Review

John Frith
Wake-Up-Call: for Tenor and Bass Trombone with Piano
Tenor trombone, bass trombone, piano

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2023
URL: http://www.cherryclassics.com

Primary Genre: Chamber Music
Secondary Genre: Trombone Ensembles - 2 trombones

British composer John Frith (b. 1947) devotes himself full-time to composition and works with a variety of publishers including, in the case of the energetic and challenging Wake-Up-Call, Cherry Classics. This exciting new work is steeped in jazz traditions and is a quick tour-de-force journey through a variety of twentieth-century popular musics with references to the 1920s era “jazz age” and its specific highly syncopated early swing style. 

The work begins with an upbeat tempo and a series of cascading, contrapuntal phrases that trade off between the piano and the trombones. Nothing will come easily in the introduction for the performers; however, the propulsive beginning quickly transitions to a more relaxed lyrical section that gives both trombonists ample melodic moments of repose. As this section develops, the tenor trombonist is challenged with some double-time passages that the composer states were “developed using improvisatory techniques.” Through this section of the work which is “Latin inspired”, the piano part remains syncopated and energetic which contrasts the flowing lyrical nature of the trombone writing. This section concludes with several soaring phrases that carry the tenor trombonist up to c-sharp2, and then, following a brief, calmer moment, the character abruptly returns to the opening syncopated swing style. The piano returns to the gentle phrasing of the Latin section and the trombonists have a much needed, but brief moment of rest before the big push to the end. A coda of sorts begins with a lyrical line that brings the tenor trombonist up to d2 and then gently cadences only to begin a cadenza-like duo passage for the two trombonists. This cadenza quickly builds energy and returns us one final time to the syncopated dance rhythms that occur throughout. This finale features the fastest tempo of the work and brings the work to a virtuosic and enjoyable conclusion.

In Wake-Up-Call each trombonist will be thoroughly challenged, in terms of technique, style, ensemble skills, and range. The tenor trombone part tops out at the d2 mentioned above, but perhaps the more challenging aspect for some will be negotiating the notated jazz style in tenor clef throughout, as quite often swinging and the presence of movable C clefs do not go hand in hand; that said, it is not insurmountable. The bass trombone part has some challenging passagework, and though it descends to pedal AA's and a final pedal GG, the technical passagework occurs more in the staff and in the trigger register. For the piano, in the words of the composer, “The pianist will also have their work cut out to master this score but I'm confident that the end result will more than justify the means.” This will make for an exciting opener or closer to your next recital program and will be very enjoyable for both audience and performers.