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• "YEO AND HUDSON EXCEL. . .uncompromising high quality." (Brass Band World)

• "A wonderful program of solos and duets marked by great variety, technical assurance, and above all, mature musical lyricism." (The Brass Band Bridge)

• "Thoughtful, expressive performances that never stray from the intentions of the composers and are not spoilt by the trick embellishments or "individualism" of absent minded musical inconsideration."(4BarsRest.com)

• "Surface virtuosity is eschewed in favour of lyricism and refined musicianship. . .played with exquisite sensitivity."(The British Bandsman)

• "A remarkable CD . . .This is a must-have album."(The OnLine Trombone Journal)

I met tenor trombonist Nick Hudson. at a masterclass and recital I gave at the Royal Northern College of Music in Manchester, England. Having known Nick through one of his solo recordings, I was impressed, upon meeting him in person, that he was every bit as nice a guy as I had been told. In a brief conversation after the class, we parted by saying a phrase which has become almost obligatory when professional players meet for the first time, "Hope to see you again soon, perhaps we might be able to work together sometime."

"Sometime" came in the summer of 2001. In 1999 and 2000, Nick and I began to have some informal talks about the possibility of doing a recording project together. We thought the unique idea of bringing together a top player from the British Brass Band world and a top player from the American orchestra world to make an album of duets together would be exciting for us to do and interesting for people to listen to. At the time, we were each finishing up solo projects (I was completing Cornerstone and Nick was completing New Horizons). We agreed to talk again once our new solo discs were released.

In early 2001, I contacted Nick to ask if we might possibly collaborate on a project in August 2001, around the time the Boston Symphony was planning a tour of Europe. I suggested that since the tour was to begin in England, I might be able to come over early and we could work together. That set off a flurry of activity as we began to discuss repertoire and a recording company which would be interested in the idea.

We agreed from the start that we would like to use a brass band to back us up, and as the concept developed, we decided to add duos with piano accompaniment as well as solos for each of us accompanied by piano and band. Nick was able to secure the services of the renowned Williams Fairey Band (from Stockport, England) for which Nick was, at that time, principal trombone. Pianist David Chapman, who had played for Nick on his New Horizons CD agreed to accompany us on the new project as well. Happily, the Salvation Army, through their Egon recording division, was interested in producing the project and Brian Hillson of BH Sforza was engaged to record the album.

More information about the recording may be found on a page which contains photos of the recording sessions. Working on this album has been a distinct pleasure. Since I recorded my first solo album, PROCLAMATION, in 1996 with the Black Dyke Band, my life has become more involved with brass banding to the point where I am now music director of The New England Brass Band. Working again with a top championship level band in England - the Wiliams Fairey Band - was a pleasure, and collaborating with Nick and Dave Chapman was a rare event. We hope you enjoy the album - it certainly was a great deal of fun for us to make.

A final word: people have asked me, "Why have you named the CD Two of a Mind since there is no track on the CD with that title?" Good question! Here's the answer:

Nick and I have known each other for a number of years but had never played together. Therefore, making a CD together was something of a risk - what would have happened if we had gotten together for the first rehearsal and we realized our playing was not compatible?! Fortunately, that was not the case - in fact, Nick and I had one of the most synergistic collaborations I've ever been a party to. From the first piece on the first rehearsal (the Bach duet) we realized that we had not only a compatible concept of sound and style, but that we responded well to each other's subtle movements. There were moments, such as in the Ewazen Pastorale that my line was higher than Nick's - and listeners could not tell who was playing which part. More than once we commented, "Hey, you're reading my mind!"

After talking about a lot of possible titles for the album, I came up with the idea of Two Of A Mind. It might have been logical to take the fact that two trombone players were making an album together and call it "Two of a Kind," in fact, there is a well known trombone quartet album titled "Four of a Kind." But Nick's and my collaboration went beyond being of like "kind," we were, rather, of like "mind." Because we felt to enthusiastic about our collaboration and how we managed to play together as one player on our duets, we decided on the unusual title of Two Of A Mind. We hope you will agree it was a good choice!.

Below you will find expanded program notes for all of the tracks on Two Of A Mind. The 12 page booklet which accompanies the album doesn't have room to give all the information we would like to tell you, so here you will find song texts, composer biographies and details on how you can obtain the music on the album.

We would like to here list and publicly thank once again the members of the Williams Fairey Band who played so expertly on TWO OF A MIND . The Band's then Resident Conductor, Thomas Wys, was a model of efficiency and excellence, and his cool head and excellent relationship with the band helped us get the best from all involved in what was an intensive period of rehearsal and recording. Pianist David Chapman was, likewise, a consummate professional and proved to be unflappable during our long day of recording together.

TWO OF A MIND was recorded at the University of Manchester, Manchester, England, on August 22, 23 and 24, 2001.

Trombonist/composer Michael Davis is active worldwide as a performer and educator. His numerous touring and recording credits include the Rolling Stones, Frank Sinatra, Paul Simon, Aerosmith, Sarah Vaughan, Tony Bennett, Sheryl Crow and Bob Dylan. He is a graduate of the Eastman School of Music. Michael's compositions, published through his company Hip-Bone Music, are performed regularly throughout the world including Japan, China, Russia, Korea, Australia, Israel, Norway, Sweden, Spain, Argentina, Peru, the United States and Canada. Michael is a clinician for United Musical Instruments.

Trombone Institute of Technology was composed in 1998 and was released on Michael's two trombone recording Bonetown. Written specifically for that release, Trombone Insititute was composed for Michael and bass trombone virtuoso Bill Reichenbach. It has received hundreds of performances worldwide since its initial publishing in 1999.

The title was inspired by the nickname given to Michael's alma mater, the Eastman School of Music, by members of the Rolling Stones entourage upon learning of the history the school has with trombone excellence.

Nick and I felt this track was the perfect one to open the album, showcasing the two of us "unaccomapnied" in a great jazz duo which presented challenges and a lot of fun to both of us.

For more information about or to order the music to Trombone Institute of Technology, and to learn about Michael Davis' other published music and compact discs, visit the Hip-Bone Music Website at www.hip-bonemusic.com.

Ty Watson was born in 1968 in Portage La Prairie Manitoba, Canada and received his early musical training in the Salvation Army. His formal training was completed at the University of Toronto where he graduated with a degree in music education.

Ty spent seven years playing euphonium with the world renowned Canadian Staff Band as well as playing in a professional tuba-euphonium quartet. He has music published in both the concert band and brass band mediums. Ty has written music for some of the Salvation Army’s finest bands and has also had his compositions performed by European Championship Section Bands. His concert band material has been played throughout Europe. At present Ty works as a High School Music Teacher in Brampton Ontario.

Vigilant is dedicated to Len Ferguson, former bass trombonist of the Canadian Staff Band of the Salvation Army, and draws thematic material from the traditional children's song, "God Sees the Little Sparrow Fall":

Vigilant is published by Ty Watson who may be reached by email at: tywatson68@rogers.com

Johnann Sebastian Bach (1685-1750) was perhaps the most remarkable of all musicians who have lived, one whose devout Christian faith influenced every aspect of this life, both sacred and secular. Among Bach's singular achievements was the composition of nearly five complete cycles of church cantatas (approximately 250 works, some of which are lost) for performance during weekly church services according to the church calendar. Often referred to as "The Fifth Evangelist," Bach's cantatas drew on the Gospel and Epistle reading for the day and reinforced the message in a mini "sermon" in song.

Bach's Cantata BWV 78 ("Jesu, der du meine Seele"/"Jesus, who thou my soul") was written for the 14th Sunday after Trinity (September 10, 1724). The duet Wir eilen mit schwachen, doch emsigen Schritten ("We hasten with weak, yet eager steps"), effectively portrays in musical terms how those who are sick - physically or spiritually - come to Christ for healing. Originally for soprano and alto, with orchestra, this new transcription for two trombones is by Douglas Yeo who first played the piece in an arrangement by his friend, trombonist Eric Carlson, who, after sitting next to Douglas Yeo in their days together at Wheaton College and as members of the Baltimore Symphony Orchestra, now plays second trombone in the Philadelphia Orchestra.

Wir eilen mit schwachen, doch emsigen Schritten is under contract for future publication by Southern Music Company.

Erik Leidzén's Concertino is one of the most substantial, important and widely played solos by a composer who was affiliated with the Salvation Army. Leidzén began working on the piece in 1953 having been asked to write a solo for trombone and band by Maisie Ringham who was, at the time, Principal Trombone of the Halle Orchestra. From the outset, Leidzén planned to use Lietenant-Colonel Richard Slater's tune, "Christ Was The Shepherd" his new trombone work, and indicated that he first had heard the tune 50 years earlier.

While written with Masie Ringham in mind, the Concertino received its premiere by Arthur Anderson with the New York Staff Band of the Salvation Army on Saturday, April 4, 1954, at the Fourth Biennial Music Leaders' Councils in New York City in the Saturday afternoon Music Leaders' Forum. The premiere of Concertino in Britain was given on November 8, 1954 at Hammersmith Town Hall with Arthur Rolls as soloist with the International Staff Band of the Salvation Army. David Buckley gave the first performance in Canada on April 30, 1955 with the Vancouver Temple Band.

Richard Slater's original tune and text, "Christ Was The Shepherd" appeared in Volume 1 of "The Musical Salvationist," October 1886:

The composer has provided the following biographical and program note:

"Adrian Drover was born in London during the height of the blitz. This was his first encounter with loud, explosive things made of brass. The second was the cornet. In his early childhood, he received instruction on this instrument from his father, a long-serving soldier-musician in the Grenadier Guards.

"During his years at military boarding school, while all the other kids were on the playing field kicking balls about, Adrian studied harmony and taught himself orchestration and arranging. He wrote his first composition, a march for the school wind band, at the age of 14. After leaving school, he took up saxes (well, they are made of brass, aren't they?) and woodwinds (oops!).

"On quickly realizing that he had no talent for day jobs, he took up music as a full time profession and learned trombone as a double in the '60s, again self-taught. After a few years of seasonal touring work in circus, theatre and dance halls, he moved back to London and quickly found freelance work both as a session player and writer in the numerous recording studios of that period.

"Bass trombone became his primary instrument in 1970 when he joined the Maynard Ferguson Orchestra and his arrangements (including "MacArthur Park") became hits for Maynard and the band. In 1974, he joined the BBC Scottish Radio Orchestra as bass trombonist and arranger.

"BBC redundancies took their toll in 1981, but after a long vacation in Southern California, Adrian returned to Scotland as a freelance broadcaster with his own orchestra, big band and trombone band (inspired by George Roberts' Californian 'Bones West choir). Special guests with Adrian's Slide Rule band (10 trombones and rhythm) were Kai Winding, Jiggs Whigham, Urbie Green, Phil Wilson, Don Lusher and Roy Williams.

"Through the years Adrian has also worked with such stars as Tony Bennett, Ella Fitzgerald, Benny Carter, Gladys Knight, Shirley Bassey, Marion Montgomery, Georgie Fame and many more. In 1985 he won the Marty Paich trophy for best arrangement in the BBC Radio 2 big band competition.

"Adrian now has his own publishing business, specializing in brass band, big band and trombone music. In recent years he has worked as arranger and director with the BBC Radio Orchestra, BBC Radio Big Band, Carol Kidd and the Glasgow Philharmonic Orchestra. He is currently a part time instructor of arranging and composition at the Royal Scottish Academy of Music and Drama, Napier and Strathclyde Universities.

"Ralph Bigelow, director of the Bones West trombone choir in Santa Ana, California, emailed me to tell of an event that the local Southern California 'bonists had organised in honour of George Roberts' 70th birthday, and asked if I could send a few words of appreciation to be announced on the night.

"I woke up with the birds early next morning with this on my mind and went to my study to see if I could conjure something up. I'm useless at making up words, especially sentimental ones. Anyway, while I was thinking, I was absent mindedly doodling with a couple of chords on the piano. I gave up on my word composition and started developing my chord sequence instead. Eventually, a theme started building on the changes and I realised that what was materializing had to be a bass trombone feature. It then hit me that my new tune said everything that I was unable to put into words. The laid back style describes George and his life long devotion to promoting the bass trombone as a solo instrument, and the title "Mr. Nice Guy" just about sums up how I feel about him as a musician and friend. The tune is subtitled "Song for Bass Trombone" and is dedicated to George.

"It was premiered at George's celebratory night in Hollywood by Phil Teele with Bones West, the ctrombone choir that George himself had created back in 1980 and is still going strong."

Mr. Nice Guy is published by Adrian Drover and is available in arrangements for bass trombone solo with trombone choir, big band or brass band. It may be ordered through the Adios Music Website at www.adiosmusic.com or by contacting Adrian Drover by email by using the webmail form at this link on his website.

Terry Camsey was a member of the Salvation Army's International Staff Band Solo Cornet section for about 15 years in the 1960's - 1970's, sitting principal chair for some of that time. He emigrated to the USA in the 1970's and subsequently became principal cornet of the New York Staff Band. He was later commissioned as a Salvation Army Officer, and is now retired, living in the San Francisco area.

The melody Questions was inspired by and set to the words in the Salvation Army Song Book, no. 588. Terry Camsey says that he was so challenged by the words that a melody immediately started to unfold in his mind. It was written down, almost before he knew it. He says he immediately knew the tune as if he had been taking dictation from God.

John Burton, Jr., who wrote the lyrics, lived from 1803 - 1877. The words were written in 1840, and eventually published in a "Book of Praise for Home and School."

Ralph Vaughan Williams is well known as a symphonist and as a driving force behind the collecting and arranging of English hymnody, but he also wrote many beautiful songs on subjects both sacred and secular.

His Five Mystical Songs for baritone, chorus and orchestra were composed in 1911 on texts by George Herbert (1593-1633). The five movements are, Easter, I Got Me Flowers, Love Bade Me Welcome, The Call and Antiphon (My God and King). The Call is is one of Vaughn Williams' most subtle songs, employing a delicate accompaniment and a flowing melody which speaks of the relationship between God and man.

Silent Noon is published by Edwin Ashdown Ltd. The publication is widely available in music stores and shops. Nick Hudson's performance on Two Of A Mind is faithful to Vaughan William's original composition.

Fire Divine is based on the song "Burning, Burning" from the musical "Spirit" (which has as its subject the Acts of the Apostles) with music by John Larson, lyrics by John Gowans. John Gowens is General of the Salvation Army; John Larson is currently the Salvation Army's Chief of Staff. Ty Watson's arrangement was originally conceived for two euphoniums; it was Douglas Yeo who suggested to him that the piece would work well for two trombones.

Fire Divine is published by Ty Watson who may be reached by email at: tqwatson@sympatico.ca

Alexi Lebedev (1924 - 1993), whose name is also seen as Alexej or Alexey Lebedjew, studied tuba with Vladislav Blazhevich and continued his study at the Moscow Conservatory under Vladimir Schezbacov from 1945 - 1949. He was for many years a member of the Bolshoi Theatre Orchestra and also taught at the Moscow Conservatory. He composed two Concertos for tuba (No. 1 was first published in 1947 and was revised several times; No. 2 was published posthumously in 1995) in addition to two methods for tuba and a Concert Allegro for tuba (1949). Alan Ostrander, former bass trombonist of the New York Philharmonic Orchestra, found a copy of the Concerto in One Movement (as Lebedev's Concerto No. 1 was known outside the then Soviet Union before the Concerto No. 2 was known in the West) in the United States' Library of Congress and edited it for publication in 1960 in an edition which found wide acceptance among bass trombonists. Today, there are no fewer than three recordings of Ostrander's version of the Concerto (in recordings by Jos Jansons, Armin Bachmann and Siegfried Cieslik). Ostrander's edition, however, was not authorized by Lebedev and simplified the original solo part (Ostrander changed several notes and rhythms). The composer, in order to bring clarity to his piece which had seen several unauthorized editions due to its great popularity, prepared a new edition in 1980 which includes the work's original introduction and some new modifications in the solo and piano parts. This recording is the first of Lebedev's final, definitive edition.

Lebedev's Concerto No. 1 is published by Friedrich Hofmeister Musikverlag, Hofheim/Leipizig, and is widely available at music stores and online music companies such as Hickeys Music Center .

Recent premieres of his orchestral and chamber music have taken place in Mexico City, Mexico, Taipei, Taiwan, Paris, France, the Canary Islands and Chicago, IL. "Legacy" which was commissioned for the bicentennial of West Point was premiered by the U.S. Military Academy Band at West Point, New York. In October, 2000, his "Concerto for Bass Trombone and Orchestra" was performed by Douglas Yeo with the New England Conservatory Honors Orchestra, directed by Richard Hoenich.

Eric Ewazen has been vice-president of the League-ISCM, Composer-in-Residence with the St. Luke's Chamber Ensemble, lecturer for the New York Philharmonic's Musical Encounters Series, and is currently a faculty member of The Juilliard School.

Pastorale for tenor trombone, bass trombone and piano began life as a work for flute, horn and piano. It was subsequently arranged for trumpet and bass trombone by the composer, and further arranged by Douglas Yeo in the present version for two trombones and piano. Composed during the winter holidays in 1993, the sound of the music evokes a peaceful world of lyricism, chorale tunes and ringing bells. Over an ostinato of sparkling piano arpeggios, the main melodic duet of the soloists is first heard floating in the air. It appears several times in variation throughout the piece. Moments of shadow appear in the guise of minor key statements of the material--but these always resolve back to the major key world of this lyrical song and duet without words.

There are times in the piece where Nick and I trade voices, that is my part is higher than his. I doubt anyone would be able to tell where that happens (unless you're looking at the music). It was one of those things which was so positive in our collaboration - that our sounds matched so well that people couldn't tell who was playing, which led us to name our CD Two of a Mind.

This version of Pastorale is published by Southern Music Company, PO Box 329, San Antonio, Texas 78292 USA and is widely available at music stores and online music companies such as Hickeys Music Center . More information on the music of Eric Ewazen, including his many compositions for tenor and bass trombone, may be found on his website at ericewazen.com.

"My Funny Valentine is published by Adios Music and may be purchased through the Adios Music Website at www.adiosmusic.com or by contacting Adrian Drover by email by using the webmail form at this link on his website.

Lawrence Wolfe joined the Boston Symphony Orchestra's bass section in 1970, the orchestra's youngest member at that time; and was named assistant principal bass of the Boston Symphony Orchestra and principal bass of the Boston Pops Orchestra during the 1981-82 season. An alumnus of the Greater Boston Youth Symphony Orchestra and a graduate of the New England Conservatory of Music, Mr. Wolfe studied double bass with William Curtis, Leslie Martin and Gary Karr. As a fellow at the Tanglewood Music Center, he was awarded the "Albert Spalding Prize for the most promising and outstanding Instrumentalist" and is presently a faculty member of Boston University, New England Conservatory of Music, and the Boston Conservatory. In addition to his distinguished performing career, he has arranged and composed numerous pieces of music for his BSO colleagues including "Wildfire" for bass trombone and wind band, "Triptych" for bass trombone and brass band (which Douglas Yeo recorded on his CD, "Proclamation" with the Black Dyke Band), and "Variations on No. 5" for trombone choir, all written for Douglas Yeo. Currents has a decidedly 21st century feel about it with relentless energy forward looking motion. The counterpoint and canons, as well as the rising tritones and full integration of the solo parts with the accompaniment, give it a complexity and interest rare among solo music. Currents was composed for and dedicated to Nick Hudson and Douglas Yeo and the Williams Fairey Band and receives its first performance on this disc.

Like currents of wind and water, which are unseen but which move in dramatically independent and tandem ways, Douglas Yeo and Nick Hudson have begun to explore the possibilities of two trombone players who blend the best of two diverse musical worlds (orchestra and brass band) into an exciting and dynamic partnership. Currents is a fitting conclusion for their first collaboration together.

Currents is published by the composer, Lawrence Wolfe; more information on the music of Lawrence Wolfe may be found on his website at www.lawrencewolfe.com where he can be contacted regarding the purchase of Currents.