THE MAGNIFICENT 7 JAZZ BAND - A Jazz Odyssey
Irthling Records - IRMAG002
Amy Roberts - flute, clarinet, alto sax; Richard Exall - clarinet, alto sax, tenor sax, vocals and arrangements; Ben Cummings - trumpet, vocals; Ian Bateman - trombone; Craig Milverton - piano; Bill Coleman - double bass; Nick Millward - drums, vocals
Recorded at Ian Riley Studios, 2015
There may be a little hubris in the band name but when you consider that each member of the group has performed across the world as musicians in the bands of Chris Barber, Acker Bilk and Kenny Ball then you realise that this is a justified label.
For their second outing on CD since forming in 2013 Richard has assembled a set of tunes that acknowledge the band's former employers and showcases newer material in an attempt to broaden the palette of their audience.
After an introduction by Richard Strauss, the album settles down into a great selection of jazz that showcases the melodic and solo chops of the band. Ian Bateman evokes a true Ellingtonian trombone sound in his rendition of Caravan with a stunning solo from him and pianist Craig Milverton. This tune, amongst others features an excellent bit of arranging from leader Richard Exall. The sudden pairing of this tune with Oyo Como Va jars a little but any fears are put to rest by Amy Robert’s magnificent flute playing. Ben Cummings is not only a great trumpet talent but sings with a soul and control that many first study vocalists would be envious of. Georgia and My Girl are swinging and entertaining in equal measure.
The rhythm section of Milverton, Coleman and Millward is sublime in the accompaniment nowhere more so than Tanga. A Dizzy Gillespie composition, it features a bright tempo and beautiful chord changes that the horn players negotiate with skill and delicacy.
For me the standout track though is But Beautiful. Bateman again shows his chameleon-like qualities with a J. J. Johnson inspired sound for the melody and his solo. Then again, as a trombonist myself I am incredibly biased.
That there are 7 in this jazz band and that they are magnificent is just fact. That you should check out their recorded and live performances is merely compulsory in my opinion. The Magnificent 7 is entertaining, skilled, slick and swinging.
The album is available via their website http://www.bookajazzband.com/mag7.html and of course at their live gigs.
Reviewed by Andy Derrick
Amy Roberts/Richard Exall Quintet
Irthling Records: IRREQ001
This is the first CD by the Amy Roberts/Richard Exall Quintet, and terrific it is too, right from the first note to the last…maybe it could have been called ‘Straight in at the deep end – no messing!’ Straight in, indeed, with a meaty, really swinging version of Bernies Tune. DNC (definitely not Colyer), but I wouldn’t mind betting that he would have approved – he liked most, so long as it was good – Swingle Singers included.
Back to Bernies Tune. This tune really sets the stall for the whole CD, with some fine tenor sax by Richard, great flute from Amy, and wonderfully unrelenting ‘walking’ bass from Bill Coleman, who, together with Neil Angilley and Adam Riley completing the superb rhythm section on piano and drums respectively, drives and swings it all along, seemingly effortlessly. Sounds more like an octet than a quintet – must be Richard’s arranging!
Next up, Tico Tico: a very nimble and tight arrangement, illustrating the obvious skills both Amy and Richard have on their instruments; once again great flute – and lovely clarinet from Richard. Also a thoroughly good, mad piano solo, sounding to me like a fusion of Errol Garner, Fats Waller and Thelonious Monk – brilliant is the first word that comes to mind! The tune (a Samba, I believe) has a lovely Caribbean 1950s feel about it. Humphrey Bogart and all that stuff…I love it.
Minute Waltz: Classic(al) jazz at its very finest. Absolutely stunning! Followed by a nice spicy Latin Doo Doo, written by Exall, who solos on some wonderful tenor sax. Great drum solo, too: funky rhythms with a Thelonious-type piano riff throughout.
High Society is taken at a very relaxed tempo – all the bits and pieces – great street-beat! Nice to hear the usual suspects playing together rather than in competition with each other…some nice piano thrown in for good measure.
The title track Why Not, described in the excellent sleeve notes by Jeff Barnhart as ‘a mouth-watering fusion of Funk and Latin’. Couldn’t have put it better myself! Fairly up-tempo, lots of ‘jumping’ the beat and cross-rhythms (I love all that!), particularly when it is right, which it certainly is here. The whole number is a hot spicy mix of – well, hear it for yourselves! And yet more great, sometimes mind-boggling, piano by Cornishman Neil Angilley…
For me, one of the highlights of this CD is The Very Thought Of You. The whole number is so relaxed, ‘smoky’ if you like, with Richard oozing some of best tenor sax ever, maybe (I am not an expert on this) slightly in the style of Ben Webster? I could imagine a sultry Amy swooning in the background – very Casablancaesque. Once again, great ‘walking bass’. Also, a lovely vocal from Exall: no histrionics – just good (bloody good) singing.
Amy and the boys take it out with a beautiful tune, Hushabye Mountain, from the film ‘Chitty Chitty Bang Bang’. A great rendition, wonderfully played by Miss Roberts on the flute with much feeling and sensitivity.
I must apologise (through lack of space) for not mentioning all the tracks – suffice to say they are all terrific, very diverse, very atmospheric, well played, and very importantly, well balanced. Also, the Quintet establishes its own unmistakable sound. Buy this CD!!
Jim McIntosh - Just Jazz Magazine
The wonderful world of jazz and drums , which enslaved me over 60 years ago, has produced many
colourful and charismatic performers One who triumphed spectacularly was Gene Krupa.
He was not only exciting but a musical drummer who became something of a show-biz star during his
decades in the spotlight. His legendary showmanship and his ability to emote from behind the drum
set were riveting and influenced many drum stars in jazz and rock even years after his death.
In short, a hard act to follow, or even attempt to emulate.
My feeling is that the Krupa Connection have great affection for the man and also go a stage further
by applying the original Krupa trio format to other material from other great artists.
The possibilities are enormous and the talent on display well capable of handling any adventure.
John Watson, Richard Exall and Alan Haughton are in total command of their instruments and
present a quite stunning reflection of the original. But they play and improvise in their own way. To
copy would be against the spirit of the music we love. So they don't.
They take the original concept of tight arrangement combined with flights of freedom in this minimal
line-up and it becomes invigorated, to say the least.
As you listen to the Krupa Connection you will marvel, as I did, at the neat arrangements which
maintain such excitement between the soloing. The three instruments are cleverly meshed together
to keep the surprises coming and the fireworks fizzing and popping.
This is a labour of love by John, Richard and Alan who have pulled off something remarkable with
this delightful recording which extends the original idea even further.
It's a long time ago since the Gene Krupa Jazz Trio landed in Tokyo to be greeted by huge crowds and
separate limousines for each illustrious member of the group.
It's about time again that a new jazz combo was given some star treatment with TV coverage, jazz
festivals and a spot on the Albert Hall Proms.
Musically the Krupa Connection is faultless and this art of chamber jazz with its high quota of
melody, harmony, rhythm and improvisation is due for some heavy reassesment.
Pete York, January 2016, Bavaria.
The Krupa Connection
... Fresh off the blocks is our new CD featuring John Watson as Gene Krupa on drums.
Launched at the Keswick Jazz Festival on 14th May 2016, this tribute to two of the most successful and influencial alto saxophone players of the 20th century, features Craig Milverton on piano, Sandy Suchodosky on double bass, Nick Millward on drums and Steve Vintner on Vibes.
The Good, the Bad and the Ugly!
Amy Roberts / Richard Exall Quintet
Irthling Records: IRMAG7001
Recorded at Bayford Studios, 4-5 November, 2013
Total playing time: 60m 40s
Magnificent 7 Theme; Dippermouth Blues; Midnight In Moscow; Is You Is Or Is You Ain’t My Baby; Avalon; Benny’s From Heaven; Brasileirinho; In A Persian Market; Creole Love Call; Minute Waltz; So Do I; Serenade In Blue; Mona Lisa; Chimes Blues; Ice Cream
Amy Roberts (flute, clarinet, alto sax), Richard Exall (clarinet, alto and tenor saxes, vocals, arranger), Ben Cummings (trumpet, vocals), Ian Bateman (trombone), Craig Milverton (piano), Bill Coleman (bass), Nick Millward (drums, vocals)
Magnificent! That’s the first word that comes to my mind. Here we have a group of young (well, younger than yer average!) jazz musicians who are willing (and able!) to move the goalposts a bit, and play fresh exciting Traditional jazz with verve and enthusiasm seldom heard since early Barber, Ball and Bilk. The band, co-led by Richard Exall and Amy Roberts, comprises recent and current alumni of these 3Bs.
This is acknowledged by the inclusion in the band’s debut album of such numbers as In A Persian Market, Midnight In Moscow, and Ice Cream – all played, of course, in their own inimitable style! Impossible (for me) to pigeonhole this style: an eclectic adventurous mix of street beat and ‘normal’ beat – slow, medium, fast – vibrant New Orleans jazz with a large pinch of Latin ‘spice’ thrown in for good measure?
You will all be familiar with the band members: where they come from, and how they like their curries, so I will dispense with the details. Suffice to say, a formidable aggregation of professional jazz musicians!
The more I listen to this CD the more I love it. Starting off with a very slick rendition of Magnificent 7 Theme, one’s attention is grabbed immediately. Straight into Dippermouth Blues – no prisoners – great ensemble, swashbuckling solos from Exall, Cummings and Bateman, followed by really nice light and shade; then wham! – out with a bang. Great stuff!
Avalon: having played this number as a banjo feature in the bands of Max Collie and Phil Mason probably upwards of five thousand times, the very name sends shudders through my frail body. However, since hearing it on this CD, I am pleased to announce that, finally, the ‘Curse of Avalon’ has been removed. For me, the CD would be worth buying for this number alone. A melting pot of Latino/funky spicy rhythms and classy arrangements, great solo work, especially (in my humble opinion) Milverton. When listening to this tune (over… and over…and over…) I could easily imagine myself sitting back comfortably in Rick’s Bar, Casablanca, quaffing the occasional large dark rum (or two), puffing on a fine Havana cigar…
Moving on…a really bright Brasileirinho features great Samba-like cross-rhythms, with fantastic bass from Coleman. A few minutes later we have the Minute Waltz (by Chopin), proving the old adage, “It ain’t what you play, it’s the way that you play it!” A ‘classical’ feel to start with, then great swinging improvisation, together with stunning clarinet/flute from Richard and Amy (respectively), then back to ‘classical’, taken out with a super Big Band ‘cadenza’ type of thing…also, I must compliment Nick Millward on his tight, unflinching, swinging brushwork.
Throughout all, the rhythm section is “top banana” (as that great trombonist, Bob Hunt, would say). Every number has a different feel, tempo – and all that stuff – and it all swings…Great sound and balance, produced by Peter Rudeforth (trumpet player with, among others, the Big Chris Barber Band). Well done, chaps – now back to the stars of the show…(only joking!).
Next up, a fine rendition of So Do I: superb hot trumpet from Cummings. I always remember Kenny Ball ranting at me, “Heat – jazz must have heat!!” There is certainly no shortage of heat in Ben’s playing. He also gives a good powerful lead throughout the whole of the recording, which is so nice to hear. Great singer, too!
And then Serenade In Blue, with beautiful harmonies and solos, so wonderfully laid-back it isn’t true…
Mona Lisa is played (for me) at the perfect tempo. (Brian White once told me, “That was great – going nowhere in a hurry.”) Good vocal from Richard and great tenor sax from Exall! Also a fabulous solo from Ian Bateman. Look out for an exciting new take on the chimes in Chimes Blues, with a superb ‘slidy’ bass solo from Bill Coleman.
The CD signs off with that old warhorse Ice Cream, but old warhorse it ain’t. A fantastic street beat, funky underpinning bass, haunting piano from Craig (not to mention his solo). A fabulous drum solo from Mr. Millward, some rousing ensemble, a nice key change, then back to the street beat, fading into the distant sunset. Then what? Play it again Amy!!
This CD has everything. Musicianship, good vocals, great trumpet lead, good ensemble, classy arrangements, humour, swing, and, most of all, such a refreshing feel about it. Given a little help from the Media (therein lies a problem!), I honestly believe this band could be well-instrumental in kick-starting our slightly ailing Traditional jazz scene. Perhaps more important, I’m certain that the youngsters would also love the band.
As Jackie Flavelle states in his sleeve notes: Quite simply The Magnificent 7 Jazz Band truly are magnificent!
I urge you, get hold of this CD.
The MAGNIFICENT 7 JAZZ BAND
A Jazz Odyssey
Richard Exall and Amy Roberts