Philip Jones, English trumpet player and educator (b. 1928)

Philip Jones (12 March 1928 – 17 January 2000) was a pivotal figure in 20th-century classical music, renowned as a distinguished British trumpeter and the visionary leader of an internationally acclaimed brass chamber music ensemble. His groundbreaking work with the Philip Jones Brass Ensemble fundamentally shaped the landscape of professional brass performance and repertoire globally.

Early Life, Orchestral Brilliance, and Educational Foundations

Born in Bath, England, Philip Jones began his illustrious musical journey early, securing a prestigious scholarship to the Royal College of Music in 1944. This marked the beginning of a remarkable career that saw him become a principal trumpet for virtually every major London orchestra of his era, a testament to his exceptional skill and leadership within orchestral sections. His tenure included:

• The Royal Philharmonic (1956–1960)
• The Philharmonia (1960–1964)
• The Philharmonic (1964–1965)
• The New Philharmonia (1965–1967)
• The BBC Symphony Orchestra (1967–1971)

As principal trumpet, Jones held a crucial role, often responsible for leading the brass section and performing significant solo passages, contributing to the distinctive sound of these world-class ensembles. His playing style was a continuation of a distinguished line of English trumpeters, tracing its heritage back to influential figures such as Ernest Hall, highlighting a rich national tradition of brass musicianship.

The Philip Jones Brass Ensemble: A Pioneering Legacy

Formation and Evolution of a Stable Ensemble

In 1951, Philip Jones established what would become his most enduring legacy: the Philip Jones Brass Ensemble (PJBE). This group was revolutionary, standing out as one of the very first brass ensembles to operate consistently as a stable, professional unit. Prior to the PJBE, professional brass groups were often assembled ad-hoc for specific projects; Jones’s commitment to a permanent lineup allowed for unprecedented levels of rehearsal, musical refinement, and the development of a unique, cohesive sound.

The PJBE began with just four members but organically expanded to ten and, for ambitious special projects, even larger formations. This adaptability allowed them to explore a vast array of musical textures and compositions. The most commonly heard configurations were:

• The Quintet: Typically comprising two trumpets, a horn, a trombone, and a tuba.
• The Ten-Piece: A more expansive setup featuring four trumpeters (with one often doubling on piccolo trumpet and another on flugelhorn for added tonal colours), a horn, four trombones, and a tuba.

The remarkable success and widespread influence of these distinct formations are largely attributed to Philip Jones's meticulous direction, pioneering vision, and unwavering dedication to elevating brass chamber music.

Global Acclaim, Extensive Repertoire, and Artistic Collaborations

After 1971, Philip Jones dedicated himself entirely to the PJBE, signaling a pivotal shift in his career. This full-time commitment further solidified the ensemble's reputation, attracting and retaining some of the finest brass players of the era. These highly skilled musicians provided long-term commitment, contributing significantly to the PJBE's consistent excellence. Notable members included legendary trumpeters like Elgar Howarth, John Wilbraham, Michael Laird, and James Watson; distinguished horn players such as Ifor James and Frank Lloyd; eminent trombonists John Iveson and Raymond Premru; and the celebrated tubist John Fletcher.

The ensemble's impressive output included over 50 acclaimed recordings and extensive tours across more than 30 countries, demonstrating their global reach and appeal. They achieved particular popularity and a devoted following in Japan, a nation with a deep appreciation for classical music and brass performance.

The PJBE's diverse repertoire was a hallmark of their artistry, spanning centuries and genres. It ingeniously balanced:

• Early Music Transcriptions: They breathed new life into historical works by masters such as Claudio Monteverdi, Giovanni Gabrieli (whose antiphonal brass works were a natural fit), and Johann Pezel. These meticulously crafted transcriptions introduced these often-neglected pieces to new audiences and showcased the expressive versatility of brass instruments.
• New Commissions and Contemporary Works: Philip Jones was a passionate advocate for expanding the modern brass repertoire. The ensemble commissioned and premiered numerous new works specifically written for brass, significantly enriching the contemporary chamber music landscape. They were responsible for an astonishing 87 world premieres, including significant pieces by leading 20th-century composers such as Witold Lutosławski, Hans Werner Henze, and Einojuhani Rautavaara. This commitment cemented the PJBE’s role at the forefront of contemporary classical music.

Jones's personal leadership style was instrumental to the ensemble's success. He was widely recognized for his unwavering commitment and meticulous preparations for every concert, even personally ensuring the precise arrangement of music stands. This attention to detail and hands-on involvement fostered a culture of excellence and was a key factor in the PJBE's consistently high performance standards.

Retirement from Performance and Lasting Contributions to Music Education and Philanthropy

In 1986, a curious and rather symbolic incident occurred: Philip Jones accidentally drove his car over his own trumpet case. Interpreting this as a sign of destiny, he made the momentous decision to retire from concert performances, concluding a remarkable career as a live performer.

However, his dedication to music continued through significant contributions to music education and administration. He held esteemed academic positions, including being the first Head of Brass at the Royal Northern College of Music, a role where he profoundly influenced the next generation of brass musicians. He later served as Principal of Trinity College of Music until his full retirement in 1994, guiding one of London's prominent conservatoires. Beyond his educational roles, Jones's commitment to the wider musical community was evident in his chairmanship of the Musicians Benevolent Fund in 1995, an organization dedicated to supporting musicians in need.

His immense contributions to music were formally recognized with significant national honours: he was appointed an Officer of the Order of the British Empire (OBE) in 1977 and later a Commander of the Order of the British Empire (CBE) in 1986, both acknowledging his outstanding service to the arts. In his personal life, when not engaged in his demanding professional roles, Philip Jones divided his time between his residences in Switzerland and London.

Frequently Asked Questions About Philip Jones and the PJBE

Who was Philip Jones?

Philip Jones was an influential British trumpeter, conductor, and educator (1928-2000) best known as the founder and leader of the pioneering Philip Jones Brass Ensemble (PJBE).

What made the Philip Jones Brass Ensemble (PJBE) unique?

The PJBE was one of the first consistently stable, professional brass chamber music ensembles, allowing for unparalleled musical refinement and the development of a vast repertoire through both historical transcriptions and numerous new commissions.

What instruments were typically featured in the PJBE?

The PJBE performed in various configurations, most notably a quintet (two trumpets, horn, trombone, tuba) and a ten-piece ensemble (four trumpets, horn, four trombones, tuba), often incorporating piccolo trumpet and flugelhorn.

What kind of music did the Philip Jones Brass Ensemble perform?

Their repertoire was exceptionally broad, ranging from meticulously transcribed early music by composers like Gabrieli and Monteverdi to a substantial number of contemporary works, including 87 world premieres commissioned from leading composers such as Lutosławski and Henze.

What were Philip Jones's other contributions to music?

Beyond his performance career, Jones was a dedicated educator, serving as Head of Brass at the Royal Northern College of Music and Principal of Trinity College of Music. He also chaired the Musicians Benevolent Fund, demonstrating his commitment to supporting fellow musicians.