TERRY PACK & HILARY BURT - Growing Trees & Branching Out
There is nothing quite like a big band. The anticipation at the start of a performance somehow seems heightened, a tingle down the spine and raised hairs on the back of the neck as the first sounds of brass and woodwind, strings and skin reverberate around the concert hall, and the rhythmic momentum and multiple voices work their magic on feet, heart and head creating a feeling like no other.
And if there is nothing quite like the sound of a big band, then there is nothing quite the sound of Trees. Described as an 'unfeasibly large ensemble' and the brainchild of bassist, Terry Pack, Trees is a big band that plays original compositions and arrangements by Terry and Hilary Burt by an assembled cast of players from in and around the Brighton area.
And if there is nothing quite like the sound of a big band, then there is nothing quite the sound of Trees. Described as an 'unfeasibly large ensemble' and the brainchild of bassist, Terry Pack, Trees is a big band that plays original compositions and arrangements by Terry and Hilary Burt by an assembled cast of players from in and around the Brighton area.
When Jazz Views caught up with Terry and Hilary to talk about Trees, the first and I suppose inevitable question is how did the idea for such a band come about, and why would anyone want such a (big) headache? Laughing Terry says "About ten years ago, I had a number of conversations with friends (pianists, Joss Peach and David Beebee, saxophonists Ian Price, Simon d'Souza and Julian Nicholas and others) about a composers' collective: a group made up of players who also wrote music. The idea was that we would write specifically for the players involved. A prototype version of this project played a 45 minute set at the first Love Supreme Festival in 2013 (?): Joss, Simon and I wrote a piece each for a septet including drummer Dave Trigwell (with whom I play in The Cloggz), saxophonists Paul Greenwood and Josie Peach, trombonist Tarik Mecci, trumpeter Jack Kendon (replaced on the day by Chris Coull), Joss and myself. I was encouraged by the results to write some more, and began doing so on the programme Garage Band, which is a baby version of Pro Logic. The first two pieces were 'The Holy Well', which was based on two tunes from my album What Happens Now (Symbol Records 2005), and 'Scarborough Fair', which I had arranged for a small group, but not included, on my album Palimpsest (Symbol Records 2010).
Continuing, he adds "About four years ago, I bought the computer programme Sibelius, and with the help of David Beebee, imported the Garage Band audio demos into this format via Pro Logic. This enabled me to write arrangements for an imagined band featuring voices, flutes and clarinets in place of, or along with, saxophones. Around the same time, I began studying composition and arranging with my friend (trombonist, composer and arranger) Mark Bassey. We had ad hoc 'torturials' based on pieces I was working on, and when I had two (more or less) complete arrangements, he said, 'I think it's time to get these tunes played by a real group of musicians.' I was very nervous, but invited a group of players and singers from in and around Brighton to The Verdict Jazz Club to try the tunes on for size. I had no idea who would come, so I wrote parts for brass, reeds, flutes, voices and percussion, etc.
The turnout was amazing. All these wonderful musicians giving up their time to try some new tunes. I held three rehearsal over two days, rewriting the parts between rehearsals in response to the feedback I received. It was exhausting and exhilarating, and, as Mark had anticipated, I learned a great deal about arranging: stuff that Sibelius doesn't tell you. When I asked people to do some more, most of them said 'yes', and Trees began to grow."
Continuing, he adds "About four years ago, I bought the computer programme Sibelius, and with the help of David Beebee, imported the Garage Band audio demos into this format via Pro Logic. This enabled me to write arrangements for an imagined band featuring voices, flutes and clarinets in place of, or along with, saxophones. Around the same time, I began studying composition and arranging with my friend (trombonist, composer and arranger) Mark Bassey. We had ad hoc 'torturials' based on pieces I was working on, and when I had two (more or less) complete arrangements, he said, 'I think it's time to get these tunes played by a real group of musicians.' I was very nervous, but invited a group of players and singers from in and around Brighton to The Verdict Jazz Club to try the tunes on for size. I had no idea who would come, so I wrote parts for brass, reeds, flutes, voices and percussion, etc.
The turnout was amazing. All these wonderful musicians giving up their time to try some new tunes. I held three rehearsal over two days, rewriting the parts between rehearsals in response to the feedback I received. It was exhausting and exhilarating, and, as Mark had anticipated, I learned a great deal about arranging: stuff that Sibelius doesn't tell you. When I asked people to do some more, most of them said 'yes', and Trees began to grow."
And grow it did, but did he ever envisage Trees growing quite so big.? "Yes and No," come the reply. "Because it was originally an imagined band, based on friends who would write music for each other, it had no limits, either in terms of size or instrumentation: everything would depend on who wanted to be part of it. It varies greatly from rehearsal to rehearsal and from gig to gig. The recording, Heart of Oak, features about fifty musicians, but each of the three days in the 'studio' (barn) featured different lineups, and some of the overdubs were added by folk who hadn't been on the barn sessions. It's a flexible affair." With so many musicians involved with Trees it would be assumed that finding the right players would be part of the aforementioned headache, but in reality the truth is somewhat different. As Terry explains "It was very simple. I asked friends. I'm only interested in playing with people I like as people. Of course, over the years, I've played with many people I haven't liked much, but I have liked most, and many of these have become friends. Trees has also helped me to make lots of new friends, and for the members of the band to meet new friends, too. It never occurred to me to have a 'first team' and deps, which is what most bands do, because they play existing arrangements requiring specific instrumentation. A typical big band needs five saxes, four trumpets and four trombones for the arrangements to sound right. I've seen the frustration caused to bandleaders by missing players, the last minute calls to find deps, etcetra."
If the above seems a very simplistic, if highly effective, way of recruiting for Trees, it seems the same works when looking for people to write for the ensemble as well. As flautist and composer/arranger expalins, "When Terry was putting Trees together, he put out a general call to anyone who wanted to write for the band. I had written small band pieces already and recorded a CD under my own name (North Beach) and I thought a couple of the pieces from that album might be suitable. I downloaded a free copy of Musescore and later bought Sibelius and was determined to learn how to use it and create my own parts for the musicians. My husband Mark Bassey (jazz trombonist and educator) showed me a few tricks in Sibelius which really helped when I was getting started.
I remember taking 'Simeon' to a rehearsal for the first time and being absolutely terrified of leading the group, many of whom I didn’t know and had only seen performing around town. Amazingly it went really well and sounded good! I now seem to be one of the main writers for the band and it is such a thrill hearing ones' music being played by so many wonderful musicians."
So with a cast of (nearly) thousands, how do you go about about writing and arranging for such a large ensemble? "The original aim was to play music by the members of the band, and we have stuck to this, with a couple of exceptions", says the bassist. "The key factor in whether or not we include something is based on whether or not it works. Some things work straight away, while others have to be reworked, or dropped altogether. Regarding my material, 'Scarborough Fair' selected itself, as did 'The Holy Well', largely because that was all we had to play at first! 'The Holy Well' was adapted from the tunes 'Over The Hills' and 'What Happens Now'. I also rearranged 'El Pueblo', which was recorded first by Full Circle (with Joss Peach and Jim White) on the album Underbelly, and then again on Palimpsest. There's also a reworking of the piece, 'Palimpsest', in the pipeline. I write new material all the time, and this gets tried out at rehearsals. I also encourage others to write for the band. We play currently four pieces by Hilary, three of which are on the album, and have another couple ready to run in rehearsals. Also in the pad, we have pieces by Greg Maddocks, Charlotte Glasson, David Beebee, Mark Edwards and an arrangement of 'Gabriel's Oboe' by Ennio Morricone."
As for the process itself, Hilary says "Melodies usually come to me on a dog walk when we’re in the woods or on the Downs. I often sing melodies into my phone or think through how a piece is going to develop. Once we’re home I can transfer things into Sibelius or jot ideas down on manuscript paper. I generally put the melody on the flute line and move it around later as the piece progresses. Playing the piano is of course a big help since I can then find the chords to go with that melody. I use Logic too and often find a midi drum rhythm there and copy it across so I’ve got something in Sibelius that sounds good.
It’s a big undertaking starting a new piece for Trees. I’ve written six pieces for the band so far and they generally take me about a month to 6 weeks depending on other commitments. Even when it’s all written, each instrument needs a part, each part needs to be checked, printed out, cellotaped up! It’s an enormous amount of work! Sometimes you take a piece to rehearsal and a section just doesn’t sound right - or the instrumentation needs changing. I think every tune I have with Trees has been tampered with! Some bits need to be completely re-scored. It’s a learning process but one I absolutely love."
Continuing, she adds "Since composing for Trees I’ve started doing big band scores for the Sussex Jazz Orchestra (I play alto sax in that band) as well as writing for a new eight piece group (Hilary Burt Ensemble) which will be playing my compositions and arrangements. Terry gave me a great opportunity to write for Trees and I am so grateful that he did. I now spend every morning writing for about 3 hours before walking my dogs. I’ve found my voice and I don’t want to stop!"
If the above seems a very simplistic, if highly effective, way of recruiting for Trees, it seems the same works when looking for people to write for the ensemble as well. As flautist and composer/arranger expalins, "When Terry was putting Trees together, he put out a general call to anyone who wanted to write for the band. I had written small band pieces already and recorded a CD under my own name (North Beach) and I thought a couple of the pieces from that album might be suitable. I downloaded a free copy of Musescore and later bought Sibelius and was determined to learn how to use it and create my own parts for the musicians. My husband Mark Bassey (jazz trombonist and educator) showed me a few tricks in Sibelius which really helped when I was getting started.
I remember taking 'Simeon' to a rehearsal for the first time and being absolutely terrified of leading the group, many of whom I didn’t know and had only seen performing around town. Amazingly it went really well and sounded good! I now seem to be one of the main writers for the band and it is such a thrill hearing ones' music being played by so many wonderful musicians."
So with a cast of (nearly) thousands, how do you go about about writing and arranging for such a large ensemble? "The original aim was to play music by the members of the band, and we have stuck to this, with a couple of exceptions", says the bassist. "The key factor in whether or not we include something is based on whether or not it works. Some things work straight away, while others have to be reworked, or dropped altogether. Regarding my material, 'Scarborough Fair' selected itself, as did 'The Holy Well', largely because that was all we had to play at first! 'The Holy Well' was adapted from the tunes 'Over The Hills' and 'What Happens Now'. I also rearranged 'El Pueblo', which was recorded first by Full Circle (with Joss Peach and Jim White) on the album Underbelly, and then again on Palimpsest. There's also a reworking of the piece, 'Palimpsest', in the pipeline. I write new material all the time, and this gets tried out at rehearsals. I also encourage others to write for the band. We play currently four pieces by Hilary, three of which are on the album, and have another couple ready to run in rehearsals. Also in the pad, we have pieces by Greg Maddocks, Charlotte Glasson, David Beebee, Mark Edwards and an arrangement of 'Gabriel's Oboe' by Ennio Morricone."
As for the process itself, Hilary says "Melodies usually come to me on a dog walk when we’re in the woods or on the Downs. I often sing melodies into my phone or think through how a piece is going to develop. Once we’re home I can transfer things into Sibelius or jot ideas down on manuscript paper. I generally put the melody on the flute line and move it around later as the piece progresses. Playing the piano is of course a big help since I can then find the chords to go with that melody. I use Logic too and often find a midi drum rhythm there and copy it across so I’ve got something in Sibelius that sounds good.
It’s a big undertaking starting a new piece for Trees. I’ve written six pieces for the band so far and they generally take me about a month to 6 weeks depending on other commitments. Even when it’s all written, each instrument needs a part, each part needs to be checked, printed out, cellotaped up! It’s an enormous amount of work! Sometimes you take a piece to rehearsal and a section just doesn’t sound right - or the instrumentation needs changing. I think every tune I have with Trees has been tampered with! Some bits need to be completely re-scored. It’s a learning process but one I absolutely love."
Continuing, she adds "Since composing for Trees I’ve started doing big band scores for the Sussex Jazz Orchestra (I play alto sax in that band) as well as writing for a new eight piece group (Hilary Burt Ensemble) which will be playing my compositions and arrangements. Terry gave me a great opportunity to write for Trees and I am so grateful that he did. I now spend every morning writing for about 3 hours before walking my dogs. I’ve found my voice and I don’t want to stop!"
Terry's approach is slightly different, saying "I try to write arrangements that will work with a small group of 10-15, and with a large group of 35-50. Trees has an inner core of about 12 musicians who attend nearly every weekly rehearsal, and an outer core of about the same number, who attend pretty frequently. Then there are a number of musicians who come when and if they can. These are top pros who have gigs most nights, and I don't expect them to be able to rehearse. Having a core band means that I can write for three voices, three or four flutes, three of four saxes, two or three trumpets, two trombones, piano and bass in the knowledge that these parts will be covered at most rehearsals. The key thing is to have the most important parts covered, so I tend to write with the core group in mind for this reason. Thereafter, I write for the other parts, doubling lines that are already being played, or parts that add a lot but are not central to the main idea of the piece."
This line of thinking seems to be particularly effective when writing for such a group especially in Terry's reworking of the traditional tune 'Scarborough Fair' is the first piece he had arranged for a large ensemble, a very complex piece of music with multiple key signatures sometimes played at the same time. "I was inspired by the arrangement of 'Greensleeves' on John Coltrane's album 'frica/Brass, and by the sound of that album generally", he expalins. "I was also inspired by the sounds in Garage Band, particularly the flutes, clarinets and tubas! Sonically, I wrote for these sounds, and the other reed and brass parts came later. I already had the bass part and a few of the reharmonizations from an earlier arrangement, so I started from there."
Warming to his theme, Terry elaborates further, "My friend, Rob Leake, had shared an idea with me when writing a page scale piece: he suggested using a score written on a sheet of A3 on which the different sections would be sketched in as a kind of route map. This is very useful, because you can step back from the canvas and look at the sketch of the whole thing, which helps you not to forget this when you're working on detail. So I had an idea of how the whole thing should develop. I also knew that I wanted it to sound modal, but I didn't want to say in one modality throughout. The solution was to change key, a lot! It's very simple: the first theme is in A minor, with a modulation to C minor at the end of the theme. The improvisations are based on a series of Coltranesque modal 'chunks' that modulate in minor and major thirds: A minor to C minor to E minor to G minor, etc. These modulations serve three purposes: 1. the listener doesn't get bored by listening to a long piece which has the same sonority throughout, 2. the players don't get bored playing in the same mode for long periods, and 3. the soloists the written backing figures behind the solos exploit both the common and uncommon tones from one key centre to the next. The effect is of shifting sands in a desert: nothing is fixed.
I spent many months on 'Scarborough Fair' before rehearsing it, and many more weeks on it after that. It still isn't quite right, but the band insisted on recording it, so it's on the album, and I like the version we captured: the playing is wonderful, with amazing solos by James Osler, Gabriel Garrick, Jack Kendon, Charlotte Glasson and Tristan Banks. Mark Edwards also added some great touches: some fiendish lines in the reeds and a number of great keyboard ideas."
To get some idea of the musical mentality to undertake such a project as Trees, I asked both Hilary and Terry about their musical backgrounds and what paths brought them to this point in time leading what is probably the biggest jazz band in the UK. "I come from a very musical family and from an early age I have always played music", says Hilary. "Both my older brothers are rock musicians and when I was very young they allowed me to play drums for them in rehearsals (wooden spoons on saucepans! It must have been an awful racket!). I had piano and flute lessons as a child and did a teaching degree specialising in music at Warwick University, and later a jazz degree as a mature student at Middlesex. I’ve also done courses in Logic (a computer programme for recording and creating music) and studied reharmonisation as well as commercial music writing at Berklee Online.
This line of thinking seems to be particularly effective when writing for such a group especially in Terry's reworking of the traditional tune 'Scarborough Fair' is the first piece he had arranged for a large ensemble, a very complex piece of music with multiple key signatures sometimes played at the same time. "I was inspired by the arrangement of 'Greensleeves' on John Coltrane's album 'frica/Brass, and by the sound of that album generally", he expalins. "I was also inspired by the sounds in Garage Band, particularly the flutes, clarinets and tubas! Sonically, I wrote for these sounds, and the other reed and brass parts came later. I already had the bass part and a few of the reharmonizations from an earlier arrangement, so I started from there."
Warming to his theme, Terry elaborates further, "My friend, Rob Leake, had shared an idea with me when writing a page scale piece: he suggested using a score written on a sheet of A3 on which the different sections would be sketched in as a kind of route map. This is very useful, because you can step back from the canvas and look at the sketch of the whole thing, which helps you not to forget this when you're working on detail. So I had an idea of how the whole thing should develop. I also knew that I wanted it to sound modal, but I didn't want to say in one modality throughout. The solution was to change key, a lot! It's very simple: the first theme is in A minor, with a modulation to C minor at the end of the theme. The improvisations are based on a series of Coltranesque modal 'chunks' that modulate in minor and major thirds: A minor to C minor to E minor to G minor, etc. These modulations serve three purposes: 1. the listener doesn't get bored by listening to a long piece which has the same sonority throughout, 2. the players don't get bored playing in the same mode for long periods, and 3. the soloists the written backing figures behind the solos exploit both the common and uncommon tones from one key centre to the next. The effect is of shifting sands in a desert: nothing is fixed.
I spent many months on 'Scarborough Fair' before rehearsing it, and many more weeks on it after that. It still isn't quite right, but the band insisted on recording it, so it's on the album, and I like the version we captured: the playing is wonderful, with amazing solos by James Osler, Gabriel Garrick, Jack Kendon, Charlotte Glasson and Tristan Banks. Mark Edwards also added some great touches: some fiendish lines in the reeds and a number of great keyboard ideas."
To get some idea of the musical mentality to undertake such a project as Trees, I asked both Hilary and Terry about their musical backgrounds and what paths brought them to this point in time leading what is probably the biggest jazz band in the UK. "I come from a very musical family and from an early age I have always played music", says Hilary. "Both my older brothers are rock musicians and when I was very young they allowed me to play drums for them in rehearsals (wooden spoons on saucepans! It must have been an awful racket!). I had piano and flute lessons as a child and did a teaching degree specialising in music at Warwick University, and later a jazz degree as a mature student at Middlesex. I’ve also done courses in Logic (a computer programme for recording and creating music) and studied reharmonisation as well as commercial music writing at Berklee Online.
I have always played in groups (never as big as Trees however) but the composing really started when I got a Yamaha Clavinova about 20 years ago. It had a recording facility which meant I was able to play lots of different parts on the piano, assign each part to a different instrument, and create a multi-layered piece. This opened a whole door of creativity and both 'Baka' and 'Simeon' from the album were started in this way. I’ve since written lots of new material for both pieces but the original ideas came about at that time."
"I sang as a kid, and had a few unsuccessful attempts at learning the piano and the guitar before setting on the bass guitar aged 14", says Terry. "I wrote songs from then on, and discovered the double bass aged 16, along with jazz. I joined The Enid in 1976, aged 18. I recorded four albums (Aerie Faerie Nonsense, Touch and two volumes of Live at Hammersmith Odeon) with them before leaving in 1979 and embarking on a career as a session musician aged 21. I applied for a place on the jazz course at Leeds in 1979, but was turned down because I had no A levels, having left school at 16. I realise now that I should have asked to do an audition, but I didn't think of that at the time!
I spent most the 1980s and early 90s living in London, touring and recording, before moving to Italy in 1993. I returned to England in 1999 and settled in Brighton. My CV is a very mixed bag. I did a lot of pop sessions for Mike Hurst, who had worked with Dusty Springfield and produced albums by Cat Stevens and PP Arnold in the 60s. I also worked a lot with Ray Fenwick, the ex guitarist of The Spencer Davis Group and Ian Gillan Band. Among the people I have played, toured or recorded with are The Enid, Bonnie Tyler, Steve Hackett, Brian May, Graham Bonnet, Louisiana Red, Phil Guy, Johnny Mars, Imogen Ryall, Jan Ponsford, Winston Clifford, Mark Edwards, Julian Nicholas, Ian Price, Paul Booth, Liane Carroll, Claire Martin, Gareth Williams, John Donaldson, Steve Melling, Alex Hutton, Cubana Bop, Steve Waterman, Derek Nash, Alan Barnes, Don Weller, Art Themen, Nigel Price, Enrico Pinna, Enzo Zirilli, Cozy Powell, Tristan Banks, Richard Bailey, Gene Calderazzo, Clem Cattini and Samantha Fox! I have loved improvising since I started singing, and have always done it. Once I had got the 'session man' thing out of my system and spent a few years away from London, I returned to playing the double bass and started playing jazz gigs around Brighton with Julian Nicholas, Ian Price, Tristan Banks, Mark Edwards, Terry Seabrook et al. I rediscovered the pleasure in playing music that was (mostly) acoustic and whose essence was its conversational quality."
So now he has found his music, how does he go about arranging gigs for Trees. Thinking that the answer is going to be a lengthy tale telling of logistical nightmares, Terry's reply has more of a sense of deja vu. "I send an email to everyone who has been involved and is still involved and ask who can do the gig. It usually works out fine, with about eight brass (sometimes more), ten or so reeds, five flutes, four or more voices, keys, guitar, percussion, bass and drums. I would love to play everywhere! The line up is very flexible, and it would be possible to take a 'bonsai' version of the band anywhere. We could expand the band with players and singers wherever we went. All the parts are in Dropbox and there are recordings to listen to, so the world is ready to be forested!", he says and quickly adding "Our next gigs are a Christmas special with The Cloggz (you should hear them!): "Christmas Trees with Cloggz On!" at St Nicholas of Myra in Brighton on Friday 8th December 2017, and a slot at the South Coast Jazz Festival at The Ropetackle Centre in January 2018."
"I sang as a kid, and had a few unsuccessful attempts at learning the piano and the guitar before setting on the bass guitar aged 14", says Terry. "I wrote songs from then on, and discovered the double bass aged 16, along with jazz. I joined The Enid in 1976, aged 18. I recorded four albums (Aerie Faerie Nonsense, Touch and two volumes of Live at Hammersmith Odeon) with them before leaving in 1979 and embarking on a career as a session musician aged 21. I applied for a place on the jazz course at Leeds in 1979, but was turned down because I had no A levels, having left school at 16. I realise now that I should have asked to do an audition, but I didn't think of that at the time!
I spent most the 1980s and early 90s living in London, touring and recording, before moving to Italy in 1993. I returned to England in 1999 and settled in Brighton. My CV is a very mixed bag. I did a lot of pop sessions for Mike Hurst, who had worked with Dusty Springfield and produced albums by Cat Stevens and PP Arnold in the 60s. I also worked a lot with Ray Fenwick, the ex guitarist of The Spencer Davis Group and Ian Gillan Band. Among the people I have played, toured or recorded with are The Enid, Bonnie Tyler, Steve Hackett, Brian May, Graham Bonnet, Louisiana Red, Phil Guy, Johnny Mars, Imogen Ryall, Jan Ponsford, Winston Clifford, Mark Edwards, Julian Nicholas, Ian Price, Paul Booth, Liane Carroll, Claire Martin, Gareth Williams, John Donaldson, Steve Melling, Alex Hutton, Cubana Bop, Steve Waterman, Derek Nash, Alan Barnes, Don Weller, Art Themen, Nigel Price, Enrico Pinna, Enzo Zirilli, Cozy Powell, Tristan Banks, Richard Bailey, Gene Calderazzo, Clem Cattini and Samantha Fox! I have loved improvising since I started singing, and have always done it. Once I had got the 'session man' thing out of my system and spent a few years away from London, I returned to playing the double bass and started playing jazz gigs around Brighton with Julian Nicholas, Ian Price, Tristan Banks, Mark Edwards, Terry Seabrook et al. I rediscovered the pleasure in playing music that was (mostly) acoustic and whose essence was its conversational quality."
So now he has found his music, how does he go about arranging gigs for Trees. Thinking that the answer is going to be a lengthy tale telling of logistical nightmares, Terry's reply has more of a sense of deja vu. "I send an email to everyone who has been involved and is still involved and ask who can do the gig. It usually works out fine, with about eight brass (sometimes more), ten or so reeds, five flutes, four or more voices, keys, guitar, percussion, bass and drums. I would love to play everywhere! The line up is very flexible, and it would be possible to take a 'bonsai' version of the band anywhere. We could expand the band with players and singers wherever we went. All the parts are in Dropbox and there are recordings to listen to, so the world is ready to be forested!", he says and quickly adding "Our next gigs are a Christmas special with The Cloggz (you should hear them!): "Christmas Trees with Cloggz On!" at St Nicholas of Myra in Brighton on Friday 8th December 2017, and a slot at the South Coast Jazz Festival at The Ropetackle Centre in January 2018."
For more information visit www.treesensemble.org & www.hilaryburtmusic.com
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