MJHQ is a five piece jazz/funk group from the West Midlands led by bass guitarist Mike Hatton. This collection of eight Hatton originals was recently released on the Birmingham based Rehab Records label. Hatton is joined by keyboardist Tim Amann, a stalwart of the Birmingham scene and a band leader in his own right, saxophonist Sam Rogers, guitarist Tom Robins and drummer Andy Wheeler.

Hatton’s liner notes detail his influences as bebop, The Beatles,the Blues, TV theme music, the Stax record label, Joe Sample, Quincy Jones, The Meters and Little Feat. In particular he is interested in the grooves behind the music and this comes out in this fiery collection of jazz/funk tunes. Snippets of Hatton’s various inspirations can be detected here and there but the emphasis is primarily on the groove and the jazz/funk feel. The musicians he has gathered around him are among the best on the Midlands scene and there is some fine soloing to be heard on these attractive compositions.

The title track is a rousing opener with a powerful funk riff led by Rogers’ sax. Robins’ blistering guitar is the tune’s real highlight but everybody sounds like they’re having a ball as evidenced by Wheeler’s whoops of delight at the end of the track.

“Sundown” is a shade more laid back and languid as it explores broadly similar territory. Amann on Rhodes and Hatton himself are the principal soloists here with Rogers and Robins also making strong contributions, the whole propelled by Wheeler’s insistent drum groove. 

Hatton notes that most of the influences on his music are American and the simmering urban funk of “Save It For Another Day” is clear evidence of this. Besides a wicked groove there is a real “TV Cop Show” feel to the music with Robins sharp edged guitar, Rogers’ rasping sax and Amann’s Rhodes taking the solo honours. I detected a bit of a Steely Dan vibe here too, it’s no great surprise to see that Rogers plays with the acclaimed Nearly Dan tribute band.

“It Doesn’t Worry Me” is a more chilled out brand of funk but one that never sacrifices it’s underlying groove. Rogers again impresses with his authoritative playing and Amann’s Rhodes shimmers atmospherically. Hatton’s liquid bass lines are right on the money as are Wheeler’s cymbal splashes. It’s impressive stuff and a well scheduled pause for breath amid the more high energy items.

“Embryo” is breezy and melodic with an insistently funky back beat. Amann’s Rhodes solo is the main feature alongside Rogers’ sax. Robins’ crisp rhythm guitar chording combines with bass and drums to give the tune it’s impetus.

“Reverie” is laid back and jazzy, again with a hint of the TV theme about it. Robins’ playing here is his jazziest on the record, with Rogers and Amann on acoustic piano also featuring as soloists. The latter adds a welcome touch of lyricism to the overall funk framework.

“Pyramid Groove” mixes an Egyptian sounding melody with MJHQ’s funk grooves in an interesting stylistic mix that almost flirts with kitsch at times. Elsewhere Rhodes and guitar intertwine and Rogers honks belligerently on a biting solo.

The closing track “Emily” is substantially different in feel to the rest of the album. It crosses the band’s funk sensibilities with jazz balladry with Amann’s acoustic piano leading the way. Hatton also features as a soloist with Rogers and Robins also prominent. 

There is nothing overly profound or earth shattering about “So What’s Up” but it is an enjoyable album with considerable charm. As a writer Hatton has a way with a tune as well as a groove and this is bright, accessible, melodic music with an underlying rhythmic “oomph” that is easy to enjoy.

There is some fine soloing here and generally everybody plays their ass off. The band have a couple of dates coming up as listed in our events pages and if you live in the Midlands area you could do a lot worse than going to see them. This is the kind of music that should sound really good in a live situation. See http://www.mjhq.co.uk for full details.

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