Bad Ass Brass CD Review
(Published in The Brass Herald)

It is a lazy Sunday morning when I sit down to review the debut album of Bad Ass Brass; a band whom, whilst I feel I know so much about them, I am filled with a sudden sense of not knowing what I am about to hear! I settle into the sofa with a cup of tea next to me, let out a morning yawn and reach over to press play.

Instantaneously I am so far removed from my previous somnolent state as I am thrown into a vibrant colourful landscape filled with a level of energy that smacks me right between the eyes! From the opening track there is a real buzz about this album that is usually so difficult to lift out of a recording studio.

The first track is one of seven original charts written for the album; Funky Mamma, written by the ubiquitous talented Evan Jolly sizzles along nicely with the quality of the production really shining through.

Superb works from the pens of Band trumpeter Gavin Broom and saxophonist Sam Bullard follow which not only show off how tight this band is, but also how versatile they are with some nicely crafted lines in an arrangement of Brian Wilson's Darlin'. Once again we are taken somewhere new with the rhythmic juxtaposition of Dave O'Higgins' Big Shake Up made to sound so easy by the eight piece group. Prolific Syd Lawrence Orchestra trombonist Jon Stokes shows off his funky side with great feel in Gavin Broom's Alchie Barry and we hear some fabulous Chuck Mangione style flugal horn playing from Paul Munday in Sam Bullard's Thames Night Crossing. There is some astonishing lead trumpet playing in Gavin Broom's Human Traffic from Jean-Paul Gervasoni; a real talent to look out for, he really adds something special to the whole album.

Stokes provides us with a couple of clever arrangements; Ray Charles' spirited Hallelujah, I love Her So and Dizzie Gillespie's carnival Manteca, showing off a secure rhythm section consisting of Gemma Moore on baritone sax and flute, Mike Poyser on sousaphone (with occasional fireworks!) and Mike Parkin on drums.

Some great solos in a bubbly Stokes arrangement of Bourbon Street Parade again provide another avenue of variety with crisp virtuosic bass lines from the baritone sax and sousaphone and a razzy shout chorus to finish.

The final track, Dave Holland's Captain Cook's Adventure, begins with a little light relief as a haunting flute theme accompanied by some clever Aboriginal effects in the lower brass leads on to the body of the piece. It is certainly a finale that ingeniously leaves us with questions rather than answers; questions that I hope one day will be answered.

Undoubtedly influenced by the sounds of traditional New Orleans brass bands, Bad Ass Brass really do add their own unique twist: it is difficult to convey in words the level of vivacity that this group of zesty musicians exudes.

My thoughts eventually return to my lounge where a full cup of tea now sits lukewarm on the coffee table; I just have to hear these guys live!