ELLIOT HENSHAW BAND - Who’d Have Guest?
Ubuntu Music UBU0090
Elliot Henshaw (drums, percussion); Andre McKinney (bass); Matt Steele (keyboards); James Pusey (guitar); Simon Willescroft (saxophone); Dave Weckl (drums); Simon Goulding (bass); Gwilym Simcock (piano); Richard Beadle (piano); Chris Traves (Hammond organ, trombone, percussion);John Wheatcroft (guitar); Mike Outram (guitar); Tommy Emmerton (guitar); Simon Lind (guitar); Mark Cox (guitar); Miranda Wilford (vocals); Noel Sullivan (vocals); Tom Walsh (trumpet); Bryan Corbett (trumpet); Bob Mintzer (saxophone); Simon Niblock (saxophone); Fiona Asbury (saxophone); Sammy Mayne (saxophone); Chris Aldridge (saxophone); Pete Billington (strings); Mel Wickens (strings); Pete Whitfield (strings)
No recording information/dates
British drummer Elliot Henshaw is a much in-demand musician who has played with Phil Collins, Shirley Bassey and Georgie Fame, to name but a few. He’s also played in the music pits of numerous West End shows, and is musical director for Leo Sawyer and Tony Christie. And like the late Rolling Stones drummer Charlie Watts, he has a love for jazz, and has played with Mike Stern, Bob Mintzer and Eric Marienthal. In 2005, he formed his own band, a jazz quintet composed of highly talented British musicians, who have worked with numerous artists and played on many shows and musicals. The band released their first album, Is That Not What You Wanted? more than ten years ago. This latest album has been a long time in the making.
Henshaw says the band’s music is influenced by artists such as Dave Grusin, The Yellowjackets, Al Jarreau and David Sanborn, and indeed their first album included a cover of the David Sanborn/Marcus Miller jazz-funk favourite ‘Run For Cover.’ On this album, Henshaw has decided to augment the quintet with a vast army of guest artists (including five guitarists and five saxophonists), hence the album’s punning title (and I must mention John Eaden’s excellent cover artwork, which shows how simple can also be very clever). Henshaw and his band might not be household names, but their reputation amongst their musical peers is clearly very high when you consider that the likes of drummer Dave Weckl, a long-time collaborator with Chick Corea; saxophonist Bob Mintzer, whose resume includes The Yellowjackets and Jaco Pastorious, and the gifted Welsh pianist Gwylim Simcock, who played on Pat Metheney’s 2020 album From This Place, join the band on various tracks.
These three musicians have names emblazoned on the cover, but it should be mentioned that every guest artist on this album oozes talent. To take one example, Chris Traves, who plays trombone, Hammond organ and percussion on more than half the tracks, was a member of the Diana Ross band, and musical director for ‘Chicago – The Musical’ for 14 years. He’s also an award-winning producer/engineer, with his own studio in south east London – Traves, recorded, mixed and mastered this album, as well as co-producing it with Henshaw.
The band’s experience and jazz-fusion influences mean that the music on this album is impeccably played, with strong melodies and tight grooves. It’s also a highly polished production. Henshaw and members of his bands composed most of the eleven tunes on the album. ‘Tea And Toast’ fades in with a whirling keyboard riff and a military-style drum beat before settling into a sleek, mid-tempo fusion number with Mintzer laying down a meaty, muscular tenor sax solo, and John Wheatcroft supplying a busy jazz-rock guitar solo, that includes tapping.
‘Direct Input’ is a funk number, reminiscent of The Brecker Brothers, with wah-wah guitar, a heavy groove and stabbing horn lines. Bryan Corbett plays a punchy trumpet solo, and Matt Steele grooves on the electric piano. James Pusey joins in with a blazing guitar solo. At the coda, Henshaw solos over a one-chord vamp, first played on keyboard, and then by the horns. ‘Along Came Milly’ hovers somewhere between a ballad and a gentle, mid-tempo number, with swirling swings and a sweet melody played on soprano sax. Gwilym Simcock’s delicate piano solo perfectly complements the mood.
The funky ‘Monte Carlo’ features vocalist Miranda Wilford, who also co-composed the tune. Her intonation on the song’s opening lines reminds me of the Pet Shop Boy’s ‘West End Girls,’ and there’s also a Prince feel to the sound, with blaring horn lines and jangling funk guitar. Wilford has a strong, soulful voice, and towards the end, she’s joined by screaming guitar and wailing sax – it’s an exciting number.
‘JP’ opens with a rapidly repeated piano figure, delicate soprano sax and swirling strings – it sounds like the opening to a dreamy, Disney musical, before switching dramatically to a swinging, big-band number with a samba riff. The dreamy opening is reprised at the coda. ‘Hiding To Nothing’ is a quirky mid-tempo number, with a bluesy feel and highlights Mike Outram on guitar. The album’s second vocal track, ‘Faithless’ is sung and co-composed by Noel Sullivan, formerly of the pop band Hear’Say before he moved into musical theatre. The Al Jarreau influence is most clearly heard on this track, with its relaxed mid-tempo feel and soaring vocal lines. ‘You Are’ is a smooth jazz track featuring the mellifluous sound of a soprano sax, with the melody doubled up with the piano, and strings used to sweeten the sound.
The eight-minute plus ‘Trying Too Hard’ is where jazz, pop and rock intersect – it’s like Steely Dan meets The Yellowjackets. This mid-tempo shuffle has a similar groove and feel to Steely Dan’s ‘Dr Wu’ from their Katy Lied album, with the tenor sax playing the head and organ lines bubbling underneath. Simon Lind plays a scorching guitar solo, followed by a fine piano solo by Matt Steele. The track ends like another Steely Dan song, ‘Aja,’ with Henshaw laying down a torrent of dramatic drums fills over a one-chord vamp. It’s one of my favourite tracks.
‘Red Beret’ would fit well on a Marcus Miller album, with an opening waltz-like theme played by the strings followed by a hard, funk groove with blasting horn lines. The music has a tense, jittery feeling and Mark Cox delivers a gritty guitar solo. Band member Andrew McKinney plays a funk bass solo – his dexterity, touch and tone are highly impressive.
The closer, ‘Scotty The Brave,’ features Dave Weckl and bassist Simon Goulding, who has played with artists such as The Bee Gees, David Murray, David Benoit and Tony Oxley. The sax plays the theme, with bass or guitar doubling up in places, and there’s a nice cascading piano riff played throughout much of the track. As expected, the song has a strong groove and includes a lively drum break, although it’s not clear whether one or both drummers are playing it. However the second, shorter, drum break at the end sounds as if both Weckl and Henshaw are playing in tandem, with one of them keeping the pulse on a cowbell, while the second energetically solos over it. If you’re into the type of jazz-fusion music put out by labels such as GRP Records, then this album will definitely be up your street and is well worth seeking out. I certainly found lots to like about it.
Reviewed by George Cole
Ubuntu Music UBU0090
Elliot Henshaw (drums, percussion); Andre McKinney (bass); Matt Steele (keyboards); James Pusey (guitar); Simon Willescroft (saxophone); Dave Weckl (drums); Simon Goulding (bass); Gwilym Simcock (piano); Richard Beadle (piano); Chris Traves (Hammond organ, trombone, percussion);John Wheatcroft (guitar); Mike Outram (guitar); Tommy Emmerton (guitar); Simon Lind (guitar); Mark Cox (guitar); Miranda Wilford (vocals); Noel Sullivan (vocals); Tom Walsh (trumpet); Bryan Corbett (trumpet); Bob Mintzer (saxophone); Simon Niblock (saxophone); Fiona Asbury (saxophone); Sammy Mayne (saxophone); Chris Aldridge (saxophone); Pete Billington (strings); Mel Wickens (strings); Pete Whitfield (strings)
No recording information/dates
British drummer Elliot Henshaw is a much in-demand musician who has played with Phil Collins, Shirley Bassey and Georgie Fame, to name but a few. He’s also played in the music pits of numerous West End shows, and is musical director for Leo Sawyer and Tony Christie. And like the late Rolling Stones drummer Charlie Watts, he has a love for jazz, and has played with Mike Stern, Bob Mintzer and Eric Marienthal. In 2005, he formed his own band, a jazz quintet composed of highly talented British musicians, who have worked with numerous artists and played on many shows and musicals. The band released their first album, Is That Not What You Wanted? more than ten years ago. This latest album has been a long time in the making.
Henshaw says the band’s music is influenced by artists such as Dave Grusin, The Yellowjackets, Al Jarreau and David Sanborn, and indeed their first album included a cover of the David Sanborn/Marcus Miller jazz-funk favourite ‘Run For Cover.’ On this album, Henshaw has decided to augment the quintet with a vast army of guest artists (including five guitarists and five saxophonists), hence the album’s punning title (and I must mention John Eaden’s excellent cover artwork, which shows how simple can also be very clever). Henshaw and his band might not be household names, but their reputation amongst their musical peers is clearly very high when you consider that the likes of drummer Dave Weckl, a long-time collaborator with Chick Corea; saxophonist Bob Mintzer, whose resume includes The Yellowjackets and Jaco Pastorious, and the gifted Welsh pianist Gwylim Simcock, who played on Pat Metheney’s 2020 album From This Place, join the band on various tracks.
These three musicians have names emblazoned on the cover, but it should be mentioned that every guest artist on this album oozes talent. To take one example, Chris Traves, who plays trombone, Hammond organ and percussion on more than half the tracks, was a member of the Diana Ross band, and musical director for ‘Chicago – The Musical’ for 14 years. He’s also an award-winning producer/engineer, with his own studio in south east London – Traves, recorded, mixed and mastered this album, as well as co-producing it with Henshaw.
The band’s experience and jazz-fusion influences mean that the music on this album is impeccably played, with strong melodies and tight grooves. It’s also a highly polished production. Henshaw and members of his bands composed most of the eleven tunes on the album. ‘Tea And Toast’ fades in with a whirling keyboard riff and a military-style drum beat before settling into a sleek, mid-tempo fusion number with Mintzer laying down a meaty, muscular tenor sax solo, and John Wheatcroft supplying a busy jazz-rock guitar solo, that includes tapping.
‘Direct Input’ is a funk number, reminiscent of The Brecker Brothers, with wah-wah guitar, a heavy groove and stabbing horn lines. Bryan Corbett plays a punchy trumpet solo, and Matt Steele grooves on the electric piano. James Pusey joins in with a blazing guitar solo. At the coda, Henshaw solos over a one-chord vamp, first played on keyboard, and then by the horns. ‘Along Came Milly’ hovers somewhere between a ballad and a gentle, mid-tempo number, with swirling swings and a sweet melody played on soprano sax. Gwilym Simcock’s delicate piano solo perfectly complements the mood.
The funky ‘Monte Carlo’ features vocalist Miranda Wilford, who also co-composed the tune. Her intonation on the song’s opening lines reminds me of the Pet Shop Boy’s ‘West End Girls,’ and there’s also a Prince feel to the sound, with blaring horn lines and jangling funk guitar. Wilford has a strong, soulful voice, and towards the end, she’s joined by screaming guitar and wailing sax – it’s an exciting number.
‘JP’ opens with a rapidly repeated piano figure, delicate soprano sax and swirling strings – it sounds like the opening to a dreamy, Disney musical, before switching dramatically to a swinging, big-band number with a samba riff. The dreamy opening is reprised at the coda. ‘Hiding To Nothing’ is a quirky mid-tempo number, with a bluesy feel and highlights Mike Outram on guitar. The album’s second vocal track, ‘Faithless’ is sung and co-composed by Noel Sullivan, formerly of the pop band Hear’Say before he moved into musical theatre. The Al Jarreau influence is most clearly heard on this track, with its relaxed mid-tempo feel and soaring vocal lines. ‘You Are’ is a smooth jazz track featuring the mellifluous sound of a soprano sax, with the melody doubled up with the piano, and strings used to sweeten the sound.
The eight-minute plus ‘Trying Too Hard’ is where jazz, pop and rock intersect – it’s like Steely Dan meets The Yellowjackets. This mid-tempo shuffle has a similar groove and feel to Steely Dan’s ‘Dr Wu’ from their Katy Lied album, with the tenor sax playing the head and organ lines bubbling underneath. Simon Lind plays a scorching guitar solo, followed by a fine piano solo by Matt Steele. The track ends like another Steely Dan song, ‘Aja,’ with Henshaw laying down a torrent of dramatic drums fills over a one-chord vamp. It’s one of my favourite tracks.
‘Red Beret’ would fit well on a Marcus Miller album, with an opening waltz-like theme played by the strings followed by a hard, funk groove with blasting horn lines. The music has a tense, jittery feeling and Mark Cox delivers a gritty guitar solo. Band member Andrew McKinney plays a funk bass solo – his dexterity, touch and tone are highly impressive.
The closer, ‘Scotty The Brave,’ features Dave Weckl and bassist Simon Goulding, who has played with artists such as The Bee Gees, David Murray, David Benoit and Tony Oxley. The sax plays the theme, with bass or guitar doubling up in places, and there’s a nice cascading piano riff played throughout much of the track. As expected, the song has a strong groove and includes a lively drum break, although it’s not clear whether one or both drummers are playing it. However the second, shorter, drum break at the end sounds as if both Weckl and Henshaw are playing in tandem, with one of them keeping the pulse on a cowbell, while the second energetically solos over it. If you’re into the type of jazz-fusion music put out by labels such as GRP Records, then this album will definitely be up your street and is well worth seeking out. I certainly found lots to like about it.
Reviewed by George Cole
