, a great admirer of Berlioz who has played trombone, serpent and ophicleide in Berlioz performances with the BSO and a number of period-instrument orchestras, has an extensive collection of Berlioz memorabilia, books, and facsimile scores. The display cases in the Massachusetts Avenue corridor of Symphony Hall include a selection of items from Mr. Yeo's collection, among them an original letter by Berlioz, commemorative medals struck for the Berlioz centennial in 1903, and photographs of the composer, as well as various facsimile scores that afford insight into Berlioz's compositional process. The exhibit runs from March 15 - May 6, 2006.

resources/amiens/amiens.html

In addition to the Museums's trombones, I brought along a few of my own instruments to show the evolution of the trombone through the ages including a bass sackbut by Frank Tomes, my BB flat Conn contrabass trombone made in 1903, my Conn "Preacher Model" tenor trombone in Bflat/C made in 1923 and my newly acquired Sautermeister buccin which I'm shown talking about in the photo at left.

Later this week I will continue my ongoing exploration of historical brasses when I play serpent in a performance of the Divertimento in B flat (St Antoni Chorale) which is attributed to Haydn. This will be in performance with Boston's Handel & Haydn Society at Symphony Hall, Boston, in a small chamber music group of players with historical instruments. While I recorded this piece on my CD "Le Monde du Serpent" this will be the first time I will have played it on original instruments including natural horns. Our performance will open the Handel & Haydn concerts this weekend which will follow with two works by Brahms: his "Variations on a Theme of Haydn" (which is based on the "St Antoni Chorale" of the Divertimento and his "Ein Deutsches Requiem." To move from early trombones to serpent in chamber music with a week of Boston Symphony Youth Concerts inbetween (all of which include the main title theme from "Star Wars") is to be a part of a very rich musical life!

From 1979-1981, I was director of bands at St. Thomas Aquinas (now Bishop George Ahr) High School in Edison, New Jersey. My job at STA was my first full time music position. After graduation from Wheaton College (Illinois) my wife and I moved to New York City where I was a freelance bass trombonist and also worked various office jobs while pursuing my master's degree at New York University. I applied for the STA position in the summer of 1979 and I began the job that fall.

St. Thomas Aquinas High School was staffed by Felician Sisters, an order that had its origin in Poland. You can imagine my thoughts when I was told, during my first week on the job, that our High School band had been selected to play for Pope John Paul II when he was to visit New York City in October, 1979. We were chosen as one of two bands from New Jersey to play for the Pope and being a school with Polish connections, the school was nearly turned upside down with the news. On a personal level this was exciting, but it was made even more so because my wife was, at that time, pregnant and imminently ready to give birth to our first child. In the weeks preceding the Pope's visit, I arranged music for our performance (which would be in Battery Park at the southern tip of Manhattan in New York City; we played a number of Polish folk songs and hymns in addition to some other music) but also found myself in the midst of a "human interest" news story about the timing of the visit and how it related to my wife's pregnancy.

October 3, 1979 dawned cloudy and rain fell during our trip into New York. As we all waited for the Pope to arrive, we played and played - in the rain - wearing ponchos and getting absolutely soaked. Yet when the Pope arrived, the rain stopped as if we were witnessing something that could only come out of a Hollywood epic film, the sun came out, and he smiled and waved at the students in our band who were standing in awe only 50 feet from him. It was a great moment as we were part of history: Pope John Paul II, along with President Ronald Reagan, is credited with being a significant force in the defeat of communism in the USSR and eastern Europe. He was an author, teacher and leader whose legacy will be felt for years to come. More than anything he was a servant of Christ and he did not shy away from preaching the Gospel with clarity and authority. His connection with our family will always be a strong one for many reasons, not the least of which is because the day after our band played for him, my wife gave birth to our first daughter who became a bit of a celebrity as a result of the timing of her coming into the world. At St. Thomas Aquinas High School, she was always known as "The Pope's Baby" and her baby book is full of clippings and articles that celebrated the birth of a daughter to the band director and his wife who nervously got through the events of October 3 as Divine Providence delayed a birth until the work was done. (Newspaper headlines about the story read, "Pope, Paternity Arrive for Aquinas Band Director" and "Delayed Birth Linked to Divine Providence" and the biggest understatement of all, "What a Week for the Yeos". ) My time at St. Thomas Aquinas was very influential on my musical and spiritual life and I will always look back ton that time with fondness. Father Michael Alliegro, Sister Mary Seraphica, John Kronemeyer and, of course, the students, all have been a part of my life over the last 25+ years. The patch shown here was something I had made for all of the students who played at Battery Park that day in 1979 - 55 were made and I took mine out of a drawer today and I share it with you in tribute to a great and Godly man who has left a changed world behind him. Requiem aeterna dona eis.

Since I was a young boy I have always wanted a buccin, the early 19th century French form of trombone with a zoomorphic head. I remember in the mid 1960's going to the Metropolitan Museum of Art in New York City and standing (and staring) in front of a display case with three buccins that just held me transfixed. When I recorded my CD Le Monde du Serpent, Berlioz Historical Brass commissioned a new piece from Clifford Bevan, "Le Mots de Berlioz" for choir with buccin, ophicleide, serpent and bassoon. It was the first time I had ever actually HEARD a buccin (played beautifully by Ben Peck who used a modern reproduction made by John Webb). I knew right then I simply had to get one to play myself.

Last summer I acquired a buccin bell from a dealer in Paris with the goal of having it restored and be played. The bell is by Sautermeister, a maker in Lyon (France) who was active from 1809-1830. Original buccin slides are usually in dreadful condition so I decided to have a new slide made after an historical model. The bell restoration was carried out by Jim Becker of Osmun Music (www.osmun.com) in Arlington, Massachusetts. The photo at right shows Jim Becker and me in the Osmun Music shop with the restored buccin. The bell needed considerable work to be put into good condition and Jim used a combination of his vast experience and some creative solutions to return the bell to playing order. He then made an entirely new hand slide after the buccin slide on an instrument (by Tabard) in Boston's Museum of Fine Arts. Jim put a tuning slide at the end of the slide so the instrument can be played at low pitch and Naoki Tada of the Yamaha Custom Shop (Hamamatsu, Japan) made a spectacular slide crook with two intertwined serpents. Today everything came together and the instrument was completed - I picked it up and have already had a great deal of pleasure playing it. It has a funky overtone series because of the oddly shaped bell (which is made of very thin brass), but the sound is mellow and sweet when played at soft dynamics and strong and firm (without being edgy) when played loudly.

The photo above (left) shows me playing my buccin while standing in front of a display case at Symphony Hall in Boston that includes several instruments from the Casadeasus Collection, a collection of early instruments owned by the Boston Symphony. Shown on the left is a form of upright serpent called a "basson Russe" that also has a zoomorphic head.

Once again, I offer encouragement to those who are interested in playing older instruments. Doing so gives an interesting perspective on our modern instruments and transports us back to an earlier time when the evolution of musical instruments was still very much active. Breathing new life into an instrument that has been silent for perhaps over 150 years is a rare feeling.

For instance, trombonists are well acquainted with the opening introduction of "Romeo," an extended recitative for the low brass. What most trombonists don't know (or don't consider) is that Berlioz includes the horns in that passage, but, because the horns are natural and not fully chromatic, the composer assigns one note of the passage to each horn in its corresponding key. The effect for the horns is a bit of musical "ping-pong" not unlike a handbell choir where each player is responsible for only a few notes of the melody. With this in mind, the balance was adjusted so the trombones and ophicleide did not dominate, rather the horns became an integral part of the texture. It is things like this that make music with these early instruments so interesting. While there certainly is dogmatism in the early music movement (a classic example of the oppressed becoming the oppressors), I have found working with early music players to be very stimulating - players bring in and talk about different instruments, makers, the ubiquitous issue of the tuning pitch, horn construction, performance practice and, above all, the music. It is refreshing and enjoyable to a high degree. My life in early music continues to grow and expand, from serpent to ophileide to buccin (the type of trombone developed in France in the late 18th century with a zoomorphic head). This weekend's performance of "Romeo" was yet another step along the way as I put myself back in time to consider the role of instruments, musicians and music upon a time long past. There are more adventures on the way, including a presentation at Boston's Museum of Fine Arts in April where I will discuss and demonstrate various types of trombones, and, also in April, a performance on serpent with Boston's Handel & Haydn Orchestra. June will bring me to the Great American Brass Band Festival where I will give a paper on serpent an dophicleide soloists and then perform a solo on ophicleide accompanied by a brass band. For those interested in these and other performances I have upcoming, visit my schedule page.

Shown to the left is my class from the 10th Hamamatsu (Japan) International Wind Instrument Academy and Festival. I had participated in the first three of these annual events in Hamamatsu, which is jointly sponsored by the City of Hamamatsu, the Okura ACT City Hotel and YAMAHA. As in past years, I had a class of seven students (six bass trombone, 1 tenor trombone) with whom I worked all week. This year's class was the best I'd ever had; the players ranged from students to professional players and the week was a most enjoyable one. Nozomi Kasano, a fourth year student in college in Nagoya, was selected by audition to represent the class at the student gala concert; she performed Bozza's "New Orleans." Our accompanist, Maki Asoh, was splendid and I could not have asked to be a part of a better organized and more enjoyable Academy.

Other faculty included Akira Kuwata (Principal trombone of the Yomouri Symphony Orchestra), Mark Gould and Robert Sullivan, trumpets, Tsutomu Maruyama, horn and Gene Pokorny, tuba (of the Chicago Symphony) - with these players we performed the Ingolf Dahl "Music for Brass Instruments" on the opening faculty concert.

Later in the week I gave a masterclass at the Dolce Music Shop in Osaka and also gave an interview to the Japanese wind instrument magazine, PIPERS where I discussed the role historical brasses have played in my musical life.

The Academy was a great event, but equally enjoyable was time I spent working with YAMAHA on several projects. YAMAHA trombone designer Yoshihiro Takahashi (shown at left) and I have been discussing improvements to the YBL-622 bass trombone I currently play. Mr. Takahashi had implemented several key changes in the horn which I tested and we worked on together while I was at the YAMAHA factory in Hamamatsu. The result will be the release of a new model that will be a significant upgrade from the 622, containing all of the excellent features of that instrument but with added enhancements about which I am very excited. This new model will be called the YBL-822G; no release date has been set at this time. I remain very impressed with YAMAHA's commitment to improve their instruments and have been very pleased to work with them on this new design.

While at the factory I also made a video on how trombones are made. YAMAHA has previously made videos on the making of trumpets and saxophones so I was pleased when they asked me to help with this project. It was fascinating to go through the factory and observe all of the processes of how trombones are put together and the video will be released later this year as part of a DVD including all three videos on the making of instruments.

My life with the serpent continues to be one of the most exciting parts of my ongoing musical explorations. I have recently been contracted to play the serpent with Boston's Handel and Haydn Society during their performances of the Divertimento in B flat ("St. Antoni Chorale") which is attributed to Haydn - these performances will take place in April 2005 and H&H will use my forthcoming edition of the Divertimento which is being published by Sarastro Music. This is the same Divertimento I recorded on my new CD, "Le Monde du Serpent." I will also be playing ophicleide in February 2004 when Boston's Chorus Pro Musica performs Hector Berlioz's "Romeo and Juliet" on period instruments. The adventure continues.

The North American Brass Band Association sponsors an annual championship contest for brass bands. Contesting has been part of the brass band movement for nearly 150 years and the NEBB has had the opportunity to go to three of the NABBA contests - 2001 in Washington, D.C.; 2003 in Little Rock, Arkansas; and 2004 in Charleston, West Virginia. Going to these contests has been a huge part of the growth of the NEBB. For us, the important thing about attending such an event is the interaction we all have with other bands and players as we learn more about our playing in the process. Also, we work hard to present our 30 minute contest program at the highest level we can, burnishing all of the details of our music to as fine a point as we can make. This crucible has proven to be a very enjoyable process for the band and today, the NEBB's hard work was rewarded with a banner and a trophy for FIRST PLACE in the "Challenge" section of the NABBA XXII Championship. What a thrill it was to have the band rewarded for their hard work in this way! I offer my congratulations once again to the fine members of the NEBB (including principal trombonist Brad Kerns who won 2nd place in the adult low brass technical solo competition, E flat bass player Mark Fabulich who won 2nd place in the adult low brass slow melody solo competition, and the NEBB percussion section - Dora Kastanas, Rick Castillo and Stephen Lee for placing 3rd in the adult percussion ensemble competition) for their success at NABBA as we look forward to our continued collaboration together. I am very proud of all of you!

Also, I have just gotten word that WGBH Radio WGBH Radio in Boston would like to record and broadcast the New England Brass Band concert that will take place at the Andover Free Christian Church (Andover, Massachusetts) on Saturday, December 20. This is an exciting thing for the band and we are delighted that WGBH will be at our concert to capture the unique sound of the New England Brass Band. Selections from the concert will be broadcast during the day on December 24. WGBH radio can also be heard live on the internet through the WGBH Radio website.