For this, his début album vocalist and occasional flautist John Heavens has assembled an impressive range of British jazz talent. Heavens has benefited from vocal coaching from Trudi Kerr and Anita Wardell and the album appears on Kerr’s Jazzizit record label.

The programme concentrates on original material, mainly written by Heavens himself with colourful, high quality arrangements by pianist Andrea Vicari. The sound is strikingly contemporary with elements of soul,rock and rap interconnecting with the jazz content. Rapper Jahaziel appears on the opening “Monday On Freedom Street” and also on “Cry Freedom” as well as adding to the lyrical input.

The presence of Jahaziel plus Vicari’s horn laden arrangements give the whole project an appropriately urban vibe driven by the grooves generated by Vicari, bassist Dorian Lockett and drummer Marc Parnell.

Heavens himself has a relaxed and soulful vocal style that avoids any unnecessary mannerisms or histrionics. He is an intelligent lyric writer, not afraid tackling social and political issues as on the beautiful ballad “Hanoi Lullaby”.

The album kicks off strongly with the propulsive “Monday On Freedom Street” complete with Jahaziel’s rapping on the futility of the nine to five existence. The following “Transatlantic Love Affair” maintains the impetus in soul like vein, the arrangement enlivened by the backing vocals of Stephanie Mead and Simon King.

“Hanoi Lullaby” is a sad tale of the death of a street child through drugs and prostitution. It’s the kind of subject that in the wrong hands could become maudlin or overly sentimental but Heavens and Vicari combine to treat the serious subject matter with the dignity it deserves. Beautifully done.

“Cry Freedom” sees the return of Jahaziel and marks a return to the urban vibe. Meade again joins heavens on the choruses and there is a fine rock influenced guitar solo from F-ire Collective member Jonathan Bratoeff.

Bratoeff is also prominent on the title track another bitter critique of modern urban living. Here, as elsewhere are featured the punchy horn section of Rory Simmons (trumpet) Malcolm Earl Smith (trombone) and Duncan Eagles (saxes). All are excellent throughout the album. Take a bow, lads.

“Voyage Around My Father” is the first of two instrumental tracks. This wistful tune introduces another instrumental voice in the form of Pete Rosser who plays beautifully. Eagles’ lyrical soprano is another plus. Heavens actually sits this one out despite having written it.

The horn section lead off “Hocus Pocus”, probably the closest the album comes to an orthodox jazz arrangement. The song itself is fairly slight, not one of Heavens’ best but Rory Simmons’ trumpet solo helps maintain the interest.

Boudicca’s Voice is another essentially instrumental item and features Heavens on flute. Solo honours go to Smith’s big toned trombone and the whole thing is underpinned by Kuljit Bhamra’s tabla and percussion. It’s an enjoyable workout but not as memorable as the earlier “Voyage”.

“All About Sunday” is another dig at the City work ethic with Simmons trumpet again featuring prominently.
Finally comes the only standard on the album “Nature Boy” arranged and played as a duo by Heavens and Bratoeff. The two complement each other well and the piece works effectively as a dynamic contrast to that which has gone before.

“Big City Calling” is an assured début with a blend of intelligent song writing, brilliant arrangements and some great playing. Heavens and his team blend the various elements into a surprisingly homogeneous whole. This album really was a pleasant surprise.

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