A pleasant, unassuming album of (mostly) familiar songs by a generally admirable rehearsal band from Nottingham, England, which is best known as the neighborhood in which Robin Hood made his name. The NJO, formed in 1969, recorded one previous album, in 1971, before disbanding for some twenty years. It was re–formed in 1995 with pianist Tommy Saville as leader and three members of the original ensemble — trumpeter Pete Wilde, trombonist Mick Chilton and saxophonist John Marshall — comprising the nucleus. The “swinging” these sixteen men (and one woman) do is moderate at best, a trait most clearly epitomized by a lack of “bite” in ensemble passages and a rhythm section that is more earnest than emphatic. The NJO seems most at home on “Basie’s Boogie,” Gerry Smith’s “Parkinson’s Law” and Johnny Griffin’s “Griff’s Groove,” gives Bob Florence’s bustling “Carmelo’s by the Freeway” a decorous reading but dawdles a mite too long on Lionel Hampton’s “Flying Home,” Ellington’s “It Don’t Mean a Thing” and elsewhere. After reading the album’s title and hearing the band play, one is less surprised by the absence of Ernie Wilkins’ explosive composition of that name. There are five vocals by Carol Collins, and even though she’s not bad — decent voice, slightly nasal delivery, no tendency to show off — that’s about three too many for any big–band album. She’s at her best on “I Didn’t Know About You” and “Just When We’re Falling in Love” (a.k.a. “Robbins’ Nest”). Saville is nicely showcased on “Basie’s Boogie,” trumpeter Paul Bennett on Sammy Nestico’s tasteful arrangement of Billy Strayhorn’s “Chelsea Bridge.” They acquit themselves well, as do the rest of the band’s amiable soloists, especially altos Ken Hart and Ian McLean, tenors John Marshall (flute on “Abbie’s Blues”) and Harold Kyte, trumpeter Nathan Bray and trombonist Richard Walker. While no one is likely to confuse the NJO with Basie, Herman or such seasoned contemporary ensembles as Florence’s Limited Edition, it’s a fairly well–equipped regional orchestra that is doing the best it can to help keep big–band Jazz alive and well in its little corner of the world. A round of applause for that, please.
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
