The group of twenty-something musicians who comprise Sugar Beats stand out from regular performers on the local jazz scene before they've played a note.Ìý Decked out in jeans, t-shirts and trainers these guys look like they should be a band on the local indie scene, that is until they pick up their instruments.Ìý
 | | By Kate Beatty |
Saxophones, trumpets, flugel horns and flutes replace the usual three-guitar arrangement favoured most of their peers on the Birmingham scene. Not that this is a gimmick of any kind either - these guys have a serious jazz pedigree behind them.Ìý "We all know each other from our years at the Birmingham Conservatoire studying jazz about 4 years ago.Ìý I guess we've been playing live about 2 years now." said Mapp. Something different A collective desire to offer something different in the world of jazz and the chance to bring each band member's influences to the mix saw the group evolve from a bedroom project, consisting of Mapp and Sugar Beats co-founder Leo Altavelli (trumpet and vocals), into the confident groove machine their live act has become today, as Mapp explained:
 | | Fletcher |
"Leo and I started off making tunes in my bedroom which we really enjoyed.Ìý We then put on a club night in the city called Sugar Beats which grew bigger and bigger and we thought we should just go for it and start a live band which is what we always wanted to do anyway." With their links to the conservatoire finding talent to form the band wasn't going to be too difficult a task, however they were after something more than plain old talent: "Everyone we asked to play was chosen for what else they could bring to the band, personality wise, as opposed to just brining anyone in who was a decent player." Style
 | | Rob |
The result is a real mix of styles and influences that add to Sugar Beats unique jazz-fuelled romp through Latin, funk, pop and rocky waters.Ìý The rhythm section of Mapp, Rob Norman (keys), Lewis Hornsby (drums) and Alan Gardiner (percussion) are as tight as a pair of drainpipes and switch effortlessly from stomping funk into mellow backing at the drop of a hat. Some of the set can be compared to those early laid-back Jamiroquai instrumentals, which certainly went down well with the Rush Hour Blues crowd, giving the horns a chance to express themselves exchanging solos along the line. Trumpet and flugel solos from Altavelli and Mike Adlington cover many styles from bop to airy expressionism, with spiralling alto sax solo work from dreadlocked Mike Fletcher all showing rare control and ideas from players still at such a young age.
 | | Begs |
Baritone sax player Colin Mills is Sugar Beats meat in their horn-playing sandwich.Ìý Mills plays the instrument, which looks about as big as him, with a sound and style that grabs hold of you deep in your gut and vibrates through your body - a remarkable talent. Jazz scene You can see how they are gaining a name for themselves away from the jazz scene and getting clubbers on their feet. Being on the periphery of two scenes is something the band is quite happy with, content not to throw all their eggs into one basket, playing a jazz club one week and a nightclub the next or events like ones put on by Birmingham Jazz. "The scene in Birmingham is getting much better with loads more places for us to play.ÌýÌý I guess this place tonight is more used to out-and-out jazz bands but we had a great time," added Mapp.Ìý
 | | By Kate Beatty |
"I actually do a lot of work for the Birmingham Jazz organisation helping spread the jazz message across the city."
Sugar Beats succeed in their ambition to inject some new life into jazz and with plans to record a new album this year, who knows what the future holds for this immensely talented group of musicians.Ìý They may not gain huge commercial success but they have all the ingredients to make a real impact on the eyes and ears of clubbers, gig-goers and jazz-heads everywhere. | 
