The contrabass sackbut

Born 1947 in Leeds, North England. Studied tuba while at school (with John Fletcher), then progressed to trombone and played with local orchestras and brass bands. During university years in London, studied with Denis Wick and then received a scholarship for the State Academy in Cologne where I was introduced to New Music by Vinko Globokar. Met Edward Tarr in Nov. 1969 and since 1970 member of his brass ensemble. Founder member of the "Brass Art" trombone quintet and since 1978 recordings for E.M.I and concerts with "Hesperion XX" with Jordi Savall. Freelance activity in and around the European scene, particularly Belgium, France (recordings for Belgian radio, and performances of Monteverdi's "Orfeo" in the Antwerp "Rubens year" festival and in Lyon, France). Recordings and concerts with the Tarr Ensemble in Berlin, Paris, Zürich, Milan, Rome and U.S.A.

Tour in 1979, with concerts on modern and historical instruments (sackbuts and natural trumpets) in Boston, New York, Chicago and Los Angeles.

Since the age of 12, when I started to play the tuba, I have always been fascinated by the low brass instruments. I think the satisfaction gained from being the bottom or foundation of a brass section, whether in an orchestra or chamber ensemble is incomparable and after many years playing the bass trombone in various ensembles for old and new music, I decided to concentrate my efforts on early music played on instruments of the period.

Modern copies of baroque trombones made by brass instrument manufacturers, mainly in Germany, have now been on the market for many years, from the rarely played soprano down to the quart and quintbass trombones (in F or Eb). The lowest voice, however, in the sackbut choir has been missing so far, and about 3 years ago I decided to remedy this situation.