BOBBY WELLINS &
THE SCOTTISH NATIONAL JAZZ ORCHESTRA – Culloden
Moor Suite
Spartacus records STS020
Gathering / March / Battle / Aftermath / Epilogue
Bobby Wellins (tenor saxophone) with the SNJO:
Martin Kershaw, Paul Towndrow, Tommy Smith, Konrad Wiszniewski, Bill Fleming (saxophones); Ryan Quigley, Cameron Jay, Lorne Cowieson, Tom McNiven (trumpets); Chris Grieve, Kieran McLeod, Michael Owers, Lorna McDonald (trombones); Steve Hamilton (piano); Brodie Jarvie (bass); Alyn Cosker (drums)
Recorded May 2013
When composing the Culloden Moor Suite more than fifty years ago after reading John Pebble’s account of the battle fought in April 1746, it is highly unlikely that Wellins could imagine that he would revisit this piece in the new millennium, and record it with one of the world’s leading big bands back in his native Scotland. An early version of the piece was record in 1961 with his then quartet that featured Stan Tracey, drummer Jeff Clyne and Laurie Morgan on bass; and its resurrection is more than justified on this outstanding release.
SNJO director, Tommy Smith commissioned Florian Ross to orchestrate the original music for the big band and it is testament to the depth of Wellin’s original composition that it transfers so well to large ensemble. Ross has arranged superbly, making use of the full range of instrumentation at his disposal and at the same time never overwriting, leaving plenty of space for Wellins to stretch out. Needless to say, Bobby is magnificent from the outset, his tenor saxophone tinged with sadness and remorse as the story unfolds. His opening phrases on ‘Gathering’ making the hair on the back of the neck stand up.
Other notable solos go Steve Hamilton, again on ‘Gathering’, and his contribution in the ensemble or comping behind the tenor solos with just bass and drums is never less than superb. Trumpeter, Tom McNiven, also makes the most of his outing on ‘March’ with the SNJO surging forward with misguided optimism and anticipation. This optimism is brought to a rude and abrupt halt in the following piece, with Ross’ dramatic interplay between brass and reeds in the heart of ‘Battle’ depicting the bloody events that followed.
With no mercy shown to survivors of the conflict, ‘Aftermath’ conjures images of the sense of loss and desolation, concluding with ‘Epilogue’ with the uncertainty of the lives and future of the community, with McNiven’s trumpet and the stark tenor playing of Wellins telling a chilling story.
At just over thirty eight minutes, or two sides of an LP in old money, some may carp at the short playing time by today’s CDs standards, but quality should always take precedence over quantity, and once again the SNJO, ably abetted by Bobby Wellins do not fail to deliver.
Reviewed by Nick Lea
Spartacus records STS020
Gathering / March / Battle / Aftermath / Epilogue
Bobby Wellins (tenor saxophone) with the SNJO:
Martin Kershaw, Paul Towndrow, Tommy Smith, Konrad Wiszniewski, Bill Fleming (saxophones); Ryan Quigley, Cameron Jay, Lorne Cowieson, Tom McNiven (trumpets); Chris Grieve, Kieran McLeod, Michael Owers, Lorna McDonald (trombones); Steve Hamilton (piano); Brodie Jarvie (bass); Alyn Cosker (drums)
Recorded May 2013
When composing the Culloden Moor Suite more than fifty years ago after reading John Pebble’s account of the battle fought in April 1746, it is highly unlikely that Wellins could imagine that he would revisit this piece in the new millennium, and record it with one of the world’s leading big bands back in his native Scotland. An early version of the piece was record in 1961 with his then quartet that featured Stan Tracey, drummer Jeff Clyne and Laurie Morgan on bass; and its resurrection is more than justified on this outstanding release.
SNJO director, Tommy Smith commissioned Florian Ross to orchestrate the original music for the big band and it is testament to the depth of Wellin’s original composition that it transfers so well to large ensemble. Ross has arranged superbly, making use of the full range of instrumentation at his disposal and at the same time never overwriting, leaving plenty of space for Wellins to stretch out. Needless to say, Bobby is magnificent from the outset, his tenor saxophone tinged with sadness and remorse as the story unfolds. His opening phrases on ‘Gathering’ making the hair on the back of the neck stand up.
Other notable solos go Steve Hamilton, again on ‘Gathering’, and his contribution in the ensemble or comping behind the tenor solos with just bass and drums is never less than superb. Trumpeter, Tom McNiven, also makes the most of his outing on ‘March’ with the SNJO surging forward with misguided optimism and anticipation. This optimism is brought to a rude and abrupt halt in the following piece, with Ross’ dramatic interplay between brass and reeds in the heart of ‘Battle’ depicting the bloody events that followed.
With no mercy shown to survivors of the conflict, ‘Aftermath’ conjures images of the sense of loss and desolation, concluding with ‘Epilogue’ with the uncertainty of the lives and future of the community, with McNiven’s trumpet and the stark tenor playing of Wellins telling a chilling story.
At just over thirty eight minutes, or two sides of an LP in old money, some may carp at the short playing time by today’s CDs standards, but quality should always take precedence over quantity, and once again the SNJO, ably abetted by Bobby Wellins do not fail to deliver.
Reviewed by Nick Lea
