DDD Total Time = 47:19 / Recorded at Mill Farm Studio, May–November 2005

The Band of Oboes ‘first impression’ CD came about because of a live performance in the cathedral at Bury St Edmunds, England, where Rob was playing cor anglais in Bach’s Christmas Oratorio. There is a moment where the two oboe d’amores and two cor anglais play quite prominently and this sounded so jazzy, so sax-section-like, that Rob determined to see what he could come up with using the fantastic combination. So, next day, fairly early in the morning he scribbled out a bebop musical phrase and harmonised it in 5 parts with 3 oboes and 2 cor anglais. Then he multitracked the little offering in his studio: the idea was born and the desire germinated to create a complete album. The result is this optimistic and inventive CD and certain knowledge that there will be at least 3 or 4 more of similar design.

The oboe, d’amore and cor anglais tracks were multi-tracked after the rhythm tracks had been laid down as were the bassoon parts. There is a plot to perform this music live but after more material has been written – several pieces have been done already.

Thanks to Adam, Brian, Debbie, Emily, Linda, Mark, Martin, Pete, Steve and Will, amongst many others, for making this venture possible, and for putting up with Rob for a very long time.

ROB ROGERS

Rob Rogers was born in London in the middle of the last century and destined to create original

music from an early age. Rob evolved from a musical family – his father a geophysicist of talented proportions who also played Bach’s Chaconne well (an early memory) and Mozart’s violin sonatas accompanied by the young Rob (on piano), who was always mindful that the accompanying bottle of Bells often led to less accomplished performances - Sonatas 1-8 being musical and forgiving and 9 – 18 more of a challenge. The formative scenario, in Venezuela where Rob spent his first 9 years, of office parties and festivals with folk bands and live music had a profound effect, and from an improvisatory musical background he moved to a much more contained, but nonetheless inspiring atmosphere at a small school in Scotland. Imagine the culture-shock when the older members of the community, who had hitherto heard boys singing ‘Marie’s Wedding’ and ‘Step we gaily’, were subjected to a fearless young laddie armed with a quatro (a four stringed Venezuelan ‘ukelele’) singing Barlovento, and other curious music from far away, at the OAP’s Christmas concert…..and this in the early ‘70s.

Of course, there are endless anecdotes from a life of performing from an early age in Scotland, to studying at the Royal Academy of Music, BMus and MA degrees and the odd diploma. Rob has worked, musically, in South America, UK, France, Italy and Africa and now lives in his favourite part of the world – Suffolk, England. He plays oboe, d’amore and cor anglais (of course) but also sax, piano and bass.

Rob’s performing career has been varied – ranging from full out jazz-funk groups such as ‘Changes’ and ‘Wired to the Floor’ in Africa, to countless orchestras and chamber ensembles all over the world both as soloist and ‘ordinary’ member. He is married to Debbie (a beautiful flute player) and they have Will and Emily as heirs: they all live in a 14th Century thatched cottage in the middle of the idyllic English countryside.

THE MUSIC

The Key to Happiness
The ultimate in cheerfulness – full ensemble of 3 oboes, 2 cor anglais and rhythm section and semi-Latin in style with improvised solos from the lead oboe.

Mr Cheesy Smiles
The rhythm section take a break but the 3 oboes and 2 cors are joined by Steve on bassoon and contra-bassoon: a swingin’ track with all 7 instruments in close harmony exuding optimism and jolliness.

El Gato Inglès
Rob spent his first 10 years of life in Venezuela and so the music for this Latin flavoured track came naturally. Up-beat and off-beat busy percussion knit firmly with the 3:2 reed ratio interspersed with improvised cor anglais solos.

Dalyan
This was inspired by a couple of trips to Turkey and the track reflects the many layers of the country – traditional musical lines weave their way over the bed of breathy bass giving way, eventually, to a completely solo oboe section. This can’t go for too long and soon the funkiest bass line takes over, driving the music to a tremendous climax where the mysterious weaving dominates once again.

Desiderata
A cool piano intro sets the calm mood and before long a solo cor anglais joins the lazy scene. A long, sexy improvisation is followed by a return of the opening melody, shared more democratically this time, to finish smoothly and peacefully.

Inside out
This started life as a big-band number but was side-tracked (no pun intended) for a much better cause. The 3:2 reed combination return in funk/fusion mode almost veering into Latin again, but not quite. The oboe improvises here again, between bouts of neat ensemble music and a rare outing for the sweet little oboe d’amore in the middle bridge.

Onomatopoeia
These three little tunes arrived to lighten the texture with each track’s title coming from the onomatopoeic sound of the music.
1) Ba-ba-diddly-doo-dah is for interweaving oboe and cor anglais – odd length phrases on purpose to keep the listener on their toes (or is that ears?).
2) Doo….doo-wah - directly referring to the sound in Bach’s Passion where two d’amores and two cor anglais drove Rob to write all this music in the first place and, lastly
3) Mana-mana – oboe and cor anglais argue along the same lines as the first of the set, but this time joined by Will’s hi-hat to keep them under some sort of control.

Lost cause
This was the first track written for this CD –a calm start with Mark, on smooth guitar, in sultry mood. This features oboes only most of the way and after a more swinging middle section the opening, peaceful flavours return with high-flying ‘white-line-in-the-sky’ oboe playing.

Reel motivation
Probably emanating from being half Scottish and living in there for 8 years, this almost heavily metallic reel boasts unison oboes (another unique sound!) and short diversions into calmer waters where Adam takes a rare piano solo. The Gaelic is never too far away though, and the reel theme returns often to assert itself winning the battle in the end with an abrupt, but definite finish.

Tell me, man
It seemed appropriate to do some sort of ‘jazz standard’ on a jazz CD and, rather than do the usual, Rob opted for a Baroque piece and embellished it with bluesy ornamentation rather than the more familiar 17/18th century variety – he’s quite sure they (Handel, Quantz, Bach etc) would’ve approved being from an era where improvising was the norm.……….. all four movements are covered. Thanks to Georg Philipp for his beautiful Sonata in A minor for oboe or flute with continuo played here as never before.

Reed all about it
More synth-flavoured than previously with Mark’s guitar and Brian’s bass predominating – Adam (a shy but virtuous musician) takes another piano solo and Mark is allowed a little limelight too – perhaps this track is a taste of things to come. For anyone who’s interested, note the Neopolitanlike bridges that join the main sections.

Revised Tuesday August 22 2006