Here are sidemen (or should I say, side persons, given Roberts' presence?) garnered from the present-day Barber, Ball and Bilk traditional jazz ensembles and re-assembled as the Magnificent Seven. While the album title is derived from use of Elmer Bernstein's theme from the film of the same name, it does seem a little less than flattering to run it under a photo line-up of the players. Oh well. The band's intention (as stated in their press release) is ‘to tip their hat to the great bands of Chris Barber, Kenny Ball, Aker [sic] Bilk and Alex Welsh’ and to be sure there are momentary reminders of these time-honoured bands, especially so on their re-run of Ball's ‘Midnight in Moscow’. Repertoire is eclectic and the performance style relatively knockabout and lively albeit with some signs of straining for effect. Typically, Cummings, a trumpeter with a bright tone and commendable technique, sets off brightly and then resorts to a touch of two of grandstanding. Roberts' solos on flute, still an unusual instrument in traditional circles, sound good if not quite as relaxed as when she appears with Barber's band. Bateman is his usual breezy self, combining JC Higginbotham's attack with his feeling for swing while Milverton consistently unfurls solos of thoughtful quality. It will be good to observe this band in person at this year's Swanage Jazz Festival and to hear what they can do once they've played a bit and settled down.