Nick Stephens Septet

..."stands proudly among the label's very best." 'No me degas nada', a vortex of African patterns and unchained screaming built over Ventura's surprisingly minimal yet highly energizing arpeggios and double stops. The guitarist's jangling accompaniment launches the opening track in the second CD, a half-reggae-half-Tippett beauty called "West 11" which made me want to leave my chair, open the window to the sun of a wonderfully atypical November morning and intimately rejoice.
See full November 2007 review by Massimo Ricci
at:http://spazioinwind.libero.it/extremes/touchinghome.htm

The Plough was a regular monthly gig for The Septet for two years. This double CD represents what would be a typical two set Saturday night. I would try and remember to bring a cassette tape along and the manager of The Plough would try and remember to put it in the cassette recorder attached to the desk. The sound varied each time and I would often get home to find that the tape had run out in the middle of a piece and not been changed until the middle of another. For this reason, and to find the best versions, the pieces are from different nights. "One for Ron" was written in memory of my mate bassist Ron Herman, although it became "One For John"when we performed it at John Stevens funeral. The other dedications are self explanatory in the titles.

"Vastly entertaining and irrefutably energetic, this is one of those blasts from the past that transcends the norm". Glenn Astarita in All About Jazz, November 2005 see full review at : http://www.allaboutjazz.com/php/article.php?id=19670
Also see Ken Waxman's review at : http://www.jazzweekly.com/reviews/nstephens_live@plough.htm
"Whitehead sounds fantastic, like Fred Wesley possessed by the late Albert Mangelsdorff " Jason Bivins, SIGNAL TO NOISE.
Reviews from back then:
The band has some fierce improvising talent in its ranks that Stephens employs in a no apologies role, blowing over his own strong material. TIME OUT

Vibrant, multi-influenced, finely pedigreed, free spirited and modern. THE GUARDIAN

Free leaning improvisation against an infectious groove CITY LIMITS

Bass player Stephens is a man who inspires those around him to produce the best possible performance. An upfront band leader whose solo work is lilting and breathtaking yet leaves room for band members to work as a collective unit. CITY LIMITS

A bass player who has formed the core of a number of fine Afro/free jazzgroups, Stephens’ own music makes sharp and eclectic references to post-Mingus, Ornette Coleman and world music styles offering an entertaining and refreshing alternative to tired out bop themes and completely free set-ups. TIME OUT

Rock steady strength and impeccable lyricism. WIRE

THE MUSICIANS

CHRIS BISCOE
Mike Westbrook, George Russel, Kenny Wheeler, Brotherhood Of Breath.
"His melodic lines are like tales of the unexpected" THE GUARDIAN
JON CORBETT
London Jazz Composers Orchestra, Company, Freebop, Away
"Extraordinary versatility and range" VENUE
JERRY UNDERWOOD
Keith Tippet, Spirit Level, Andy Sheppard.
"Powerful, bruising tenor" THE GUARDIAN
ANNIE WHITEHEAD
James Blood Ulmer, Brotherhood Of Breath, Charlie Watts Orchestra, Penguin Café Orchestra,
"A powerful mixture ofAfrican grooves, blustery free jazz and bursts of driving blues" THE GUARDIAN
MANO VENTURA
Courtney Pine, Steve Williamson, Mondesir Brothers.
"Fiery style, sensitive touch" TIME OUT
BRIAN DAVISON
The Nice, Jack Bruce, Eberhard Weber
"Best drummer" MELODY MAKER POLL
MARK SANDERS
Evan Parker, Bill Laswell, Jah Wobble, Elton Dean, Mats Gustafsson.

"…each of whom contribute various approaches to the ensemble frenzy" THE GUARDIAN