This CD has been in my possession for some time. It was kindly given to me for review purposes by Sax Appeal’s leader Derek Nash at the group’s recent show in Pontypool, a performance reviewed elsewhere on this site.

Released in 2005 “The Flatiron Suite” is the fifth Sax Appeal album and it’s appearance was timed to celebrate 25 years of the band’s existence. An album every five years might seem a scant return but Nash is permanently busy with other projects such as his funk band Protect The Beat, his work with Jools Holland’s Rhythm and Blues Orchestra, assorted other additional side man duties plus his work as an engineer and producer at his Clown’s Pocket Studio. Oh yes, and he also runs the Jazzizit label in conjunction with singer Trudy Kerr.

Sax Appeal has had a fluid line up over the years but it has always included a bevy of fine saxophonists plus a classy and often funky rhythm section. The fluctuating personnel heard on “Flatiron”  is well up to the mark and most will get a name check during the course of this review.
“The Flatiron Suite” is inspired not by the iconic New York building as you might think but by the mountains of the same name to be found near Boulder, Colorado. Nash has been a regular visitor to the area for many years as a participant in the annual Conference on World Affairs held in Boulder itself. The conference attracts unpaid delegates to discuss a variety of topics and a vibrant music scene has grown up around the event leading to Nash’s initial invitation.

The three part “Flatiron Suite” leads off the album. Nash initially began writing the music in Colorado before finishing it off in the UK. The opening movement “The Mountains” attempts to express the grandeur of the place. It works well, folky elements allude to the Native American population of the area and the arrangement gives a sense of space. Solos come from Adrian Revell on tenor and Nash on his favourite 1926 Buescher Tru-tone soprano. Mike Bradley’s crisp drumming keeps things moving and Phil Scragg on alternatively liquid and funky electric bass is the other featured soloist. The tune featured in the set at the Pontypool gig mentioned earlier.

Gary Plumley’s wood flute ushers in Part 2 “the Great Plains”. Even more consciously ethnic and grandiose this music has a genuine cinematic quality about it-it’s Nash’s “Theme For An Imaginary Western” if you like. Solos come from Nelson Rangell’s powerful alto sax, McKay’s woody alto flute and finally Pete Adams’ tumbling Fender Rhodes. Scragg’s ominous bass growl and the authentically ethnic sounding percussion of Lebanese born Rony Barrak add greatly to the atmosphere.

Adams’ Rhodes also starts Part 3 “East Slope Rivers” which evokes the rapids that cascade from the mountain slopes. Keyboards and Barrak’s percussion help to support suitably dramatic solos from Plumley’s tenor and Rangell’s biting alto but the real white water stuff comes with Bradley’s climactic series of drum breaks.

“The Flatiron Suite”  gets the album off to an inspired start. The remaining six tracks see Nash re-arranging existing tunes for the Sax Appeal line up. The first, “New York Walk” originally appeared on Nash’s quartet album “Setting New Standards”. The Sax Appeal version heard both here and at Pontypool is a confident,soulful strut well suited to the expanded line up and it’s massed ranks of saxophones. The arrangement evokes a real urban feel and memories of the swing era. Matt Wates’ cool alto takes the first solo followed by Nash taking a rare excursion on baritone.
“P.T.B.” is a punchy, unashamedly funky tune originally written for Nash’s Protect The Beat funk combo. Simon Carter on keyboards is prominent in the mix firstly on funky Fender Rhodes and then with a scorching synthesiser solo. The sax soloists are Adrian Revell on r’n'b tinged tenor and Scott Garland whose sound is filtered through a Roland guitar FX pedal with interesting results.

“Flat 5” was written by Derek’s father Pat Nash who worked as an arranger for the BBC Northern dance orchestra for over 30 years. Nash Sr. has been a major influence on his son’s music and his composition has been arranged here by Derek himself. It has a retro dance band era sound with Carter now featuring on acoustic piano. Bob McKay contributes an admirably agile baritone solo and Mike Bradley performs a neat series of drum breaks deploying the brushes.

“Worcester Sorcery” quickly raises the temperature again. This crowd pleaser dates back over twenty years and appeared on the very first Sax Appeal recording. This latest arrangement incorporates funk elements and fairly steams along. Paul Booth’s mercurial tenor solo is followed by Pete Adams’ dazzling synth. Mark Fletcher’s energetic drumming is also prominent in the mix climaxing with a solo feature. 

“Dream Of Peace” manages to be elegiac but also lively enough to fit into the Sax Appeal template.

Nash’s keening soprano contrasts nicely with Plumley’s warm tenor on this heartfelt dedication to Nash’s late wife Sandy.

The album storms out with the rollicking John G’s blues, a piece the band gleefully performed at the Pontypool show. Chock full of Charlie Parker quotes the album version features the duelling tenors of Plumley and Booth with Wates filling the Parker role on alto. There are some stunning unison horn passages and Adams adds a sparkling acoustic piano solo. It’s a great way to finish the album.

“The Flatiron Suite” is quintessential Sax Appeal, swinging and unpretentious but still full of colour and invention. There is some inspired playing from all concerned and the album as a whole is thoroughly enjoyable. Nash’s writing covers a range of jazz styles and most listeners with an interest in the music should get something out of this well crafted release.

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