L'Histoire de l'Ensemble Dents du Midi
de 1970 à 1980
Chronique de la naissance et de la fin d'un Brass Band en Valais
Thanks to all my visitors from over 30 countries :
Norway, Switzerland, Great Britain, Netherland, Denmark, France, Belgium, Germany, New Zealand, United States, Australia, Sweden, South Africa, Cyprus, and Luxembourg, United Arab Emirates, Isle of Man, Canada, Japan, Ireland, Italy, Malte, South Korea, Thailand, Taiwan, Jersey, Spain, India.
My last Coup de Coeur
Arsène Duc, un Chef Valaisan à l'honneur au Royal Albert Hall à Londres
Arsène Duc
Arsène Duc, directeur et fondateur du Valaisia Brass Band a été engagé par la fameuse Brighouse & Rastrick Band pour conduire ce prestigieux band lors du concours national de Grande Bretagne du 2 octobre 2021 au Royal Albert Hall à Londres. Leur performance fut classée au 6ème rang sur 19 participants (ici l'interview de Canal 9)
Juste avant de remporter son 10ème titre de champion suisse le 28 novembre 2021 à Montreux dont le 7ème avec le Valaisia Brass Band. Il faut y ajouter un titre de champion d'Europe en 2018 et le très fameux British Open en 2017. Quel palmarès !
27 novembre 2021, Auditorium Stravinsky à Montreux, Championnats suisses de brass bands.
Edward Gregson, Philippe Berrut, Michael Bach, Oliver Waespi et Jean-Chales Dorsaz.
Mes 16 Coups de Coeur 2020 - 2021 :
28 novembre 2021, restaurant le Bellagio au Royal Plaza de Montreux.
Petit déjeuner des compositeurs .
Jean-Charles Dorsaz, Philippe Berrut, Oliver Waespi, Edward Gregson et Régis Gobet.
Mon coup de Coeur
James Gourlay
My Story Life
I was born in Scotland in the coal-mining village of Methilhill: somewhere between the sea and John Haig’s whisky distillery, so I grew up with the smell of burning coal and ‘Uisge Beatha’, the water of life. I still like both. With three sisters and two brothers, we were a large but poor family. We lived in a house with only two bedrooms, which meant the girls slept in one room, the boys in the other, whilst my parents slept on a sofa-bed in the living room. The bedrooms were not heated and in winter ice formed on the inside of the windows. But there was always music in the house. My mother sang constantly, and my dad played the piano a little, almost always with the wrong chords in the left hand.
When I was about 10 years old, Mr. William Ross, the school janitor, and one of the class teachers, came into my elementary school class asking for volunteers to play in a school brass band. There were, of course, no volunteers, so a list of names was read out and mine was on it. I remember being less than enthusiastic about joining the school band because it meant staying late after school and it cost money. Not much, but enough to make a difference to us poor folks. ‘Anyway’, as my father said, ‘he can’t seem to stick at anything, so it’ll be a week and he’ll give it up’. I still have not given it up.
Mr. Ross gave us a lesson every evening after school. He was very strict, beating us with a stick if we played a wrong note and a result, we didn’t play many.! I think he was also an excellent psychologist, at least for me. He would give me a solo to learn saying, ‘It’s too hard for you, because you’re rubbish’ but you might as well try. With others he would say, ‘you’re doing great; try this’ but somehow he knew that if someone tells me I can’t do something, I must prove them wrong. And so, I practiced and practiced, and every week he said I was no good, until I was ‘better’.
When I was sixteen, I was advised by my second teacher, Bruce Fraser, to apply to go to music college and become a professional musician. This seemed a crazy idea to me and my family as no Gourlay had ever been to university and the colleges he suggested were all in England, a long way from home. My father, however, was a WWII veteran and knew his way around. He promised to take me down to London for the auditions. On the way, we stopped in Manchester to buy a second hand Eb Bass advertised in the British Bandsman. We had money. I had been working in the fields, picking potatoes, every weekend and evening, when there was no band practice, and had the princely sum of four hundred pounds. We got to London the night before the audition arriving at Euston Station. We had very little money left, so we slept on the station floor, my school tie wrapped around my wrist and the handle of the tuba case. At the audition, for the Royal Academy of Music, I was told I shouldn’t even dream about becoming a musician and should consider accountancy or something like that. The Royal College of Music was more sympathetic and offered me a reserve place, so if someone pulled out, then I would get the call. I did get that call (actually, a letter) and so down I went to London.
My teacher at the RCM was John Jenkins of the Philharmonia Orchestra. He was a fantastic player with a huge sound especially in the low register. I wanted that sound and practiced, practiced and practiced, for hours a day. In my first semester, a job opening came up at the City of Birmingham Symphony Orchestra. Mr. Jenkins told me I had ‘no chance’ of winning the job, but to go to the audition ‘just for the experience’. I was only 18 at the time, but eventually won the job. I was terrified because I knew less than zero about playing in an orchestra, but the colleagues were helpful and treated me as if I were an apprentice.
After three years in Birmingham, I was invited to join the BBC Symphony Orchestra in London where I spent an amazing 10 years. Whilst in London I played with the Philip Jones Brass Ensemble and on several film soundtracks (Batman, Superman, Yentl etc). It was during this period that I started to conduct brass bands. At first in the London College of Music, then the Hanwell Band, BTM and others. Roy Newsome was very encouraging as was Elgar Howarth and Gordon Higginbottom, who once sat in on one of my rehearsals and tore me to pieces afterwards. It was the best conducting lesson I ever had!
L'Histoire de ma Vie
Je suis né en Écosse, dans le village minier de Methilhill, quelque part entre la mer et la distillerie de whisky de John Haig. J'ai donc grandi avec l'odeur du charbon brûlé et de l'"Uisge Beatha" (est le nom du whisky en irlandais).
J'aime toujours les deux. Avec trois sœurs et deux frères, nous étions une famille nombreuse mais pauvre. Nous vivions dans une maison avec seulement deux chambres à coucher, ce qui signifie que les filles dormaient dans une pièce, les garçons dans l'autre, tandis que mes parents dormaient sur un canapé-lit dans le salon. Les chambres n'étaient pas chauffées et en hiver, de la glace se formait à l'intérieur des fenêtres. Mais il y avait toujours de la musique dans la maison. Ma mère chantait constamment, et mon père jouait un peu de piano, presque toujours avec les mauvais accords de la main gauche.
Quand j'avais environ 10 ans, M. William Ross, le concierge de l'école, et l'un des professeurs de la classe, est venu dans ma classe d'école primaire pour demander des volontaires pour jouer dans une fanfare de l'école. Bien sûr, il n'y avait pas de volontaires, alors on a lu une liste de noms et le mien y figurait. Je me souviens que je n'étais pas très enthousiaste à l'idée de rejoindre la fanfare de l'école parce que cela signifiait rester tard après l'école et que cela coûtait de l'argent. Pas beaucoup, mais assez pour faire une différence pour nous, les pauvres. ‘’Quoi qu'il en soit’’, comme l'a dit mon père, ‘’il ne semble pas pouvoir s'intéresser à quoi que ce soit, alors ça prendra une semaine et il abandonnera’’. Je n'ai toujours pas abandonné.
M. Ross nous donnait une leçon tous les soirs après l'école. Il était très strict, il nous battait avec un bâton si nous jouions une mauvaise note et au résultat, nous n'en jouions pas beaucoup ! Je pense qu'il était aussi un excellent psychologue, du moins pour moi. Il me donnait un solo pour apprendre en disant : "C'est trop dur pour toi, parce que tu es nul", mais tu pourrais tout aussi bien essayer. Avec d'autres, il me disait : "tu te débrouilles très bien, essaie ceci", mais il savait que si quelqu'un me disait que je ne peux pas faire quelque chose, je devais lui prouver qu'il avait tort. Je me suis donc entraîné et entraîné, et chaque semaine, il me disait que je n'étais pas bon, jusqu'à ce que je sois "meilleur".
À seize ans, mon deuxième professeur, Bruce Fraser, m'a conseillé de faire une demande d'inscription dans une école de musique pour devenir musicien professionnel. Cette idée m'a semblé folle, à moi et à ma famille, car aucun Gourlay n'était jamais allé à l'université et les collèges qu'il m'a suggérés étaient tous en Angleterre, très loin de chez moi. Mon père, cependant, était un vétéran de la Seconde Guerre mondiale et connaissait bien le coin. Il m'a promis de m'emmener à Londres pour les auditions. En chemin, nous nous sommes arrêtés à Manchester pour acheter une Eb Bass d'occasion annoncée dans le British Bandsman. Nous avions de l'argent. J'avais travaillé dans les champs, à la cueillette des pommes de terre, tous les week-ends et tous les soirs, quand il n'y avait pas de répétition du groupe, et je possédais la somme princière de quatre cents livres. Nous sommes arrivés à Londres la veille de l'audition en arrivant à Euston Station. Il nous restait très peu d'argent, alors nous avons dormi sur le sol de la gare, ma cravate d'école enroulée autour de mon poignet et de la poignée de l'étui à tuba. Lors de l'audition, pour la Royal Academy of Music, on m'a dit que je ne devrais même pas rêver de devenir musicien et que je devrais envisager de devenir comptable ou quelque chose comme ça. Le Royal College of Music a été plus sympathique et m'a offert une place de réserve, donc si quelqu'un se retirait, je recevais l'appel. J'ai reçu cet appel (en fait, une lettre) et je suis donc parti à Londres.
Mon professeur au RCM était John Jenkins, du Philharmonia Orchestra. C'était un musicien fantastique avec un son énorme, surtout dans le registre grave. Je voulais ce son et je m'entraînais, je m'entraînais et je m'entraînais, pendant des heures par jour. Au cours de mon premier semestre, un poste s'est libéré à l'Orchestre symphonique de la ville de Birmingham. M. Jenkins m'a dit que je n'avais "aucune chance" de gagner le poste, mais que je devais passer une audition "juste pour l'expérience". Je n'avais que 18 ans à l'époque, mais j'ai fini par obtenir le poste. J'étais terrifié parce que je ne savais pas jouer dans un orchestre, mais les collègues m'ont aidé et m'ont traité comme si j'étais un apprenti.
Après trois ans à Birmingham, j'ai été invité à rejoindre l'Orchestre symphonique de la BBC à Londres où j'ai passé dix ans incroyables. Pendant mon séjour à Londres, j'ai joué avec le Philip Jones Brass Ensemble et sur plusieurs bandes originales de films (Batman, Superman, Yentl, etc.). C'est pendant cette période que j'ai commencé à diriger des brass bands. D'abord au London College of Music, puis dans le Hanwell Band, le BTM et d'autres. Roy Newsome était très encourageant, tout comme Elgar Howarth et Gordon Higginbottom, qui ont assisté à l'une de mes répétitions et m'ont déchiré en morceaux par la suite. C'était la meilleure leçon de direction d'orchestre que j'ai jamais eue !
Left : James Gourlay with his dear friend, Gordon Higginbottom, circa 1980 at the National Youth Brass Band of Wales
Right : Roy Newsome and Elgar Howarth.
In my tenth season with the BBC, I received a letter from the Opernhaus, Zurich asking if I had a student who might be interested to audition for an opening they had. The job sounded nice, so I applied for it and won. Fairly soon after arriving, I started my relationship with the Swiss Brass Band scene, conducting the Brass Band Uri, then the Brass Band Berneroberland. The experience I enjoyed with that band counts as one of the most intense and satisfying of my musical career because of an incredible sense of teamwork, passion and dedication.
Opernhaus Zürich
Lors de ma dixième saison avec la BBC, j'ai reçu une lettre de l'Opernhaus de Zurich me demandant si j'avais un étudiant qui pourrait être intéressé à auditionner pour un poste qu'ils avaient. Le poste me semblait intéressant, j'ai donc postulé et j'ai gagné. Assez peu de temps après mon arrivée, j'ai commencé à m'intéresser à la scène suisse des brass bands, en dirigeant le Brass Band Uri, puis le Brass Band Berneroberland. L'expérience que j'ai vécue avec ce groupe compte parmi les plus intenses et les plus satisfaisantes de ma carrière musicale, grâce à un incroyable sens du travail d'équipe, de la passion et du dévouement.
In the mid 90s, Edward Gregson invited me to join his team at the Royal Northern College of Music in Manchester. It was an interesting proposition as Eddie is a close friend and Manchester is really a center for brass bands. I had been conducting Williams Fairey, travelling from Switzerland, so it seemed that the stars were pointing me in that direction. I really enjoyed working with Williams Fairey and we had quite a lot of success. We won the North West Area contest, the English Masters and the British Open together. After about 6 years with Fairey, I conducted Brighouse and Rastrick and Grimethorpe, which was a wonderful experience.
Au milieu des années 90, Edward Gregson m'a invité à rejoindre son équipe au Royal Northern College of Music de Manchester. C'était une proposition intéressante car Eddie est un ami proche et Manchester est vraiment un centre pour les brass bands. J'avais dirigé Williams Fairey, qui venait d’une tournée en Suisse, et il semblait donc que les étoiles me dirigeaient dans cette direction. J'ai vraiment apprécié de travailler avec Williams Fairey et nous avons eu beaucoup de succès. Nous avons remporté ensemble le concours de la région du Nord-Ouest, l'English Masters et le British Open. Après environ 6 ans avec Fairey, j'ai dirigé Brighouse et Rastrick et Grimethorpe, ce qui ont été des expériences merveilleuses.
2014 - Czardas, Trad Arr by James Gourlay, James Gourlay, Tuba-MERION CONCERT BAND
2010 - Tuba virtuosi Les Neish & James Gourlay perform Barbara Thompson's composition, "Double Trouble" at the launch party for the CD of the same name. Released on the Egon Label, the album features compositions for tuba by Barbara Thompson and
2020 - Six A Cappella Studies were written during the Covid-19 crisis as practice material for brass players. The studies can be performed by any brass instrument of the same pitch. No. 5 develops a theme from the composer's work Journey to the Centre of the Earth.
2020 -Nine Daies Wonder by Bramwell Tovey, Hannaford St Silver Band Mark Fewer violin James Gourlay cond.
2020 - Carol of the Tuba Bells: performed by the James Gourlay Tuba Ensemble
In 2008 Bertrand Moren asked me if I would be interested to conduct the Brass Band Treize Etoiles for the Swiss Open and the Nationals. I was surprised, as back in the days when I conducted the Brass Band Berneroberland, we used to regularly beat Treize, and I knew that I was, at least in those days, public enemy number one! But who wouldn’t want to conduct Treize Etoiles, one of the best in Switzerland and therefore one of the best in Europe? So, I grabbed opportunity very willingly. I have always had a very high regard for Geo Pierre Moren who I knew to be a fantastic musician, teacher and band trainer. I was sure that working with him would be inspiring and it always was. Every time I arrived in the band room; I knew the band would be well prepared, ready for my ‘finishing touches’. Before my first rehearsal with the band, Geo and I would meet to discuss the test piece, which beating patterns to adopt and how best to work during the week. It was always amazing to me that we had the same ideas on how to conduct the pieces we had to play. I almost always followed Geo’s advice when it came to choosing own choice pieces for the contests. Only once did I insist. ‘We have to play Revelation’ I insisted. We did, and it was a disaster; my fault. Treize Etoiles provided me with amazing musical experiences, even when we didn’t win, and a sense of belonging I have rarely felt anywhere else. It felt as though I was not only a friend but part of a family. It was a precious time in my life.
En 2008, Bertrand Moren m'a demandé si je serais intéressé à diriger le Brass Band Treize Etoiles pour l'Open de Suisse et les Nationaux. J'ai été surpris, car à l'époque où je dirigeais le Brass Band Berneroberland, nous battions régulièrement le Treize Etoiles, et je savais que j'étais, au moins à cette époque, l'ennemi public numéro un ! Mais qui ne voudrait pas diriger Treize Etoiles, l'un des meilleurs de Suisse et donc l'un des meilleurs d'Europe ? J'ai donc saisi l'occasion de plein gré. J'ai toujours eu une très grande estime pour Geo Pierre Moren que je connaissais comme un musicien, un professeur et un formateur d'orchestre fantastique. J'étais sûr que travailler avec lui serait inspirant et ça l'a toujours été. Chaque fois que j'arrivais dans la salle d'orchestre, je savais que le groupe serait bien préparé, prêt pour mes "touches finales". Avant ma première répétition avec le groupe, Geo et moi nous réunissions pour discuter de la pièce à préparer, des rythmes à adopter et de la meilleure façon de travailler pendant la semaine. C'était toujours étonnant pour moi de constater que nous avions les mêmes idées sur la façon de diriger les morceaux que nous devions jouer. J'ai presque toujours suivi les conseils de Geo lorsqu'il s'agissait de choisir les pièces de son choix pour les concours. Je n'ai insisté qu'une seule fois. J'ai insisté sur le fait que nous devions jouer Apocalypse. Nous l'avons fait, et ce fut un désastre; c'est ma faute. Treize Etoiles m'a permis de vivre des expériences musicales extraordinaires, même lorsque nous n'avons pas gagné, et de ressentir un sentiment d'appartenance que j'ai rarement ressenti ailleurs. J'avais l'impression d'être non seulement un ami, mais aussi un membre de la famille. Ce fut un moment précieux de ma vie.
James Gourlay and the BernerOberland Brass Band Berne/Switzerland
James Gourlay conducts the BBO between 1991 and 1996
Thanks to Véronique Gyger-Pitteloud, former principal cornet of the BBO when Jim was conducting, now conductor of the Brass Band Euphonia, for her contribution and the photo above.
James Gourlay conducts the BernerOberland Brass Band from 1991 to 1996 with a lot of success :
Swiss Champion 1991, 1992, 1993 and 1996
Second place in 1994
European brass band contest 1993 first place for the test piece
Swiss Open Champion 1993, 1994, 1996
Swiss Entertainment Contest Champion 1993
James Gourlay and the Brass Band 13 Etoiles Valais/Switzerland
Above : James with Jérémie Coquoz soprano cornet and Swiss champion
Left : Swiss Open Champion with Geo-Pierre Moren founder and historic conductor of BB 13 Etoiles, J.-J. Bornet and Jacques Evêquoz.
2015 - World Band Festival Luzern Brass Band 13 Etoiles, James Gourlay conductor, Of Distant Memories by Edward Gregson.
2016 -World Band Festival Luzern, Brass Band 13 Etoiles and James Gourlay play Harmony Music by Philip Sparke
2015 - James conducting BB13 Etoiles at the European Championships in Freiburg in Brisgau (Germany).
''I was wearing the band uniform because I had left my suit in the band room in Vetroz ! ''
From 2008 to 2016, James Gourlay conducts the BB 13 Etoiles, the most successful Swiss brass band in the history.
13 times Swiss champion
12 times Swiss open champion
3 times European Open champion
8 times Swiss band of the Year
14 participation in the european championships one time vice champion
World champion in 2005
and more titles ...
Now I live and work in Pittsburgh, Pennsylvania. I’m the Artistic and General Director of the River City Brass Band, the only full-time professional brass band, probably in the world. Before the Covid 19 Pandemic, we were giving around 70 concerts per season all over the USA. I love the band’s brash style, especially in big band music and Broadway musicals. The sound is unlike any European brass, but we are proud to be Americans making our unique sound. We never play test pieces because our audience hates them and it’s the audience who keep us in business. Our mission to entertain, so our shows are upbeat and a lot of fun. You can check us out on YouTube. Since March we have not been allowed to give concerts, but we are back on stage making video recordings, which we will be releasing this December.
Maintenant, je vis et je travaille à Pittsburgh, en Pennsylvanie. Je suis le directeur artistique et général de la River City Brass Band, le seul brass band professionnel à plein temps, probablement dans le monde. Avant la pandémie de grippe Covid 19, nous donnions environ 70 concerts par saison dans tous les États-Unis. J'aime le style effronté de l'orchestre, surtout dans les big bands et les comédies musicales de Broadway. Le son ne ressemble à aucun autre cuivre européen, mais nous sommes fiers d'être américains et de produire notre son unique. Nous ne jouons jamais de morceaux de concours parce que notre public les déteste et c'est le public qui nous fait vivre. Notre mission est de divertir, donc nos spectacles sont joyeux et très amusants. Vous pouvez nous voir sur YouTube. Depuis mars, nous ne sommes plus autorisés à donner des concerts, mais nous sommes de retour sur scène pour réaliser des enregistrements vidéo, que nous publierons en décembre prochain.
2015 -A video featuring Dr. James Gourlay, General Director and Maestro of River City Brass Band, discussing the various concert series and community projects of RCB.
2018 - RCB plays "Sunrise, Sunset" from the musical Fiddler on the Roof. Music by Jerry Bock
2014 -River City Brass Band Conductor - James Gourlay Imperial March from Star Wars - John Williams
Fun Facts
Age 64
Married to Lea Havas (Song for Lea)
Hobbies Cooking and Gardening
Sport Baseball (Pittsburgh Pirates)
Food Vegetarian/Vegan
Drinks Tea, wine, whisky
Under the Kilt don’t ask!
Music likes Rock, Pop, Jazz, Classical, brass, Bollywood
Music dislikes none
Instruments
2 Besson Eb tubas, Gronitz F tuba, 2 Eastman CC tubas, Melton Fafner BBb tuba, Wessex F Cimbasso, Conn Bb Sousaphone, Besson New Standard Euphonium, Melton 551 Euphonium, Drum set, Eb alto saxophone, grand piano
Faits amusants
Age : 64 ans
Marié à : Lea Havas (Chanson pour Lea)
Loisirs : Cuisine et jardinage
Baseball : Pirates de Pittsburgh
Alimentation : Végétarienne/Vegan
Boissons : Thé, vin, whisky
Sous le Kilt : Ne demandez pas !
Musiques : le Rock, la Pop, le Jazz, le Classique. les cuivres, Bollywood
La musique qu’il n’aime pas : aucune
Instruments :
2 tubas Mib Besson, tuba F Gronitz, 2 tubas CC Eastman, tuba BBb Melton Fafner, Cimbasso F Wessex, Sousaphone Sib Conn, Euphonium New Standard Besson, Euphonium Melton 551, Batterie, saxophone alto Mib, piano à queue
The Art of Conducting by James Gourlay
Above : 2016 - James Gourlay conducting the Brass band 13 Etoiles at the Swiss Championship in Montreux.
James conducting the River City Youth Brass Band. Three Rivers Arts Festival, Pittsburgh July 2019.
The Art of Gardening by James Gourlay !
James Gourlay grows cabbage, cucumber, zucchini !
James interview, December 2020
Dear James, on most of your pictures, you seem to be clowning around! This gives me the impression that you have a huge sense of humour and that you enjoy joking. Am I right? In any case, while behind your lectern, you look very serious and focused, as if work was supposed to be serious as opposed to everyday life. What is your point of view ?
Well, I do like to have fun because life is too short to be miserable all the time but music, and especially making music with other people is a gift from God. Of course I take that seriously, but I also take enormous pleasure from it and always try my best to bring the best out of the people with whom I am working and myself.
After living in Scotland, Great Britain and Switzerland, you moved to Pittsburgh, Pennsylvania, where you have been living for a few years now. Can you tell us about your life in the US ? And what will be you next destination ?
We really love living here in the United States and have even become American citizens. Pittsburgh is a beautiful city built around three Rivers, over 400 bridges and many hills. It was as if someone threw a lot of modern buildings into the middle of a forest. We have deer, possum, groundhogs, and many other kinds of wildlife visit us in our garden and we only live five minutes from the city center. Pittsburgh is also a city of culture. It has a World class symphony orchestra, opera, ballet, and a professional brass band. What could be better than that? The city and region have also offered us many opportunities. My wife Léa Havas (Song for Léa) teaches English, ballet, and Pilates and as well as conducting the River City Brass Band I am professor of Tuba and euphonium at Duquesne University. We are happy here.
You always talk with much affection and kindness about your experiences in Switzerland with the Berneroberland brass band and the BB 13 Etoiles. You said both bands welcomed you as family. How is it in the US? How do American musicians behave and what kind of welcoming did they offer you ?
At first the musicians of the River City Brass band were not at all friendly! You see, the difference between a professional Brass Band and an amateur one is simply that the musicians in a professional band see rehearsals and concerts as their job, whereas amateurs play for the love of it. Of course the professional also loves his/her work but there things complicate life such as contracts, union negotiations, and in some cases the rates of pay. So when I arrived for my first rehearsal I had no idea that River City Brass was nearly bankrupt and had cut the rates of pay for all of the musicians just before I arrived. I also didn’t know that the band had had a rather rocky relationship with a previous music director. All of this made the musicians more than a little aggressive at first. It took some time before I could win their trust but once I had done that, the band’s performance improved greatly, the audiences started to love us and we developed a very friendly working relationship. I am, after all, their boss.
American brass band is also an old tradition that probably goes back to the Civil War, although it seems that this tradition is less vivid than in Europe or Great Britain. What is your opinion of American brass band today ?
The American Brass Band scene is growing by the minute with bands springing up all over the country. These Brass Bands follow the British tradition in every way, even trying to sound like Black Dyke or Grimethorpe and this is similar, I think, to the Swiss Brass Band movement perhaps 20 years ago. The top bands such as Fountain City or Atlantic perform at a very high standard and could compete with anything in Europe. They might not yet be in a position where they could win a major contest in Europe but I have no doubt that day will come.
You said that the American audience did not appreciate contemporary or competition works and that it sticked to its traditions of jazz and musicals. But there are in fact a few brass band competitions that take place in the US. Can you tell us more about it? Does the River City Brass participate in competitions ?
I don’t think it’s only the American audience which doesn’t really appreciate contest pieces when they hear them. When I was music director of the Grimethorpe Colliery Band, I soon learned that the audience would receive a test piece with lukewarm politeness but go crazy for MacArthur Park. And we are talking about 72 concerts per year all over the United Kingdom. We in the Brass Band movement have a nasty habit, in my opinion, of only playing to and for each other and not thinking of the audience member who has never played a. brass instrument or any instrument at all. How are we to engage that person? How are we to persuade them to buy a ticket to one of our concerts? Then, if they have bought one ticket, how do we persuade them to buy another? Not, in my opinion, by playing loud, difficult, complex, and often not very well played test pieces, but by playing music they already know and love in fantastic versions for brass instruments.
There are only a couple of contests here in the US. One is the NABBA, or national championships and the other is the US Open. One thing which discourages us from having more competitions is the fact that the bands are geographically very far apart and the cost of travel considerable. It’s not unusual for a band to spend more than 12 hours in a bus to arrive at the contest venue so once or twice a year is possibly enough.
River City Brass does not take part in competitions and never will. This is for two reasons. The first is that we use French horns and not alto horns, which would immediately disqualify us. The second is financial: Every player in the band is paid for rehearsals and concerts in addition to travel expenses, overnight accommodation, and extra fees for soloists so a competition would not be profitable for us. That’s the difference between us and the competing bands; we are running a music business and need to make a profit.
Do you miss the interpretation of competition music with its multiple challenges, as played by brass bands in Europe ?
Not really and that’s because I’m lucky enough to conduct the Wind and Symphony Orchestras at Duquesne University. In the first week of last semester, for example, I conducted Stravinsky’s Symphonies of Wind Instruments, Holst Suite in F, Brahms 2nd Symphony and Respighi’s Pines of Rome plus Star Wars and Captain America with the University’s brass band. Great!
Now, you probably saw this question coming: if you were to compare the bands which you conducted in Scotland, Great Britain and Switzerland with the River City Brass of today, what would you say ?
One can’t really compare River City Brass with British-style brass bands as our sound is so different (and we like it that way). ‘Normal’ brass bands love to compete and so, in general, do their conductors. It would be easy for me to say ‘Scottish bands, or Swiss, or African brass bands ae the best’ but that’s not my style. I think everyone who tries to play in a brass band is amazing. It’s not easy, it demands a lot of commitment and it’s unpaid but yet we show up week after week. Amazing! So here’s my philosophy as a conductor. The folks in front of you are great. They will never be perfect, because only God is, so don’t even try for perfection. Try for improvement. If they sound better at the end of the rehearsal than at the beginning and everyone has had fun working hard, it’s very satisfying. Do that every rehearsal and you will turn the village band into world beater.
What interest do your American professional musicians have in European brass band? Are they interested in national and European competitions ?
No. Professional brass players here have little or no interest in European brass band competitions.
Do you believe that the American brass band has a real future or that it will sooner or later turn into a big band ?
The American Brass Bands which follow the British style of playing and compete in competitions have a real future. River City Brass, which is very different has, currently, no plans to hire saxophone players, but who knows ?
You are one of the very few brass band conductors to still practice intensively your instrument, the tuba. Do you enjoy playing as much as you enjoy conducting ?
Yes, perhaps even more.
Philippe Berrut
L’interview de James, décembre 2020
Cher James, Sur la plupart de vos photos vous faites le pitre ! j’ai l’impression que vous êtes drôle et que vous aimez beaucoup la plaisanterie ? Mais au pupitre, vous paraissez très sérieux et concentré. Le travail doit être sérieux et la vie drôle ?
Eh bien, j'aime m'amuser parce que la vie est trop courte pour être tout le temps malheureuse, mais la musique, et surtout le fait de faire de la musique avec d'autres personnes, est un don de Dieu. Bien sûr, je prends cela au sérieux, mais j'y prends aussi un énorme plaisir et je fais toujours de mon mieux pour tirer le meilleur des gens avec lesquels je travaille et de moi-même.
Depuis quelques années, vous êtes installé à Pittsburgh en Pennsylvanie. Après l’Ecosse, l’Angleterre, la Suisse, les USA. Parlez-nous de votre vie aux USA, et ensuite quelle sera votre prochaine destination ?
Nous aimons vraiment vivre ici aux États-Unis et avons fait en sorte que nous devenions citoyens américains. Pittsburgh est une belle ville construite autour de trois rivières, de plus de 400 ponts et de nombreuses collines. C'est comme si quelqu'un avait jeté beaucoup de bâtiments modernes au milieu d'une forêt. Des cerfs, des opossums, des marmottes et bien d'autres espèces d'animaux sauvages nous rendent visite dans notre jardin et nous n'habitons qu'à cinq minutes du centre ville. Pittsburgh est aussi une ville de culture. Elle possède un orchestre symphonique de classe mondiale, un opéra, un ballet et une fanfare professionnelle. Qu'est-ce qui pourrait être mieux que cela ? La ville et la région nous ont également offert de nombreuses opportunités. Ma femme Léa Havas (Song for Léa) enseigne l'anglais, le ballet et le Pilates. En plus de diriger le River City Brass Band, je suis professeur de tuba et d'euphonium à l'université de Duquesne. Nous sommes heureux ici.
Vous parlez de vos expériences en Suisse avec le Berneroberland brass band et le BB 13 Etoiles avec tendresse et bienveillance. Vous avez été accueilli comme dans une famille, dites-vous. Et aux USA ? comment sont les musiciens américains ? quel accueil vous ont-ils réservés ?
Au début, les musiciens du River City Brass band n'étaient pas du tout sympathiques ! Vous voyez, la différence entre un Brass Band professionnel et un Brass Band amateur est simplement que les musiciens d'un groupe professionnel considèrent les répétitions et les concerts comme leur travail, alors que les amateurs jouent pour le plaisir. Bien sûr, le professionnel aime aussi son travail, mais certaines choses compliquent la vie, comme les contrats, les négociations syndicales et, dans certains cas, les taux de rémunération. Ainsi, lorsque je suis arrivé pour ma première répétition, je n'avais aucune idée que River City Brass était au bord de la faillite et avait réduit les taux de rémunération de tous les musiciens juste avant mon arrivée. Je ne savais pas non plus que le groupe avait eu une relation plutôt rocambolesque avec un précédent directeur musical. Tout cela rendait les musiciens plus qu'un peu agressifs au début. Il a fallu un certain temps avant que je puisse gagner leur confiance, mais une fois que j'ai fait cela, la performance du groupe s'est grandement améliorée, le public a commencé à nous aimer et nous avons développé une relation de travail très amicale. Après tout, je suis leur patron.
le brass band américain est aussi une vieille tradition qui date probablement de la Guerre de Sécession, mais il semble que cette tradition soit moins vivante qu’en Europe ou en Grande Bretagne en particulier. Quel regard portez-vous sur le brass band américain aujourd’hui ?
La scène des brass bands américains se développe de minute en minute, avec des groupes qui apparaissent dans tout le pays. Ces Brass Bands suivent la tradition britannique dans tous les sens du terme, même en essayant de sonner comme Black Dyke ou Grimethorpe et cela ressemble, je pense, au mouvement des Brass Bands suisses il y a peut-être 20 ans. Les meilleurs groupes tels que Fountain City ou Atlantic se produisent à un niveau très élevé et pourraient rivaliser avec n'importe quel groupe en Europe. Ils ne sont peut-être pas encore en mesure de remporter un grand concours en Europe, mais je ne doute pas que ce jour viendra.
Vous dites que le public américain n’apprécie pas les œuvres de concours et contemporaines et qu’il reste plutôt ancré dans ses traditions de jazz et de musicals. Il existe cependant des compétitions de brass bands aux USA ? pouvez-vous nous en parler ? Est-ce que le River City Brass participe à des concours ?
Je ne pense pas qu'il n'y ait que le public américain qui n'apprécie pas vraiment les pièces du concours quand il les entend. Lorsque j'étais directeur musical du Grimethorpe Colliery Band, j'ai vite appris que le public recevrait une pièce test avec une politesse tiède mais qu'il deviendrait fou de MacArthur Park. Et on parle de 72 concerts par an dans tout le Royaume-Uni. Nous, dans le mouvement des brass bands, avons la fâcheuse habitude, à mon avis, de ne jouer que les uns pour les autres et de ne pas penser au membre du public qui n'a jamais joué d'un instrument de cuivre ou de n'importe quel autre instrument. Comment allons-nous engager cette personne ? Comment allons-nous la persuader d'acheter un billet pour l'un de nos concerts ? Ensuite, si elle a acheté un billet, comment la persuader d'en acheter un autre ? Pas, à mon avis, en jouant des morceaux d'essai forts, difficiles, complexes et souvent peu joués, mais en jouant une musique qu'ils connaissent et aiment déjà dans des versions fantastiques pour cuivres.
Il n'y a que quelques concours ici aux États-Unis. L'un est la NABBA, ou championnats nationaux, et l'autre est l'US Open. Une chose qui nous décourage d'organiser davantage de concours est le fait que les groupes sont géographiquement très éloignés les uns des autres et que le coût des voyages est considérable. Il n'est pas rare qu'un groupe passe plus de 12 heures dans un bus pour arriver sur le lieu du concours, donc une ou deux fois par an suffisent.
River City Brass ne participe pas aux concours et ne le fera jamais. Cela pour deux raisons. La première est que nous utilisons des cors français et non des cors d'alto, ce qui nous disqualifierait immédiatement. La deuxième est d'ordre financier : Chaque joueur de l'orchestre est payé pour les répétitions et les concerts, en plus des frais de déplacement, de l'hébergement et des frais supplémentaires pour les solistes, de sorte qu'un concours ne serait pas rentable pour nous. C'est la différence entre nous et les groupes concurrents ; nous gérons une entreprise musicale et devons faire des bénéfices.
Est-ce que l’interprétation de la musique de concours aux multiples difficultés, telle qu’elle est pratiquée par les brass bands en Europe vous manque ?
Pas vraiment et c'est parce que j'ai la chance de diriger les orchestres à vent et symphoniques de l'université de Duquesne. Au cours de la première semaine du semestre dernier, par exemple, j'ai dirigé les Symphonies d'instruments à vent de Stravinsky, la Suite Holst en fa, la deuxième Symphonie de Brahms et les Pins de Rome de Respighi, ainsi que Star Wars et Captain America avec la fanfare de l'université. Super !
Vous imaginez bien que cette question devait arriver ! si vous deviez faire des comparaisons entre les brass bands que vous avez dirigés en Ecosse, en Grande Bretagne, en Suisse et le River City Brass actuel, que diriez-vous ?
On ne peut pas vraiment comparer le River City Brass avec les fanfares de style britannique car notre son est si différent (et nous l'aimons ainsi). Les fanfares "normales" aiment la compétition et, en général, leurs chefs d'orchestre aussi. Il serait facile pour moi de dire "les fanfares écossaises, suisses ou africaines sont les meilleures", mais ce n'est pas mon style. Je pense que tous ceux qui essaient de jouer dans un orchestre de cuivres sont incroyables. Ce n'est pas facile, cela demande beaucoup d'engagement et ce n'est pas rémunéré, mais pourtant nous nous présentons semaine après semaine. C'est incroyable ! Voici donc ma philosophie en tant que chef d'orchestre. Les gens devant vous sont géniaux. Ils ne seront jamais parfaits, car seul Dieu l'est, alors ne cherchez même pas la perfection. Essayez de vous améliorer. S'ils sonnent mieux à la fin de la répétition qu'au début et que tout le monde s'est amusé à travailler dur, c'est très satisfaisant. Faites cela à chaque répétition et vous transformerez l'orchestre du village en batteur mondial.
Quel intérêt vos musiciens professionnels américains portent-ils sur le brass band européen ? sont-ils intéressés par les concours nationaux et européens ?
Non. Les joueurs de cuivres professionnels ne s'intéressent pas ou peu aux concours européens de cuivres.
Pensez-vous que le brass band américain a un véritable avenir ou qu’il mutera tôt ou tard en big band ?
Les Brass Bands américains qui suivent le style de jeu britannique et participent à des compétitions ont un véritable avenir. River City Brass, qui est très différent, n'a pour l'instant pas l'intention d'engager des saxophonistes, mais qui sait ?
Vous êtes un des très rares chefs de brass band qui pratique encore assidument son instrument, le tuba. Vous aimez jouer autant ou plus que diriger ?
Oui, peut-être même plus.
Dear James,
In the various beautiful testimonials written by your friends, I found a perfect description of the man I imagined without even knowing you! An exceptional and very perfectionist musician, a renowned and appreciated conductor, a humorous and dynamic businessman always involved in many projects at a time, also a charming man, a faithful friend and now a very much American citizen – although your British friends, who are certainly not lacking humour at all, admit that you remain Scottish.
What a shame to imagine that you conducted brass bands in Switzerland during almost 20 years and that I never had the chance to meet you !
So I will come visit you in Pittsburgh to admire your garden and listen to you playing the tuba while tasting a good whiskey or even drinking tea and also to assist to a concert of the River City Brass interpreting Broadway musicals.
I am looking forward to it! Thanks for everything.
More videos and images
2020 Thriller by Michael Jackson with James Gourlay
2015 -James Gourlay Plays "All I Want for Christmas is My Two Front Teeth"
2020 -The River Brass Trio plays a beautiful tuba and euphonium duet "The Water is Wide". Tuba - James Gourlay, Piano - Birute Stundziaite euphonium Algirdas Matonis
James Gourlay honored in Pittsburgh
The Mayor of Pittsburgh (left) is presenting an award to Dr. Herbert Jones (Center) and me for our joint work in promoting diversity and harmony in the city through our Gospel and Brass project. The Heritage Gospel Choir from a black district of the city and the mainly white RCBB.
The Commissioner for Allegheny County (Pittsburgh’s ‘canton’) is presenting me with a citation for services to the Arts and the Community and naming September 12 ‘ Dr. James Gourlay Day’ in the county.
James Gourlay conducts the BB 13 Etoiles in Switzerland, the most successful Swiss brass band in the history.
2017 - James Gourlay guest soloist with the Atlantic Brass Band from New Jersey. A British style brass band and at that time the national champions. The conductor is Maestro Salvatore Scarpa.
James Gourlay with Katy Shakelton-Williams, soprano singer, during the recording of Broadway Brass, September 2019
James Gourlay and Ian Bousfield, Royal Northern College of Music, Manchester 2019. A performance of the Wilfred Heaton Trombone Concerto with the Fodens Band.
2009 James Gourlay conducts the famous Swiss Army Brass Band
Jim visiting Gordon and Sylvia Higginbottom's property in Spain
One more thing !...
the Iganga community brass band in Ouganda
Here is on aspect of James Gourlay’s rich life on which he is rather discreet but which deserves to be mentioned:
James sponsors the Iganga community brass band in Ouganda by sending them money to buy food. He also sent them trumpets and trombones so that the children have instruments to play.
He helped rebuild the latrines in the village school and paid for drinking water to be brought all the way to the school. His sponsored “son”, Rahim Matumba, is 13 years old and is a good student at the school where James sent him to.
Here is a video of Rahim playing euphonium along with James on the tuba.
They express to James their strongest admiration and affection
Ian Bousfield,
British trombonist,teacher,
conductor,Orchestral coach, commentator
James Gourlay. Friend, colleague, role model! I have known Jim since 1984 I think. He was the Tuba player of the BBC Symphony at the time and without question one of the greatest tuba players I ever got to work with. Out of interest the other two were John Fletcher and Walter Hilgers. His days exclusively on the tuba were limited due to his overwhelming talent as a conductor, composer, administrator, businessman and yes also, when required as a painter and decorator! Whatever Jim decides to do he does 110% and makes a success of it, his work ethic is such that I don't think he knows how to fail.
But it is his open minded enthusiasm, zest for life and absolute professionalism that makes him for me an absolute role model. I remember when his dress sense was a little, how shall I say, unusual - he has never minded being different. He dances to the beat of his own drum and as a consequence will never be everyone's "cup of tea" but my goodness what a dull and poor World we would have without Jim and people like him. I always look forward to seeing him and to working with him.
French translation
Edward Gregson
English composer
I send greetings to my longtime friend and colleague James Gourlay. James (or ‘Jim’ as he is better known to his friends) is a wonderful musician - someone who has demonstrated his craft as a tuba player, conductor, clinician, educator and teacher, to an extraordinary level of accomplishment.
As a world class tuba player he has performed as a soloist, as a member of many brass ensembles, and of course with some of the world’s finest orchestras and conductors.
His playing is sublime, demonstrating complete mastery of his instrument, both technically and musically.
As a conductor he has given inspiring performances, using all his musicianship, knowledge, and understanding, to great effect; above all, it is his enthusiasm for the music that makes him special; and as if this wasn’t enough, he also speaks at least five languages....is there no end to this man’s talents? We English even forgive him for being a Scot!!
Jim, we salute you!
Gordon Higginbottom
British Soloist , Clinician
James Gourlay ...where do you start ? I guess I first got to know Jim in the early 80s when we were both enlisted by Edward Gregson as tutors at the inaugural course of the National Youth Brass Band of Wales . We hit it off immediately, but who doesn't when they meet Jim for the fist time. with his easy going pleasant nature, he is great company and with loads of stories of his lifes experiences one could easily say an entertaining.evening was assured.
From then on we seemed to be so frequently intertwined that dates become blurred. A couple of years after the NYBBW, i founded the Brass Band Summer School funded by Boosey & Hawkes and of course I chose Jim as Tuba Tutor. All sounds very serious but believe me we had so many hilarious moments which its probably best to skip. Life was great when he was around. I guess the feelings were mutual as Jim was directly involved in my appointment as Tenor Horn Professor at the London College of Music. where he was established as Tuba Professor. Of course Jim ,as Principal Tuba of the BBC Symphony Orchestra was in great demand as a player and well respected throughout the orchestral world. Nothing ever phased him and I recall my wife & I going to hear Jim perform the Vaughan Williams Tuba Concerto at the Proms in the RAHall accompanied by the BBC Concert Orchestra An incredible performance which no doubt had some bearing on hi being offered a similar job in Switzerland.
We were invited to be tutors with the Swiss National Youth Band .Lots more fun. I recall the MD at the time was hesitant of attempting to direct one of my 'crazy' solos (The Blight of the Fumble Bee ) , so at the first 'in camp' concert of the course, whilst Jim was on stage playing a fiendishly difficult unaccompanied solo, a dejected Bumble Bee walked sadly across the stage carrying a suitcase - going home. The band were trying hard not to laugh but Jim never missed a note. Pure Professional.
Of course James went over to Switzerland, and enhanced his already huge reputation, though we still met up occasionally .. On his return to the Uk after accepting a post as head of Brass we were reunited as I was teaching there. However as often happens, the winds of change saw me move to Spain and Jim returned to his native Scotland to take up a similar position at the Royal Academy of Music. I know that on my final day at the RNCM in recognition of my admiration and friendship over many years
I presented Jim with my most prized possession An Old Leather Bound French Arban Tutor which was the best thing I could give a best friend to remember me by. Thanks Jim ...for so many years of memories which I cherish dearly.
Leslie Neish
International tuba soloist
I remember first meeting James as a 16 year old tuba player. I had listened to him many times on a CD so was very excited to have a lesson with him. I will never forget that day as his enthusiasm, knowledge, humour and musicianship inspired me then and it still does now.As a teacher every lesson was a true learning experience and James encouraged me to pursue my goals and ambitions to become a professional musician.
ames' career as a conductor, tuba player, educator has gained him recognition all over the world and I am so grateful for everything he did and still does for me. Thanks James.
Øystein Baadsvik
International Tuba Soloist
Musical, intelligent, and very generous. I have known James for decades and these are the words that first leaps to mind when first trying to sum up the impact he has had on me, and everyone else that crosses his path in music. I am convinced that these traits have paved the way for the tremendous success that he has in music, both as a musician and a conductor. As a musician myself I know how tempting it can be to take the easy road. To just play the notes on the paper and hope for the best. James doesn’t do that.
Whether he is playing or conducting, he manages to combine a well thought out musical idea with the all-important passion of the moment on stage. He tells a story. It sounds so simple, but it takes a real musician to do.
The music business is tough sometimes and it is easy to slide into a competitive mode. I really want to salute James for his generosity with colleagues and students. His supportiveness and humor lift others and makes him a role model for future generations of musicians. He keeps on inspiring me.
Adam Frey
International Euphonium soloist
I had the great pleasure to meet James Gourlay while I was a student at the Royal Northern College of Music. From my first lessons to having him conduct the RNCM brass band, I recognized his intelligence, wit, charm, and intensely high standards. It helped guide my success and long-term goals. He was a wonderful mentor and inspiration as a performer and now we have had the chance to work many times together in South America at various different festivals in Argentina and Brazil. His ability to change lives in those countries has been tremendous and his dedication to do more for others continues to motivate me in my professional life.
The other amazing thing about James involves his resilience ! His career tells you about his versatility as a player, conductor, band trainer, arranger, administration, leader, music director, fund raiser, President-Elect of the International Tuba Euphonium Association, and video creator. When I think of people that see an opportunity to do amazing things musically, chart a path for how to make it successful, and then execute with unwavering dedication, that is indeed James Gourlay! I am proud to have him as a teacher, mentor, and friend for so many years!
Steven Mead
Professor and Fellow RNCM
Artistic Director JIWEF (Jeju Festival)
Dr David Thornton
Senior Tutor in Brass Bands
Royal Northern College of Music
James Gourlay is undoubtedly one of the best in the business! I have known James for at least 25 years, and have enjoyed working with him on every occasion. My first encounters with James were in Switzerland where he was the tuba player in the Zurich opera and conductor of Brass Band Berner Oberland. We quickly became good friends and had some wonderful concerts together usually with him conducting, but also where we played together. When he moved to Manchester our connections became closer and he was an extraordinarily successful head of school at RNCM, giving a dynamic leadership, providing structure, clarity of purpose and was a massive motivating force for students and teachers alike. There was no room for slackers when James was around !
James impressed everyone with his energy and skill and he succeeded in pretty much everything he turned his hand to, conducting brass band and wind orchestras, arranging, composing, organising, teaching, and riding his Harley !
In Manchester James was a trusted colleague and I really enjoyed putting together the British Tuba Euphonium Conference with him at the RNCM.
I first met James Gourlay when we shared a recital together at a National Tuba & Euphonium conference held in Birmingham, UK during 1994. I was a young 16-year-old studying at Chetham's School and James was tubist with the Zurich Opera - some might say a mismatch!! But James was then, as he has been since, totally encouraging and devoted to bringing energy to all forms of his music making - making that potentially intimidating experience a real special one for me. Our paths crossed again at the RNCM, myself as a student and James as the newly appointed Head of Wind, Brass & Percussion and through the Williams Fairey Band with James as principal conductor and me sitting in the solo euphonium chair. The above makes it obvious what an influence James was on me during those important years - through high school and throughout further education.
He was always so supportive of the students, finding money from budgets that none of us knew existed to get students to festivals and competitions. He was extraordinarily dedicated, and course he shows the same dedication to his students and members of his wonderful band in Pittsburgh, River City Brass.
Despite his prodigious skills as an entrepreneur, conductor, front man, for me it is his genius in playing the tuba that stands above all else. He works very hard, but simultaneously makes it seem so natural and easy. I have never ever heard him play badly, and I'm sure I will never !
There will undoubtedly be many things said about James Gourlay. The biggest compliment that I can give him is that he always seems one step ahead of the competition, always knows a little bit more about the subject area, thinks just a little bit faster than the rest of us. And he is bloody funny, and has no airs and graces. In short, a brilliant professional musician, a super talented person with fantastic human skills, and it's been a pleasure to know him all these years.
His performance flair, his teaching energy, and his natural ability to communicate to a room full of people were skills I aspired to attain.
Twenty years later and I'm Senior Tutor of Brass Band Studies at the RNCM and James is one of International Chairs. His bi-annual visits are a highlight of the brass calendar at the RNCM, and the reason for that: the same reasons that drew me to his influence twenty years prior - flair, energy, the natural ability to command an ensemble and achieve real musical clarity within a very short amount of rehearsal time. James hasn't changed in all that time, his passion and drive for excellence are truly magical: the 'Peter Pan' of the brass world!
Werner Kubli
Musikhaus Kubli
Brass Band Zürich
Ich kenne james Gourlay jetzt bereits 30 Jahre.
Der Zufall wollte es das ich gerade ein Musikgeschäft eingerichtet hatte in Zürich . Als ein Mann aus einem Taxi stieg und mich fragte
was gibt es Da ? ER wohne im obersten Stock dieses Block . Das war ein Riesigen Zufall.
All in diesen Jahren konnte ich Jim als ein sehr guten Freund kennen lernen.
Er hatte sehr grossen Erfolg mit seinen Brass Band s in der Schweiz was Die einen Ihn fast etwas neidisch auf Ihn waren.
Er hatte immer ein offenes Ohr und hilft auch dessen wo nicht soviel haben.
Er war 2 mal Extra aus Amerika gekommen um meine Brass Band wo ich gegründet habe etwas zu Helfen und trainieren.
Jim und Seine Frau Schätze ich sehr zwei Fantastische menschen mit Spass und Viel Humor.
Ich hoffe wir sind noch lange Freunde James Gourlay und Ich.
The River City Brass and James Gourlay
