Category Archives: Music

Laurence Cottle transcription — ‘Quite Firm’

The stats on my site tell me a few things. One is that, particularly on Fridays, my visitors are predominantly Gardener’s World fans who have arrived here through the TV show’s ‘Community’ page on the BBC website, thanks to a pretty nothingy post I wrote about it one time. It has 33 comments.

Another thing is that quite a few people get here by searching for ‘Laurence Cottle transcription’ (brave souls), which is the kind of visit I’d prefer to encourage. So…

Here’s a transcription — the hideously fiddly yet actually quite listenable bass part from Laurence Cottle’s ‘Quite Firm’. There’s a few versions of the track on his website, a couple on the big band album and a small band one from ‘Live!’. I’ve used the Live! version as a template and transcribed the head. It’s really good writing, fits in brilliantly with the horn lines and in a perverse sort of way falls quite nicely under the fingers — definitely a bass player’s line. Here’s the PDF:

Quite Firm – Bass Guitar

And here’s a clip of me just about getting through the A and B sections (playing along to the ‘Bonus’ version from big band album, because the Live! one is out of tune with A=440Hz):

LUU Big Band Tour 2012

Some background info and assorted media (further down) from Tour 2012.

Band/Tour

Leeds University Union Big (formerly Dance) Band, which I play bass for and used to MD, just got back from the annual tour of France. This involves going to the same campsite near Bergerac every year, which is nice because it means the gigs we play around the area are always sold out.

Matt Yardley and George Millard are MD-ing from lead trumpet and lead alto respectively this year and have taken this year’s talented group of musicians further than I imagined the band would ever go musically, so well done them. Recordings featuring them are further down this post.

What has been most fortunate though is that this happened to coincide with the presidency of James Kelsall who has done more, and done it better, than any performance-group-leader I’ve ever met. At last year’s AGM, dressed up in period drama costumes on tour, he had two ambitious aims: record a studio album, go and play at the North Sea Jazz Festival. The CD, ‘Swingin[g] from the Treehouse’ is now becoming available, and in July we’re going to play at North Sea. Along the way we’ve also recorded music and video for ITV’s upcoming drama Mrs Biggs and on 12th May we’re bringing the very famous Liane Carroll to Leeds for a gig. It’s all pretty amazing and makes me very glad to have happened to be studying at Leeds this year. Well done JK!

Recordings

Here are some bootleg recordings from my phone and a few videos from tour.

Concerto for cootie — matt yardley, trumpet

Lovely Ellington chart, very very carefully arranged and excellently played. 2:39 onwards is pretty cry-y.

bei mir bist du schon — george millard, clarinet

Funny sort of dance hall style chart, the kind where on the video all the musicians’ bodies and smiling faces are perfectly stationary apart from e.g. drummer’s arm or conductor’s hands.

Samantha — George Millard, alto sax

(Featuring George on his main instrument.) Eyeshadow is even more fitting on this tune for some reason.

BBC Grandstand — arr. jj williamson

An arrangement I did a while ago to test out Sibelius 7 Sounds, finally finding use as a way to provide nostalgia for British ex-pats.

Under the sea — arr. jj williamson

I arranged this as a special request for a sea themed ball we did. Jamie Lambert’s vocals manage to be completely authentic without being racist at all.

Almost like being in love

Arrangement as done by Natalie Cole, and one of my favourite songs ever. Vocals from Loucin Moskofian.

At last

Power ballad time. Corine Sheratte singing, George Millard on sax again.

Cheese and carrots

Brilliant band chart. George Millard on alto again (my dad seems to prefer videoing tunes with him soloing), and Ciaran Diston on trumpet. Hugely appropriate tritone substitution at the end, well done me. Also featuring my dad and little sister arguing about who has the dubious privilege of holding the iPad.

Le Boy, electro house

I used to be in a very nice band called Neon Kicks. It featured Chloe Elliott on drums, Natalie Graham singing and Rob Peck playing bass, and I was playing quite an old but good keyboard on which, in a near-perfect reflection of our music, the pitch shift wheel eventually broke due to overuse.

Rob is also quite clever with computers and synths and DJing, and I’ve recently been listening to some of his work. There are some nice long mixes which I’ve found very good for doing work to, and in particular there’s a great tune called Any One which I think (think) might be a Philip Glass remix — only because Rob told me he was working on one and this seems like it might be it [edit: now I don’t think it is, and can’t remember whether Rob told me otherwise..].

It’s one of those things which, as well as being good to listen to, has obviously identifiable musical peculiarities which it’s nice to go on about to your friends. In this case, I love the extra 2 beats on the leading tone which break up the harmonic movement but are smoothed over rhythmically by thumping electro-crotchetz. I also love the way the whole thing is just 3 notes over gradually more exploratory and wandering chords. It’s great.

Music for the shower

Since recently discovering that my phone is resistant to water and very loud, I’ve taken to listening to music in the shower. Not owning a purpose-built bathroom audio appliance, the only other option is to open the door through to the kitchen and use that whole room as a sort of giant speaker.

Now, songs are different lengths, and so are showertimes…. so:

I’m aware that even by the standards of a blog where the first proper post was a picture of some pasta, this is kind of inane.

Jerusalem and Audio Hijack Pro

I’ve just finished an arrangement of Elgar/Parry’s lovely socialist hymn, ‘Jerusalem’. This somewhat confused adaptation was part of a last minute effort by Steve Wright and myself to provide patriotic material for one of the gigs on LUU Dance Band’s 2011 tour of France — the gig happened to fall on St George’s Day, so the enthusiastic and numerous ex-pat community of Bergerac had requested that Jerusalem and Land of Hope and Glory be played that night. We forgot about it until a week before the tour, during which Steve was very busy with other things, and fun ensued.

I hope soon to upload an export or recording of Steve’s wonderful jazz-waltz setting (yes) of the latter tune, but for now here is an export of Jerusalem using the Sibelius 7 Sounds library.

Due to a minor bug and the fact that it was made in Sibelius 6 originally (I think), the inbuilt export chopped off a few notes, so I used the terrifying and excellent Audio Hijack Pro, a great Mac application that is able to steal the audio from any program and record it to a file.

The ‘Prom of peace’ – Rostropovich and Dvorak, 1968

Paul Gambaccini’s Radio 4 show ‘For One Night Only‘ is quite a rare thing: a radio show about (rather than playing) music that manages to avoid being joyless, self-indulgent and too long. Perhaps it helps that each episode is built around a specific historical event — usually, and in this case, a live concert. This helps to keep things focused and grounded, and there’s much less of the conceptual tangent-wandering you sometimes get with programmes about the arts.

The episode I’m talking about is this one from 2008. It looks back at the BBC Prom of 21st August 1968, when (Russian) Rostropovich and the (Soviet) USSR State Symphony Orchestra played (Czech) Antonin Dvorak’s Cello Concerto, amid protests in London and calls for the concert to be cancelled. Why? Because, that day, Russian tanks had invaded Czechoslovakia.

I would have loved to see Rostropovich play at any time, but this really would have been something else. It is often said that music, sport, culture in general, can and should be kept separate from politics. This concert is a powerful counterexample. Shouting in the audience, protestors outside, tanks in Czechoslovakia, and on the stage a tearful Rostropovich playing the music in such a way as to make it ‘completely clear whose side he was on’.

The CD is available on BBC Legends, here, and now I’m going to buy it. But there’s a final, poetic sadness. On the recording that survives, the shouts of protest from some in the audience as the music begins have been removed. I’d take the original any day, sullied and tainted as it was by the low politics and human tragedies of its time. Just as live music should be.