Richard Collis Report

I cant claim to be Bretts first or Founder Fan - a long way from first in fact, but I liked his music then, and Love it even more today. I am but one of many who will travel far to see Brett Wales in Concert. His popularity stemming from his ability to give his audience what they want, thats their kind of music plus a mixture of humour and talent. On festival occasions one has only to watch the crowd gathering at a Wersi demo to know that Brett is in town!!

Today was to be different, no gathering crowds, no competition for his time, no, - today I have a private audience with the maestro. I had good feelings about the day ahead as I slipped quietly out of our lane, and pointed the car northwards.

I headed North for some two hours up the M1, - and have now reached my destination. The warm spring sunshine settled on my shoulders as I stepped out of the car. I had arrived at Wales Records in Nottingham. It was 10am, and, as I stood on the doorstep it was no surprise to hear an orchestra playing inside, obviously in rehearsal, and being timed so as to get the brass sections entrance into a piece of music, spot on. It was of course one of the many BW Scala orchestras, or combos and brass bands whose muted strains frequently waft on the air of that neighbourhood in Nottingham. How on earth do they all fit into such a small studio?

This was not the first time I had visited the studio, but this time there was to be a difference. I wanted to understand something of the work that goes on behind the scenes in the creation of Bretts music. I also hoped and prayed I could find the literary skills to accurately portray and do justice to Bretts musicianship, such that as a result there might be greater appreciation for his work and dedication.

I knocked and the door opened, the cheeky, not totally unexpected remark of welcome, plus a steaming mug of tea was to set the backcloth for the rest of the days events, namely, lots of laughter, stunning music, and of course, the inevitable, repetitive, steaming mug of tea!

Bretts studio is a mixture of instruments, computers, mixing desks, childrens paintings and of course a picture of Bretts best pal, roadie and mentor for many years - the late Ken Davies now alongside two photos of Bretts idols, Klaus and Franz.

Close friends of Brett have been asking him to explain what it is that makes his music, his sound, so exciting and realistic? Those who know, and have witnessed, as I have today, the hours of dedicated studio work preparing for concerts will already know the answer. It is summed up in two words persistence and perfection, one brings the other! ITs the playing of tracks and compositions over and over again, - the mastering and polishing of the performance for his concert and CDs.

I hope this article will play a part in providing some of the answers to the well meaning, yet mistaken critics who tend to lump all multi tracking players into the one group for condemnation. Many critics speak, it would seem, in ignorance of the very real differences that exist between commercially recorded multi-tracked styles that provide ready made arrangements available to all, and the unique and very personal backing tracks Brett prepares for each individual piece of music he plays in concert or heard on his CD. Yes, maybe we have seen players on stage doing little but putting on a record and miming to it, and yes I would agree that is not really on, but this is as far removed from a Brett Wales performance as is the North, from the South, Pole.

Well meaning critics, some who suggest that perhaps original recordings are used would be well advised to listen carefully, and with an open mind, for the subtle key changes, - count the number of bars and note the variations, hear the differing instrumentation and arrangements, all of which puts a very firm stamp on the authenticity of a Brett Wales musical masterpiece. Im given to understand that apart from the improved musical aspect, both these variations from the original confound well-meant yet unjust criticism. Of course, the very fact that people can make such a mistake as to think it really is Abba, or Glenn Miller must surely speaks volumes about the quality of the work Brett does.

When we listen to a piece of Bretts music such as Blue Danube, or, Skaters Waltz, it must be obvious to most music lovers that the sound comprises many individual parts, it is very complete. Brass, String, Woodwind, Piano, Bass and Timpani are all independently going about there business, each playing there own unique parts from the orchestral score.

In order to give a polished and professional performance, whether it be a classical piece, or modern contemporary music, country or Jazz, Brett must first determine the parts, in addition to the lead, he will play live on stage. With only two hands, ten digits and two feet, the rest must be pre-prepared, played in the studio and recorded. Yes we are talking about each individual instrument, just as in an orchestral score, and all played in real time, that is continuously, from start to finish of the piece. Even the drum track is laid in as a single track from start to finish no looping of pre recorded parts, each note, each bang on the drum is a Brett Wales one off action. Is it any wonder that we can hear a difference when hes on stage! Talk about value for money, we get not just one Brett Wales, but an entire, unified orchestra full of BW talent. It really doesnt get much better than this does it? Well does it??

The order in which the tracks are laid down differs with each piece of music, but as a rough guide the lead, or melody line is first, and although it does not feature in the final arrangement, it does give an initial guide for the number of bars, and of course provides a melody to start adding ,one by one, all the other tracks.

At this point I must break in to say I was amazed by the fluency of the production. Playing along to tracks laid down earlier is a real art, controlling all the other bits, going back over things again and again would be so time consuming for the likes of me and many others, yet it all happens so quickly and easily, and in front of your very eyes. Seeing is believing, and I have asked Brett to give a Master class one day at a Festival, Im sure many will be amazed at what can be done with equipment thats available to us all.

The voice selection, editing, volume balance, and placement in the audio spectrum are also a Brett Wales hallmark. I wish I had a pound for every time Ive heard someone say, Why cant I make my Wersi sound like that!!!!!! Well of course you can! But its because of the work that goes into the voice selection and then the voice editing before adding the magic that is Brett Wales that makes it all happen. Its the artistry and passion as he plays each instrument, replicating the styles of individual players, such as the way James Galway would play his golden flute, or Eddie Calvert his Trumpet.

Another Brett Wales feature, one I suspect handed on to him by the late Ken Davies, is his ability to find the Hook in a piece of music, the bit that associates what is being played to that which made the piece famous,.

incorporating it, either in an instrumental sense, or by the very way its played. Brett learnt a great deal from his association with the late Ken Davies. In Bretts earlier days it was Ken who guided him through a musical wonderland, pointing out right from wrong, little things like expression pedal control, changed Bretts performance. I know Brett would want to acknowledge Kens valued input. So sorely missed today.

The addition of computers, digital recording, multitracking, and many other features have for the first time, given todays players the opportunity to play each of the scores written for each section of an orchestra, separately, from start to finish. A demanding practice, a new skill to learn, a challenge to be met, and one that Brett seems to have grown up with. Brett tells me , - with a smile on his face, that everything he does and uses, can be accessed on our own organs and keyboards. We have the technology but do we have the skill or dedication? Perhaps this in part explains why we have critics!! Its a tough road to follow, and people like Brett and one or two others have a head start on the rest.

When talking about multitracking I say, new, and ,demanding with my tongue in cheek, and with apologies due to people like Les Paul and Mary Ford, Wout Steinhouse, and of course our very own Brian Sharp, all of whom were perhaps multitracking long before Brett came on the scene. Of course the results sound similar, but today the technique and complexity has hit new levels of excellence.

Always searching for excellence and one for making the most of things, Brett has studied the capabilities of many products including Wersi, Orla, Yamaha, and Korg. Understanding and using the best available in advanced electronics and digital technology, has opened up his world of music making in a way beyond the comprehension of many of us. Brett spends time researching better ways to produce authentic music. Using techniques available to us all, and through shear hard work, dedication and a love for his craft, shows us all what can be achieved.

It is of course widely known that whilst Brett has maintained a completely freelance involvement with manufacturers. He has none-the less demonstrated and campaigned continuously for Wersi over the years, which, it has to be said, is his first love. Brett will however, demonstrate or play for any manufacturer who produces a quality product, and invites him so to do. Recent involvement with Korg and Orla has added yet more people to his fan club! Whilst the long standing love affair with Wersi continues unabated. The diversity keeps Brett up to date with much of the ever-advancing technical changes of our time.

Since early days much has changed, in both the world of music, and instruments. What hasnt changed is the need for good trained musicians, with the skills and talent, the dexterity and the creative passion that makes full use of todays, diverse and complex technology.

Although the common terminology used for these instruments is - Electronic Organ/keyboard- it is today a misnomer for the evolved and developed instrument we hear and play today. Whilst still keeping faith with the magic of drawbars and tone wheel sounds of yesteryear, the modern instrument has, in addition, far reaching capabilities and can very accurately reproduce true orchestral sounds and solo instruments. It is in truth an Orchestral Organ/keyboard All it needs is an arranger , a Conductor and the musicians In this house all three can be summed up in two words Brett Wales!.

An organ concert today, particularly a Brett Wales Concert can have you believe you are sitting in the presence of the Royal Philharmonic Orchestra, or Glenn Miller, Billy May, Eric Delany, or Acker Bilk the band or artist list is truly endless!

The visit to his studio at Wales Records in Nottingham was something of an eye opener, apart from being surrounded by mixing decks and visual aids, computers, speakers, keyboards and the Wersi Scala that mentioned earlier, I felt a warmth, a welcome, gift wrapped in glorious music.

A last Mug of tea, a cheery wave, and Im on my way back home. A good day, - no, a lovely day if not a trifle bewildering.

My thanks to Brett and Katrina for their candour, company, and Tea.

And I thought I could play!!!!!!!

Huh..

Richard Collis.