Repertoire

Element 5 Brass: Brass Unbound

The Ensemble:

• Bradley Saunders, Trumpet (Leader)

• K. C. Lab, Trumpet

• Wayne Doerning, Horn

• Carlos Gama Jr., Superbone & Euphonium (Musical Director)

• John Albright, Tuba

The Program:

1. Just a Closer Walk (arr. Don Gillis) The work begins with a restrained, hymn-like dirge, featuring Bradley Saunders on the opening melody to evoke a solemn procession. As the ensemble joins in, the atmosphere shifts and the music transforms into an exuberant Dixieland celebration. At the heart of this jubilee, Carlos Gama Jr. takes center stage with a spirited trombone solo, bringing the driving rhythms and tasteful improvisation of the New Orleans style to life. Balancing stylistic nuance with technical precision, this arrangement captures both reverence and joy to begin our program.

2. El Capitan (arr. Jari A. Villanueva) Jari A. Villanueva’s transcription of Sousa’s El Capitan March brings a great American band classic into the chamber setting while preserving its unmistakable military character. Drawn from the definitive scores of “The President’s Own” United States Marine Band, the arrangement maintains the crisp articulation and buoyant tempo that define Sousa’s style. Originally composed in 1896 for an operetta, the march is built on vibrant contrasts and a commanding trio that showcases lyricism within the traditional march form.

3. American Patrol (arr. Arthur Frackenpohl) Arthur Frackenpohl’s arrangement transforms Meacham’s 1885 march into a brilliant showpiece. Known for his meticulous craftsmanship, Frackenpohl infuses this patriotic staple with wit and sparkling detail. Melodic interest is distributed throughout the ensemble, demanding agility from every player. A playful highlight arrives midway through the piece when the tuba, played by John Albright, unexpectedly presents Yankee Doodle, offering a moment of humor within the march’s spirited momentum.

4. Amazing Grace (arr. Luther Henderson) This setting transforms the familiar hymn from quiet reflection into a rhythmically energized concert work. It opens with a transparent statement of the melody presented as a solo by Bradley Saunders. From that stillness, Henderson introduces a syncopated ostinato that propels the music forward with a subtle gospel inflection. As the texture builds, K.C. Lab carries the soaring descant lines before the energy intensifies through a Dixieland-inspired section. The work culminates in an extended trumpet cadenza that honors the hymn’s enduring spirit.

5. That’s A-Plenty (arr. Jack Gale) Originally composed in 1914 by Lew Pollack, That’s A-Plenty embodies the exuberance of early New Orleans jazz. Jack Gale’s arrangement captures that spirit through brisk tempos and tightly interwoven lines. John Albright anchors the ensemble with a propulsive walking bass line on the tuba, while the trombone evokes the classic “tailgate” style. A featured trumpet solo by K.C. Lab provides a virtuosic highlight, blending historical jazz style with the polish of modern brass playing.

6. Orinoco Cocoa (Vince Gassi) Vince Gassi’s Orinoco Cocoa brings a vibrant Latin-jazz energy to the stage. Built on an infectious groove, the work offers a contemporary contrast to the traditional marches found elsewhere in the program. Drawing on Bossa Nova and Samba influences, the piece demands rhythmic precision and a steady pulse. The writing is tightly coordinated, featuring crisp, commercial-style articulations in the trumpets and an agile rhythmic foundation in the lower voices.

7. What a Friend We Have in Jesus (arr. Gary Slechta) Gary Slechta reimagines this beloved hymn with a smooth, Latin-inflected character. Departing from traditional block-chord treatments, the arrangement blends reverence with a relaxed Bossa Nova feel. After a clear presentation of the theme, the tuba and trombone establish a supple rhythmic foundation, while the upper voices shape the melody with lyrical phrasing and light jazz articulation. The result is an intimate atmosphere that invites the listener to hear a familiar melody in a new light.

8. Sonata from Die Bänkelsängerlieder (ed. Robert King) Attributed to Daniel Speer and dating from the late 17th century, this piece stands as a foundational work for modern brass. It evokes the world of the “bench-singers,” itinerant musicians who performed ballads in public squares. Cast in a rondo-like design, the work frames contrasting episodes of light counterpoint with a stately, rhythmic theme. Originally conceived for cornetts and sackbuts, the music adapts naturally to our modern instruments, offering a refined showcase for ensemble cohesion.

9. Second Suite in F (arr. David Sabourin) This is a masterful adaptation of Gustav Holst’s 1911 wind band masterpiece. Sabourin’s transcription maintains the weight and power of the full band score within the intimate framework of five players. This arrangement highlights the versatile low brass section, particularly featuring Carlos Gama Jr. on the euphonium.

I. March: Uses the Morris Dance and Swansea Town tunes to create a robust British Band sound. It features the suite's famous euphonium solo, showcasing Carlos's lyrical precision.

II. Song Without Words: A hauntingly beautiful movement where the ensemble creates a seamless, singing texture.

III. Song of the Blacksmith: Features rhythmic, percussive effects mimicking the metallic clang of an anvil through precise brass articulations.

10. Georgia On My Mind (arr. A. Ligotti) Albert Ligotti’s arrangement is a sophisticated interpretation of the 1930 ballad by Hoagy Carmichael. This version is admired for its lush harmonies and its ability to capture the bluesy essence made famous by Ray Charles. Ligotti, a former trumpeter with the New York Philharmonic, utilizes warm, dense harmonies in the horn and trombone to support the soloist. The arrangement showcases lyrical phrasing and vibrato control, fading into a quiet, sentimental conclusion.

11. Back to the Future (arr. Johnnie Vinson) This high-energy adaptation of Alan Silvestri’s iconic 1985 film score focuses on the heroic, triplet-based fanfare that defines the time travel motif. While the original orchestral score is massive in scale, Vinson distills that cinematic power into a flexible quintet setting. The piece maintains a brisk, driving tempo and adventurous spirit, requiring precise rhythmic timing on the signature syncopated brass hits that movie fans will immediately recognize.

12. El Gato Montés (arr. Jay Lichtmann) Our program concludes with a spirited transcription of Manuel Penella’s 1916 Spanish pasodoble. Originally a bullfighting staple, El Gato Montés (The Wild Cat) captures the fiery drama of the Spanish corrida. The arrangement demands sharp articulations and a bright tone, driven by a brisk pulse and heroic trumpet fanfares. The tuba and trombone effectively mimic a full Spanish wind band, ensuring a high-energy finale.

About the Group: Element 5 Brass is a premier professional quintet based in Redding, California. Founded by Bradley Saunders and Carlos Gama Jr., the ensemble is dedicated to exploring the full spectrum of the brass repertoire, from Baroque and marches to jazz and cinematic themes. Comprised of the North State's premier symphonic principals and retired military music leaders, the group is known for a high level of serious musicianship and a powerful ensemble blend.