In Danceries by Kenneth Hesketh the melodies themselves are a mixture of old and new. Where the old occurs it has been adapted in mood and composition and is often interspersed with completely new material. The contemporary harmonies and rhythms bring a breath of new into these themes and add drama to the suite. The first movement Lull Me Beyond Thee is gentle and lilting almost a barcarole this movement is very much a reverie. The original tune had the name Poor Robin’s Maggot a rather disconcerting title. Maggot however in seventeenth-century parlance meant whim or fancy. The second Catching of Quails is acolourful buoyant scherzo on an original melody. The thematic material is shuttled around the band to contrast with full-blooded tuttis. The last few bars fade to almost nothing before a final surprise! My Lady’s Rest is a tender pavane also on an original melody with Moorish leanings. Beautiful solo passages expressive contrapuntal writing and warm tuttis provide an opportunity to show off the most lyrical of playing. The final movement Quodling’s Delight is a clever combination of the 17th century melody Goddesses with an original contrasting melody creating a rousing and exuberant finale to the work.

In Danceries by Kenneth Hesketh the melodies themselves are a mixture of old and new. Where the old occurs it has been adapted in mood and composition and is often interspersed with completely new material. The contemporary harmonies and rhythms bring a breath of new into these themes and add drama to the suite. The first movement Lull Me Beyond Thee is gentle and lilting almost a barcarole this movement is very much a reverie. The original tune had the name Poor Robin’s Maggot a rather disconcerting title. Maggot however in seventeenth-century parlance meant whim or fancy. The second Catching of Quails is acolourful buoyant scherzo on an original melody. The thematic material is shuttled around the band to contrast with full-blooded tuttis. The last few bars fade to almost nothing before a final surprise! My Lady’s Rest is a tender pavane also on an original melody with Moorish leanings. Beautiful solo passages expressive contrapuntal writing and warm tuttis provide an opportunity to show off the most lyrical of playing. The final movement Quodling’s Delight is a clever combination of the 17th century melody Goddesses with an original contrasting melody creating a rousing and exuberant finale to the work.

'The Keystone Kops' was a series of silent comedies featuring an incompetent group of policemen. They first appeared in the 1912 film 'Hoffmeyer’s Legacy' but it was the 1913 feature 'The Bangville Police' that confirmed their popularity. 'The Keystone Kops' were renowned for making mistakes particularly with a great deal of energy and activity and all done with a major lack of coordination. Carl Davis's 3 minute tour de force is a fine encore piece!

This new Leyland Band release features seven first-time recordings including 'The Alchymist’s Journal' by Kenneth Hesketh and 'Four Sketches' by Simon Dobson - the winning entry in the 2002 European Brass Band Composer Competition. Soloist James Gourlay performs the brass band arrangement of Ralph Vaughan Williams' Tuba Concerto. Other works included are 'Global Variations' and 'Thames Journey' by Nigel Hess 'RPM' and 'Headbanger' by Matthew Hindson 'Peterloo' by Malcolm Arnold and the comical encore piece 'Keystone Kops' by Carl Davis.

A Masque (short for Masquerade) has been defined by Historians as 'A revel in which Mummers or masked folk come with torches blazing into the festive hall and call upon the company to dance and dice'. The chaos of this dramatic dance is depicted in this 'Masque' by Hesketh. The main theme is bravura and is often present in the background. The form of the piece is a simple scherzo-trio-scherzo. Colourful scoring (upper wind solos trumpet and horn solos alternating with full bodied tuttis) with a dash of wildness may tease both player and listener to let their hair down a little! 'Masque' has been transcribed for wind band by Kenneth Hesketh from his 'Scherzo for Orchestra' commissioned by the National Children's Orchestra in 1987.