Above All
Mountain Citadel Band
Review by Major Ken Smith

From the opening notes of Martin Cordner's Fanfare and Flourishes to the triumphant conclusion of Kenneth Downie's He Can Break Every Fetter , this latest recording by Mountain Citadel Band (Bandmaster Philip Rayment) leaves no doubt about the central message it has to offer. With music to suit every taste, the various tracks lead the listener on a journey of worship, celebration and praise that touches the heart and inspires a new level of spiritual devotion.

Following the initial fanfare, reminiscent of Copland's Fanfare for the Common Man, composer Martin Cordner introduces Geoff Bullock's popular worship song The Power of Your Love. The melody is introduced simply, then builds to an exciting conclusion with tight, controlled playing that is the hallmark of the band's musical expression throughout the album. The music naturally leads into Matt Redman's The Heart of Worship, in an arrangement adapted from Len Ballantine's Heartbeat. The words speak of the raison d' ê tre behind all Salvation Army music-making: "It's all about you, Jesus," confirming Christ's supremacy above all.

Continuing in the same vein, the band plays Ralph Carmichael's setting of the hymn Jesus Shall Reign, in a transcription by Bandmaster Philip Rayment. Entitled Duke Street Intrada , it is based on the melody long associated with those words and provides four independent variations of the tune that build to a satisfying conclusion. The flow of thought continues as the listener is next transported into Eric Ball's masterpiece, The Kingdom Triumphant, a dramatic tone poem that depicts how Jesus will reign when he returns to earth. I was most impressed with the balance and interpretation of this rendition, with solid, rich chords in the opening and a sensitive approach to the middle section, all building to a glorious conclusion.

Euphonium soloist Jeff Vize gives a fine presentation of Lloyd Scott's Commitment, although for my liking the item works better in its original concept as a cornet solo. I loved the sonority of the luscious opening chords in the accompaniment, but given the scoring I just found that the euphonium tended to get lost and was sometimes difficult to hear.

Lorne Barry's Coronation includes some intersting percussion effects. Following the opening Olympic-like fanfare, the orchestra bells are a bit overpowering and tend to overshadow the introducton of the main tune in the lower instruments. Other than that, the band plays well, including a controlled presentation of the Riverdance-like sequence in the middle segment.

The band then shows its versatility by handling two very different songs of testimony. First up, a combination rock-jazz arrangement of Love Lifted Me, which features seamless transitions between the different styles and some outstanding solo work by Jeff Vize (euphonium), Sherie Keogh (cornet), and brothers Nathan and Joshua Downer on tuba and drums respectively. This is followed by Mervyn Clarke's Precious Jesus , skillfully scored as a horn solo by Robert Redhead and sensitively handled by Ian Watkinson with a very supportive band accompaniment.

Listeners from an older generation will especially appreciate George Marshall's classic march Mighty to Save, followed by Thomas Rive's setting of I Know a Fount. James Curnow's Jubilation! then brings a further contrast through a selection based on four well-loved spirituals: I'm Gonna Sing, Steal Away, Every Time I Feel the Spirit and My Lord, What a Morning.

Written at the request of trombone soloist Craig Lewis, Terry Camsey's This I Know! is based on the Gowans and Larsson song There Are Hundreds and Thousands from the musical Take-Over Bid. The solo features some unusual variations in a very light-hearted style that is sure to set one's feet a-tapping.

Returning to the theme of the recording, the band gives a fine interpretation of the contemporary worship song Above All, arranged by Andrew Mackereth. I was particularly impressed with the tight handling of the syncopated rhythms in the verse, which had obviously been well rehearsed.

For the final "big" item, Bandmaster Rayment has chosen William Himes' To the Chief Musician. The band responds well to the conductor's interpretation in both fast and slow sections, finding the real music behind the notes and providing a good blend of vocal and instrumental sound throughout—a distinctive feature of this unusual piece.

From the beginning to the end of this album, Mountain Citadel Band shows why it is one of the up and coming corps bands in the territory. I particularly enjoyed the overall thematic presentation that was developed as the CD went on and recommend listening to the entire CD in order to get the full benefit. The calibre of the playing certainly represents a high musical standard for any corps band. It bodes well for the future of banding, not only at Mountain Citadel, but for Salvation Army bands in general for years to come.