Solos, Brass Band and More

Eclectica – An Anthology of Style

A recording expressing the many styles in Bill Broughton’s playing career.



Or you can download tracks from or

Eclectica – An Anthology of Style

A career that expands for over 40 years by a player that still enjoys the pleasure of performance. Style’s that have been part of Bill’s career are now part and parcel of this new CD.


  1. Flight of the Bumble Bee
    This is a solo that I’ve played since I was 18 years old. I heard it performed on a Spike Jones album and was amazed. But hearing it proved to me that it could be played. At the time I didn’t know that the soloist was Tommy Pederson who became one of my great friends and mentors just a few years later.
  2. Solo on a Scottish Air
    This is a lovely tune that I’ve played on the piano for years. I’ve never been able to find the name of the tune or the composer. I have a very learned composer friend here in Australia who felt that it was more Scottish than Irish, hence the title.
  3. Sarah
    This solo was written for Brett Baker who plays with the world renown Black Dyke brass band. Brett has recorded it but I’ve changed the orchestration and performed it in my style. I love the tune and my wife, Jan, tells me I should write some words to it. Enough said.
  4. Czardas
    I’ve played this solo for many years as well but usually the “legit” version arranged for Rafael Mendez, one of the great trumpet soloist ever to exist. However, this version is unique for it’s the first time that I figured out how to unite my playing style with my writing. The idea came to me on a plane trip home from New York. This recording is one of two on this album that was produced before this album. It was recorded in 1974 by my Hollywood Big Band with some of the biggest named studio players in the industry. They’re mentioned in the CD notes but this was one great moment in my early career having all those guys playing around me. Their support was amazing and I think you’ll see that their playing was too.
  5. Sonata for Trombone and Piano
    This composition is by my brother, Bruce Broughton. The third movement was written when I was about 17. We performed it a lot publicly. The next two movements were a couple years later when he completed the work for an assignment in University. It’s never been one of his favorites but it has always been one of mine and this is the first time that it’s been recorded in its entirity. So this is a world premier recording over 40 years after the fact. The accompaniment is VST and allows me to record the work. In my memory, Bruce used to play it just like this.
  6. Sweet Hour of Prayer
    Hymns have always been a part of my life because of my Salvation Army affiliation through the years. My parents were fourth generation Officers (ministers) and it was the Salvation Army’s International Staff Band from England, in 1956, that came to Los Angeles one very fateful day. Then 10 years of age, I was mesmerized when a gentleman by the name of John Cobb came out from the trombone section and played a trombone solo. This is a long story, so for now I’ll just say that my life changed forever that day and I’m glad that it did.
  7. The Old Rugged Cross
    Part of my Salvation Army experience was summer music camps and one of my early mentors was a gentleman by the name of Emil Soderstrom who was also a professional composer and arranger. In the 1930’s (or there abouts) he worked at NBC in Chicago as a staff arranger. It was Emil that told my brother that if I got interested in writing I’d give him a run for his money. Bruce took that and became my first encourager in that musical area. I found this original arrangement, in Emil’s own hand, in my files and thought that I would record as a kind gesture to his influence. It’s old in style but fun to play.
  8. Concert Etude for Trumpet
    I don’t know when I first played this solo but it fit real well with my approach and style. Years later, I wrote a brass band accompaniment that’s seemed to recorded a few times. But this time, I thought that I would record it as I usually would play it with Bruce in performance. Again a VST accompaniment but it still reminds me of my brother playing next to me.
  9. Vocalise
    A beautiful vocal exercise. This is still one of my favorite solo’s to play and still one of the hardest. It was the hardest to memorize and the breathing and phrasing are the most difficult of any solo that I still play. But it’s such a beautiful piece of music by Rachmoninoff.
  10. What Colour is the Wind?
    This is a double concerto written for Dick Noel and Tommy Pederson by Tommy. Tommy wrote a whole slew of trombone pieces and this is a part of my life in Hollywood that is forever beautifully branded in my heart and soul. My two great friends Jim and Debbie Boltinghouse produced a CD of Tommy’s works entitled “All My Concertos”. It’s an amazing CD of the great players in Hollywood and the type of things we used to play weekly at Hoyt’s Garage. Jim and Debbie allowed me the license to use this particular recording on this CD. If you like the sound of this get in touch with them at and order the album. If you like trombones, you won’t be sorry, The second solo part is performed by Bill Tole, one of my ol’ friends and the accompaniment is a who’s who’s list of guys that you’ll find in the CD notes.
  11. Hoyt’s Garage
    If you’re a trombone player around the world and haven’t heard of “Hoyt’s Garage”, then in my humble opinion you’ve not been fully educated no matter how many degrees you have or how many jobs you’ve played. There’s a longer explanation of this piece in the CD Notes but it’s a piece that I wrote to take over to Hoyt’s many years ago now. The original version is for five tenor trombones, two bass trombone and tuba. This version is just six of me playing. Short and cute but mostly for the memories it brings to me.
  12. Ave Maria
    Bach wrote a lovely piano exercise and about 100 years later (not real specific in time here) Gounod writes a gorgeous melody to go with it. It’s a lovely piece that I still enjoy playing.
  13. Twas a Night Long Ago
    This is a Christmas Carol I wrote a while back. I performed it with my T’bone’s Unlimited group in Adelaide during a Christmas concert. My wife, Jan, loved all the mutes as well as the tune and I liked it as well so I put it on the CD. There are words and you can get those by emailing me throught the website if you’re interested.
  14. A Happy Chappy
    This piece as the previous one was scored for my T’bone’s Unlimited group (7 trombone’s and rhtyhm) which is an outcome of a group that I was in years ago called “Spiritual to the Bone”. It was based on ten trombone’s and rhythm. It’s easy listening jazz and certainly fun to play and the style kind of rounds out most of the styles I’ve tried to represent on this CD. The title speaks for itself.
  15. BONUS TRACK: Flight of the Bumble Bee Techno
    I sent my kids two copies of Bumble Bee after I recorded them. I asked my son, David, which one I ought to put on the album when he mentioned that some groups have more than one arrangement and they put another one on their album as a “bonus track”. So this is the “bonus track”! Thanks son!

A Review

Graham Lloyd’s Review of Eclectica An Anthology of Style
Performed by Bill Broughton (Trombone)

Graham Lloyd served in the Australian Defence Force as a musician for over 39 years. During this time he spent three years studying at the British Army School of Music and saw postings as Second in Command/Deputy Music Director of the Band of the 5th Military District, (Perth, Western Australia); Senior Instructor at the Australian Defence Force School of Music (Melbourne, Victoria); Second in Command/Deputy Music Director of the 3rd Military District Band in Melbourne, Victoria; Director of Music, Royal Australian Air Force (RAAF) and Commanding Officer of RAAF Central Band; and Officer Commanding/Chief Instructor at the Defence Force School of Music:

Ballad’s Unlimited

This album is a re-release of “Bill’s Ballads…plus”. A nice compilation from lots of different recordings and performances and thanks goes to those who have let me use the “cuts.”

Ballads Unlimited

$14.95 AUD


1. It Had to be You
2. Motherless Child
3. Take up Thy Cross
4. Star Dust
5. Heaven Bound
6. The Nearness of You
7. Unchained Melody
8. Kum Ba Yah
9. Now I Belong to Jesus
10. Claudia’s Theme from “Unforgiven”
11. Jesus Wipes Away My Tears
12. All the Way
13. Body and Soul

Liner notes from Bill

As a boy, I attended a Salvation Army brass band concert. Most people make fun of the Salvation Army “nickel on the drum” stuff, but it has a truly remarkable heritage of music including the brass band. That afternoon, this young boy heard a man by the name of John Cobb, play a trombone solo with the International Staff Band of The Salvation Army from London, England.

That moment changed my life forever! I was grabbed, smitten, sold on, sold out to the trombone. I looked at my dad and said “get me a trombone!” three times between his “What?” ‘s . John was one of the premiere professional trombonists in the United Kingdom for many years. The years have passed and through some wonderful meetings in our lives, we are soul mates.

Little did I know, that incredible day, where my life would lead in the coming years, but the trombone has been at the heart and very existence of all things come to pass.

So inspired was I, that my father gave me an Arban’s exercise book, and after buying me a third hand Conn trombone, I began to teach myself the art of trombone playing.

When I reached college, I met Paul Tanner, who, through five or six personal meetings, taught me how to get more for my buck in my practice sessions and introduced me to his book “Practice With the Experts.” A few short years later I would meet the men within that book who really taught me to play. Dick Noel, Lloyd Ulyate, Dick Nash, Tommy Pedersen, Hoyt (Garage) Bohannon, Joe Howard, George Roberts, Barret O’Hara and a few others.

These were the men that helped me start my career and I was honored to work and learn from them in the beginning of my career. These were my real teachers. One would be a fool to have sat next to these gentlemen and not learned from the life and music. In some ways, this album is a compilation of what each of them brought and gave to me. Their help, friendship, encouragement and knowledge are forever imprinted in my memory and I am much the better for having been able to even know them.

My first encourager as a composer/arranger was my brother, Bruce. He is, in my humble opinion, the best composer there is. He is also the most brilliant man I know and his encouragement started a lot of good stuff. He’s a great friend and I love him for all that he is. My later mentors as a composer were David Rose, Lalo Schifrin, Morton Stevens, John Addison, and Stu Phillips.

Though all were very specifically a part of my career and professional progress, none was greater than David Rose. I could write a book about David but space does not allow. Just let me say that David would be an extension of my own great father. He taught me so much about the business and reaffirmed my life convictions. He believed in me and made himself unselfishly available at any time and expecting nothing in return. He was love at its best.

I am, of course, thankful for a great mom and dad, Hal and Ruth, who always gave me unbelievable support, in all things young and old, even when they heard those awful words: “I want to go into the music business!”

This album is a compilation from lots of different recordings and thanks goes to those who have let me use the “cuts.”

A special thanks to Bret Richardson, who took some really old stuff and made it sound pretty good. In some cases the end result is far better than what he had to work with.


Bill B.

Memories of Hoyt’s Garage

$12.95 AUD


1. Tchaikovsky
2. Ravel
3. Brahms
4. Riddle
5. Hyde

Hoyt’s Garage has to be one of the most famous places that trombone players ever hear about. It was where many players learned “trombonistics” and great ensemble playing.

It wasn’t but a few years ago (well over 30) as a very young player, I used to go to Hoyt Bohannon’s house every Tuesday night and partake of the incredible repertoire that he had amassed over much time in his career. Being self-taught as a player, these were my lessons. Not just as a player but so much more. The Tuesday nights were “life” itself…an incredible memory in my musical journey.

There was one night that these kind gentlemen left Hoyt’s Garage and came over to Bill’s first studio in order to help him learn his equipment, etc. Hoyt brought a few of the pieces that we ran through then put the “red light” on for fun to see what came out. I used two of the old RCA 44B microphones that were used very regularly in those olden days! The studio was so small we stood elbow to bum in a semicircle hoping not to clang the slides. The Tuba was almost too big to add, but all the guys were more than gracious and suffered bravely through it all.

Though, through it all you hear occassional “reality” (like the occasional clicking of the bass trombone’s triggers) the playing is to this day, still amazingly beautiful and incredible. Most of the pieces are arranged for five tenors, two bass trombones and Tuba. You will hear the lead change all the time…so if you play the fifth part in these pieces you are still not “safe”…there are no lesser parts as you will hear. This is ensemble playing at its incredible best!

As to the pieces: 1) Tchaikovsky— a pizzicato movement from one of his symphonies, 2) Ravel— an excerpt from Mother Goose. 3) Brahms— the third movement from one of his symphonies, 4) Nelson Riddle— a cue from the movie “On A Clear Day” (I do remember, that is Tommy Pederson on the top “E” at the end…you’ll hear we all liked it!) and lastly, 5) Hyde— George Hyde was a french horn player in Los Angeles. I think that George originally wrote this for nine french horns and then it was later re-done for trombones and Tuba. It is entitled “Ode” and played most “legitimately” with no lyrical vibrato. A really cool piece, me thinks!

Generally, one of us would conduct while the others played. This was still the case, except for “Ode”, for we needed all in attendance to play.

The players that eventful evening: Tenor Trombones: Hoyt Bohannon, Tommy Pederson, Lloyd Ulyate, Dick Noel, Charlie Loper, Tommy Shephard, Bill Broughton, Bass Trombones: Barrett O’hara, Don Waldrop and Tuba: John Bambridge (Sr.)

This CD is for only those that can appreciate its history and value. It’s not long; only 15-16 minutes and If you’re critical of the recording etc., you have missed the point!

Through the Years! Brass Band’s plus!

The pieces on this album are but a small amount of the thousands of pages that have been written over the years, thanks to the beginning encouragement of my brother, Bruce. I used the picture from many years before, realizing that when it was taken we both had no idea that we would someday have careers in the music industry. The picture is one of our favorites, to be sure.

$14.95 AUD

Playlist and Liner notes

  1. Santanian
    Written for G. Stanley Harrison, my bandmaster in a little Salvation Army band in Santa Ana California, 1964. Stan died too soon! He was a joyful man who loved young people and I wanted to write something that was joyful. This one came real fast…one day! I still like it. Composed in 1970.

  2. Nothing Do I Bring
    With all the other kinds of musical groups and styles that I have been able to write for, this is the kind of writing I prefer for brass bands. It is back to the roots with a message or visual picture. Just a simple hymn tune for meditation.

  3. Now I Belong To Jesus (Dave Boyer, soloist)
    I have purposely stayed away from Chrisitian music and musicians for personal reasons that don’t need to be mentioned here. However, Dave Boyer is one of those people who is more joyful and gracious than you usually get the chance to meet. We found out that we had a lot of mutual friends that he had recorded with…besides I had not had as much fun working with a singer since I had the chance to do it as a kid with Frank Sinatra. Dave, knows how to sell a song…he lives it! This was really an easy chart to pen. Forgive the Sinatra ending, I couldn’t resist!

  4. Lord Make Calvary Real To Me
    Once again, this is for Sunday morning meditation. I fashion most of the hymn tune arrangements after Erik Leidzen whom I first met when I was ten (just got my trombone) at my first Salvation Army Band Camp. He liked my grandfather, so he decided he liked me too. I had some wonderful experiences with him through the next 6 0r 7 years. Making us write in 15 sharps and flats comes to mind. To me he had a great sense of the kind of harmonies people liked to hear and his short arrangements, like these, effected me the most.

  5. Everyday With Jesus
    By the applause at the end, you will know this to be a “live” performance. This was written for the Canadian Staff Band with a very large tongue in cheek approach. The broader the better. Supposedly pure fun for player and listener.

  6. In Perfect Peace
    Many years ago, someone who played under the leadership of my grandfather, Brigadier William Broughton, told me that he would always say that any band could play marches but it took real musicianship to play hymn tunes. As I got older, especially in my solo career, I found that he was more than correct. “Flight of the Bumble Bee” is much easier than playing a beautiful melody. However, these are still my favorite pieces to write and arrange for brass.

  7. Deep River
    Originally written for the Southern Territorial Brass Band, I liked this piece so much that I re-did it for the first Spiritual To The Bone alubm. For me, the Jazz idiom is very difficult to write for brass bands because you don’t have your usual rhythm (keyboard, guitar etc.) filling all the right wholes and playing all the things you possibly couldn’t write. Somehow, when writing the jazz style for brass band, you have to write all that stuff out and it’s just not as effective, in my opinion. However, this has been a very popular piece for brass bands around the world and for that, I am thankful.

  8. O Boundless Salvation(Jude Gotrich, soloist)
    Jude Gotrich asked several other well known Salvation Army composers to write this for her before moi, but I was the one naive enough to take it on. It seemed a proper challenge and after all is said and done, I actually like the setting, though I still did not use all the verses. The hardest part for me was keeping the eighth notes (quavers) moving continually through the piece in all the harmonies. Though the triads going up and down for the “waves” is very cliche-ish, I’m glad that I succumbed to the temptation. Jude has a tremendous range and this is the kind of piece I don’t get to do very often. Good thing she’s singing it…it could have been disastrous otherwise.

  9. I Am Coming Lord (Bill Southwood, flugel soloist)
    I was suppose to be the soloist of note during the recording of this piece, since it was originally written by and for me. However, this particular weekend I was not in any shape to play the way that I would have like to. I suggested to Bandmaster Dr. Richard Holz that Bill Southwood play it as a flugel horn solo. I’m glad that Dick listened and Bill played. Another one of my favorite kind of meditative pieces beautifully played.

  10. Promised Land
    This was written for my youth band at the (then) Salvation Army Hollywood Tabernacle Corps. I used to write them a new piece every other month to help keep their interest. Unbeknownst to me, it made itself around the world and ultimately into one of the Salvation Army’s Brass Journal’s. I was never asked if I wanted it published but I thought it nice they wanted it so badly, ha!

  11. Praise Him (Trombone Feature)
    The uniqueness of this piece is that it has five of the original six players that did the first Spiritual To The Bone album. Eric Alexander, Steve Bulla, Chris Priest, Willia Howell and myself. Herbie Bruce where were you? Strictly, for fun and enjoyment.

  12. Wonderful Words of Life (vocal chorus)
    A happy setting written especially for the New York Staff Band CD “The Broughton’s”. Short and sweet. Believe it or not, just the way I like writing for brass bands. It’s always been difficult to write the longer pieces and I don’t have as much appreciation for those as I do the shorter ones that get to the point and don’t clutter up the listeners mind and heart etc.

  13. Swing That Door (Bill Broughton, trombone soloist)
    This piece was added to this particular CD because I was reminded by Bandmaster Ron Waiksnoris that we did this in one take. Just like the ol’ days in the studios in Los Angeles. Turn that red light on and play! Though this was originally written for Euphonium it ended up in my lap (or on my embouchure) for the honors.

  14. Let The Beauty of Jesus (Joseph Alessi, Principal Trombone, New York Philharmonic Orchestra, soloist)
    Joseph Alessi, the principal trombonist for the New York Philharmonic gave this arranger/soloist a most beautiful compliment on another performance and in return I offered to write him a new arrangement on another tune. This is it, and he plays it beautifully!

  15. On Higher Ground (Dave Boyer, soloist)
    I just love the way Dave sings. This arrangement, as the other one, was written just for him. Let’s go on the road, Dave! Actually both these arrangements were also re-scored for big band. They’re a little more hip and cool but I think they still worked well for the brass band idiom.

  16. In His Joyful Service
    This was specifically written for Colonel Edgar Overstake, for his retirement service. It was a surprise to him and instigated by his wife Darline, a fine musician in her own right. These were two very lovely people and at the time they were my in-laws. The tunes are the Colonels’ favorite and chronologically tell his life story about his service as a Salvation Army Officer. At the time, for this commercial composer/arranger, this was a stretch but, personally, worth the effort. It’s one of my favorite pieces (although it’s a long one). The Canadian Staff Band does a most wonderful performance!

Opening notes from Bill

The picture on the cover is really me (Bill) and my brother (Bruce) in the early 1950’s. What’s amazing about this picture to me, is that I never would have thought that 15 years (or so) later, Bruce and I would be in the music business. I didn’t even know what the music business was! Especially Hollywood!

The significance of the picture explains itself in the years that followed. Bruce was my accompanist as a soloist (never anyone better) and my first mentor as a composer/arranger. I got interested in that particular aspect of music when I was about 17. Up until then, it was sports, girls, trombone and more trombone.

More than all the above, Bruce is the most brilliant man and most gifted composer I have ever known. He is my older brother (by 17 months), and to this day is my closest ally, encourager and friend. We don’t always have to talk or be with each other but, in my heart of hearts, I know that when the chips are down or I’m feeling my lowest, I’m going to get a phone call and some encouragement packaged with a mutual love and respect. He’s my biggest fan as I am his. Go figure!

The pieces on this album are but a small amount of the thousands of pages that have been written over the years, thanks to the beginning encouragement of my brother. I am amazed at the whole process and have never tired at the first listening or reading of a piece. It’s an awesome experience, and though I have worked hard through the years to hone this wonderful gift, I have always thought that I am only the butler who opens the door — the createe — not the Creator.

Hope you enjoy!