Mark Kavuma & The Banger Factory: Magnum Opus

Originally set up in 2015, The Banger Factory is a 20-plus collective led by composer and trumpeter Mark Kavuma. It is also the name of his record label. Both act as a showcase for some of the most gifted jazz talent the UK has to offer. Kavuma has a focus on nurturing young talent and providing vital opportunities for the next jazz generation to the extent that he acts as tutor at two London community-based charities.

Across its 12 tracks on double vinyl (15 on digital download), Magnum Opus offers original compositions from Kavuma and his band members, along with some well-chosen covers. The lineup varies with each track. At its core is the classic hard bop lineup of tenor saxophone, trumpet, piano, bass and drums. To this is added Theo Erskine's alto sax, augmented by a varying cast of guitar, vibraphone, Hammond organ, trombones and some excellent vocals. There is also a mix of highly experienced musicians with a healthy influence from a more youthful generation.

Written by the Blue Note-infused tenor saxophonist Musshinghi Brian Edwards. "Waywards Return" is an eight-minute hard bop delight. Alongside his solo, he is joined by Erskine's alto, Noah Stoneman on piano and Kavuma on trumpet. Trombone, vibraphone, bass and drums add heft and pace in this impeccably arranged, hard driving track.

There are four vocal tracks. "Fools Rush In" and "Evenin'" both purr with a wonderful vintage feel. The gently shuffling of "Lucky To Be Loved" is brought to life by the terrific warm-toned vocals of the composer Sahra Gure . Erskine's solo is just right and he is ably supported by Marcus Praestgaard's guitar. Composed and superbly sung by Marcina Arnold, "Woulda Coulda Shoulda" is a winner. Artie Zaitz's guitar and Ruben Fox's tenor sax sparkle in an arrangement that blows the doors off.

Other highlights include the flowing "June 21st," which features Zaitz's guitar and Stoneman's piano melding around some fine vibraphone from David Mrakpor. Erskine's composition, the 11-minute "Solecism," gives space for his alto and Wilf Diamond's trombone to stretch out in their lilting solos, and Kavuma's solo soars. Elsewhere, the band are sharp as a tack on Charles Mingus' "Opus 4" and Kavuma's "Cedar Tree." The rhythm combinations of bassist Jack Garside and drummers Jack Thomas and Will Cleasby deserve special mention for providing an inventive framework across the variety of musical styles.

With this many musicians, the arrangements are key. Kavuma's painstaking approach pays dividends as each artist gets space to showcase their talents. Championing the past as a method to inspire the next generation is not a new idea, but it has seldom been executed as well as it is here. The experienced and newcomers all contribute to an album that entertains throughout with an intriguing mix of contemporary jazz wrapped in vintage clothing. A magnum opus is usually an artist's crowning work and while Latin scholars may find fault with the placement of the adjective, there is little else to find fault with on this classy and captivating recording.

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