Big Band vocalist heading for the big time
The Apollo Big Band, with vocalist Ellan Mangham at the Corn Exchange on Saturday, October 1
THE personnel of the Apollo Big Band have remained remarkably steady over the years, but some dep musicians will inevitably be called upon.
Band leader Les Bruce has earned such a good reputation that he is able to call on top players when required, and tonight three of the rhythm section were depping: doublebass player Brian Throup, Cliff Rowley (piano) and Mike Creech (drums), who deftly swung the band into the opener, a lively up-tempo Caravan, and then Session at Pete’s Pad, led by the trombone section and a long piano intro from the excellent Rowley. Vocalist Ellan Mangham, newly graduated, but already talent-hunted by the West End, opened with an unusually down-tempo arrangement of Fascinatin’ Rhythm, but good to hear the lyrics clearly for once. Fronting a big band can be a daunting prospect for a youngster, but Mangham exudes confidence and talent to match. On At Last, by Etta James, one of the great songs of all time (and futile to emulate), she found her own vibe, giving the melody plenty of bluesy-ness, with a lovely lush solo from tenor sax Trevor Hayward, who was featured strongly during the evening.
The band cover impressively wide musical genres and Dancing Men, treated very much like an 80s film theme, was a bouncy vehicle
She has the voice and personality to project the big show tunes
for a lively solo from Hayward, beautifully answered by trombonist Diane Prince and a full-on drum break from Creech, who expertly combines lightness with power. On Let’s Face the Music and Dance, so often covered in many guises, the band did what they do best, with an up-tempo swing, making a light and airy show of it.
Mangham introduced us to her louche side with a laid-back All That Jazz .She has the voice and personality to project the big show tunes, which clearly are her preference, and what female vocalist doesn’t have Summertime in their repertoire? Ella Fitzgerald’s moody original is hard to beat, so the band played a fulsome arrangement, with Mangham tastefully finding a fresh and original take, punctuated by a straight but perfect solo from trumpeter Neil Armstrong. The strong trombone section set the theme for Where or When, with big, fat Wagnerian harmonies, as they also did with Count Bubba, a contemporary work by Gordon Goodwin, punctuated with unaccompanied passages by first the whole saxophone section, and then those powerful trombones again, and counterpointed by the biting accuracy of the trumpet section. Both Jed Roylance and Brian Yule, on trombone and trumpet respectively, flavoured their solo slots with distinctive individuality. Unlike many big bands, Apollo is blessed with a plethora of excellent soloists, who bring
variety and colour to the repertoire. The band are at their best on these up-to-date and demanding arrangements, and really dug in with commitment.
A beautifully played electronic keyboard passage introduced an inventive version of Eleanor Rigby, featuring a fantastic extended solo from trombonist Prince, a true star of this band.
Mangham has the vocal strength and talent to tackle the territory established by the likes of Barbara Streisand and Shirley Bassey, and the Adele version of Skyfall was a leap into the big-voice arena where she obviously thrives. She sang this somewhat tricky tune very convincingly, delivering with power and believability. Evoking the heyday of the legendary Bassey, Mangham delivered a fullon, belting delivery of Diamonds are a Girl’s Best Friend and Hey, Big Spender.
The band saved their best for last, with an exciting arrangement of McCartney’s Live and Let Die, played with confidence and precision, deftly navigating its complexity of rhythm changes and contrasting thematic passages. A sensational end to a very entertaining night.