Following three sold-out nights at Ronnie Scott’s last year - with rocking audiences and great reviews - Kick Horns are joining Maxi Jazz and the E-Type Boys once more for a show at the Jazz Café, London, on Saturday 22nd April. We’ll be playing material from the first album Simple.. Not Easy as well as some newer pieces we recorded at Rak Studios in January. Back in March we guested with Mark Nevin’s band at St Pancras Old Church to launch his new album My Unfashionable Opinion, in the company of many old friends from way back when: Simon Edwards on bass; Richard Marcangelo, drums; James Hallawell, Hammond organ; Roger Beaujolais, vibes; as well as accordion from Colette O’Leary and violin from Mark’s wife Louise. We had a blast playing the new material as well as highlights from Mark’s extensive back catalogue. Good to see another old friend in support too – Michele Stodart from the Magic Numbers.
The addition of the Kick Horns for the London dates was a masterstroke. The outstanding sound quality at Ronnie’s meant the section’s superb arranging, accuracy and command of articulation was rendered with the utmost clarity.
Maxi Jazz and the E-Type Boys review for Jazzwise
I hadn’t worked with ‘professional’ musicians until we recorded Popscene, and at that time I wasn’t sure how we’d measure up. The brass section had given the impression of a gang of painters and decorators as they unpacked their equipment. It was as if they were unfolding stepladders and unloading brushes. They splashed their bright paint all over the song.
bit of a blur
Those Kick Horns guys are really on top of my thing.
In all of my years recording, I’ve only ever been rendered completely speechless by what has come back out of the speakers twice: the first time was in the Nineties, when my former band Pele recorded our first single ‘Raid The Palace’ and the Kick Horns brass section turned up in Metropolis Studios, West London, and tore the song apart, plastering us all to the back wall of the studio…
…tightest, hard-hitting, yet sweet…
There were times during this show when Baaba Maal and his band made music that was as beautiful, as glorious and as joyous as any that I have ever heard. Yes: it was that good – percussion, guitars, keyboards, voices, and, crucially, a tight-knit four-piece brass section were locked into a pulsating, hypnotic groove. For a moment, as his band – a mixture of African and Western musicians – created this rapturous noise, Baaba Maal, in his shiny gold suit, stood with his arms outstretched and grinned, as if to say: “Look! Behold my creation.” It was sensational.
Oumou Sangare’s easy fusion with the Kick Horns, who add firepower without treading on anyone’s toes, suggests subtlety can occasionally trump the search for explosive connections… The Parisian audience? They’re dancing.
Celebrity Mastermind. John Humphrys quizzes Josh Widdicombe on specialist subject Blur.
JH: The albums Parklife and The Great Escape featured accompaniment from the Duke Strings and which group of brass musicians?
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JH: You had one pass. The group of brass musicians was Kick Horns.
JW: No idea…
JH: No. Nor me. There we are.