The NJE: Tritone (reviewed by Jazzwise)
This splendidly-named trio are a group with breeding: Mark Bedford is bassist with Madness and has played with the likes of Robert Wyatt; saxman for hire Terry Edwards was a founder of cult punk-funkers The Higsons and has blown his horn with everyone from Nick Cave to David Gray; his former Higsons buddy Simon Charterton (drums) hangs around with Anthony ‘Slapp Happy’ Moore; guest keys man Mike Garson was a crucial member of David Bowie’s band for five decades; and Matt Johnson tinkled the ivories for Jamiroquai.
But these CVs don’t prepare you for Tritone, because it doesn’t bear any resemblance to anything that any of its creators has got up to before. The NJE owe a musical debt to jazz (Get The Blessing, some electric Miles, various 1970s jazz-funkers and fusioneers) but there’s much more to them than that. Other influences abound – the relentless motorik rhythms of Krautrockers Neu! and CAN; 1960s film noir and TV soundtracks; post-punk titans Magazine; even disco and early 1980s EDM.
The result is a delicious stew of catchy and hypnotic funk, an improv-based collection of trippy rhythms and textures. Opener ‘Astro Disco’ gives off cool retro Get The Blessing vibes while ‘Funky Kino’ has a trip-hoppy groove; ‘Midwinter”s fruity flute and laid-back bass is reminiscent of 1990s electropastoralists Ultramarine; ‘Bebinca Beat’ hints at a love for the noisier end of improv and ‘Burner’ goes heavy on the funk and North African ambience.
There are influences from here, there and everywhere, with the result that the NJE sound quite unlike anyone else. Gleefully eclectic, determinedly uncategorisable, and often insanely catchy, Tritone is certainly left-field jazz listening, but for me it’s one of the best albums of the year.
Kevin Whitlock at Jazzwise, September 2025
The NJE: Nought to 60 (reviewed by Mojo)
Higsons’ Terry Edwards and Simon Charterton plus Mark Bedford (Madness), NJE fire curveballs over deep grooves. Spirit of INDO and Tizita see Edwards at his multi-sax best, while the kosmische title track drips discord and danger.
AC at Mojo Magazine, July 2021
The NJE: Nought to 60 (reviewed by Dancing About Architecture)
This four-track mini-album bristles with hypnotic electronic beats. It is overlaid with lush improvised virtuoso jazzy licks and beautiful instrumental detours. The treatment and understanding of balance is sublime. Loads of space, grooves, dynamics, tricks and tonal treats.
Side one is a full 11 minutes of pure sonic joy. Moments of Ted Milton and Miles Davis genius punctuate throughout.
Before I carry on; can I go see this band play live right now, please?
Side 2 starts with a soulful and angular version of Bowie’s Five Years which is both unexpected and reassuringly good. Swiftly followed by a track that sounds like a walk through WOMAD at night where you catch a mash-up of audible snatches of North African, Middle Eastern and Asian rhythms as you make your way across the festival site late at night. NJE are the surprise leftfield tent where you settle till the sun comes up.
The final track enters like one of those classic Can tunes that you instantly know will take you on a journey. It flows and meanders and hooks in with rough sax like those frenzied rasping metallic moments that only Gong can normally deliver.
All of this and two members of The Higsons. For me, this is what I call a real treat.
The NJE: Nought To 60 (reviewed by Marc Higgins at Fatea Records)
This mini-album by The Near Jazz Experience showcases the trio’s improv based, groove heavy instrumental music. Terry Edwards and Simon Charterton from the Higsons and Mark Bedford from Madness make up The NJE and the band’s music is as rich and vital as their huge pedigree suggests. The trios name is both a pun and I think part homage to Hendrix’s seminal three piece. Personally, I don’t think they need to be so cautious, unless they are trying to avoid the J word, as they seem nearer in spirit, verve and musicality than some of the soporific vocalists and players happy to claim close proximity to that most lively, changeable and ever evolving of musical forms.
Spirit of INDO is named for the tiny Whitechapel pub which spawned The Near Jazz Experience and where they had a monthly residence for nine years until the venue closed. The track is a sprawling masterpiece that successfully combines hypnotic electronics and Jazz. Mark Bedford’s electronics open with a languid John Martyn like funky “Big Muff” Electroplex loop. Terry Edwards’ brass manages to encapsulate Birches Brew phased weirdness and a kind of eastern honking take on The Viscounts, as he plays both trumpet and saxophone, with some of that Dub Colossus smoky mystery. It is close to eleven minutes of wonder that manages to be hypnotic without getting repetitive or boring and as funky as anything thanks to Simon Charterton’s drums and Mark Bedford’s bass. Similarly spiritual is the charged but meditative instrumental version of Bowie’s “Five Years”. That interesting but tight rhythm section again lays down a base with a delicate melodica melody over the top.
A sublime tribute to a musically facetted performer. “Tizita” is inspired by the Ethiopian jazz giant Mulatu Astatke. Terry Edwards worked with Mulatu a few years back and the tune features the exotic blend of electronics, lively percussion and jazz the players have in common. All of the tracks so far will definitely appeal to any fans of those textured grainy Dub Colossus recordings or Astatke’s Ethiopique series. “Nought To 60” is probably the most surprising track on this wonderful EP, the title and the pulsing beats suggest Kraftwerk’s Autobahn with Hawkwind’s Nik Turners roaring saxophone over the top. While having me reaching for my Heavy Metal Free Jazz records by Peter Brozmann and Sonny Sharrock’s Last Exit, the track perfectly captures the pace, grime and honking traffic of a journey spent thundering round say the North Circular, with a nod to Kraftwerk’s electronic horns and doppler shifted car noises.
This is a simply stunning two sides of music that manages to be exhilarating and soothing within four tracks. Only 500 copies for this Record Store Day surely means this should be sort after by those looking for hot tickets and desirable items.
The NJE: Nought To 60 (reviewed by Whisperin’ & Hollerin’)
Nought To 60 is this year’s Record Store Day record from the Near Jazz Experience, the now long running trio of Terry Edwards, Mark Bedford and Simon Charterton as they continue to explore grooves and music that is close to and influenced by jazz. For this mini album they get to pay tribute to Indo, the pub they made the band’s home gig between 2010 and 2019 when the pub closed, as well as to David Bowie alongside the title track that’s a tribute to Terry Edwards turning 60 last year.
The A-side of the mini album is the Spirit Of Indo, a lush tribute to the band’s residency at Indo, a very cool pub in Whitechapel almost opposite the mosque. While Mark Bedford and Simon Charterton lay down the sinuous groove and laid-back beats, Terry Edwards decorates the track with his muted trumpet and soprano and alto sax that veers from Chet Baker beauty through to multiple horn parts as if he’s playing two saxes at once, as he often did in that hot sweaty pub, and you can’t help but groove along with them. This tune has several phases but never loses the central groove they work around, that makes this in parts a bit of a jazz funk groove sensation with afro-beat edges.
The B-side opens with their instrumental cover of David Bowie’s Five Years, a song that is far more poignant after a year of the pandemic where it really has seemed like we might only have Five Years left, this is played slow, with utmost restraint that sounds perfect for a torch singer to sing over, although it is moving enough as an instrumental.
Tizita is apparently inspired by Terry’s work with Mulatu Astatke and has an Afro-jazz sensibility about it, and Simon Charterton’s drumming has a more bongo style percussive feel to it with some lovely flute coming in, as well as the glorious sax lines that wouldn’t be out of place in Salah Ragab’s Cairo Jazz band.
The mini album closes with Nought To 60 that sounds like they are revving up to race each other from Whitechapel down to Southend with the beats working like they are tearing it up and grooving down that road as the saxes get all squiggly and the bassline gets more and more intense as it repeats and the tune builds like you’re headed into a bend at 60 mph and have taken your hands off the wheel; there’s a sense of danger and not quite knowing how things will end, but damn, this is seriously groove centric.
New book published on Norwich band signed by influential label
A book has been published about Norwich band The Higsons who formed in the city in 1980 and went on to be signed by 2 Tone Records.
Author Lee Morris has published 2 Tone Before, During and After, which follows the music phenomenon of 2 Tone and includes a specific section on The Higsons.
The Higsons were eventually signed to 2 Tone Records by Jerry Dammers from The Specials who founded the record label.
Lead singer Charlie Higson went on to star in and write the BBC comedy sketch show The Fast Show.
The NJE: Tritone (reviewed by Mojo)
Operating at the intersection where jazz meets deep groove, Tritone is enhanced by the keyboard flourishes of Mike Garson (Bowie) and Matt Johnson (Jamiroquai). Whether essaying unquestionably funky fusion (A Head), ghostly mystery (Tritone) or espionage with a pronounced swing in its step (Tuba Cop), Simon Charterton and Mark Bedford create a writhing sound-bed for Terry Edwards to manhandle trumpets and saxes with his customary verve.
AC at Mojo Magazine Issue 383, October 2025
The NJE: Tritone (reviewed by The Arts Desk)
Veteran heads lay down a hypnotic gumbo of cool funkiness
As the name suggests, the Near Jazz Experience owe a huge musical debt to jazz, but that’s not the full story by any means. For a start, the rhythm section has more in common with the motorik groove of Can and the general atmosphere is closer to the soundtracks of ‘60s TV shows and films like The Avengers and Bullitt than any of Miles Davis’ famous ensembles.
For those unfamiliar with the band, they are a trio of musical veterans, comprising Madness bassist, Mark Bedford, saxophone slinger for hire, Terry Edwards and his former Higsons’ confederate, Simon Charterton on drums. None of their other groups, however, even begin to suggest what they get up to under this alias. NJE’s sound is a weird head trip of instrumental hypnotic funkiness. A spirited improv-based sprawl of jazz-fusion melodies marinated in global rhythms that are cool but distinctly trippy.
Tritone brings in additional keyboards by Mike Garson and Matt Johnson, especially on the subliminally sinister “Tuba Cop” and the spaced-out title track, but it’s an album that still stays largely within their previously marked-out territory. So, while it may be an album that’s difficult to pin down, it’s very easy to enjoy.
“Astro Disco” brings along spicey Get The Blessing-type vibes, conjuring up images of Californian beatniks cruising along coastal roads in open-top sports cars, while “Funky Kino” is laid-back with a scatty trip-hop groove. “Midwinter” lays down pastoral folkie vibes with Edwards’ flute and Bedford’s laid-back bass lines, however, “Burner” changes gear and brings in North African melodies to a distinctly funky atmosphere. NJE are certainly no one-trick ponies, but add sounds and textures from all over, even hinting at the sound that John Zorn might make if he were to jam with a South Asian ensemble on “Bebinca Beat”.
This makes Tritone an eclectic gumbo of funk and world sounds filtered through a jazz sensibility and, as temperatures rise and the sun makes itself welcome in our lives, it totally hits the spot.
The NJE: Nought to 60 (reviewed by Louder Than War)
Released as part of one of this year’s Record Store Days, Nought to 60 is an extraordinary 4-track EP by instrumental “supertrio” The Near Jazz Experience. The trio features the talents of the inimitable multi-instrumentalist Terry Edwards, Mark “Bedders” Bedford of Madness fame and (amongst an array of others) ex-Higsons bandmate of Terry Edwards, drummer & percussionist Simon Charterton.
Last year saw the release of an astonishing Terry Edwards career retrospective. A truly remarkable set of tunes from a truly remarkable musician whose career encapsulates a diverse range styles while never compromising his talent. The set of songs on that collection only scratched the surface of the man’s sensational career. And don’t let that fool you into thinking his tank is now empty. Far from it, he, and his esteemed cohort, have more than enough fuel to hit top speed and go from Nought to 60 quick smart.
The A Side of this release features the epic 10-minute plus Spirit of Indo. Charterton kicks things off with subtly atmospheric percussion. Bedders adds an underlying rumble of sonorous bass. Then Edwards comes in with his saxophone. He manages to squeeze an extraordinary range of notes from whatever his instrument of choice may be. Further adding layers including the hypersonic squeal from muted horns, before giving way for the rhythm section to display their undeniable talents. The three join once again as one tight as fuck unit bringing the song to its conclusion in the same manner in which they entered.
Flip over and Side B starts with a melodica-led atmospherically unearthly instrumental version of the Bowie/Ziggy classic Five Years. Shimmering cymbals, sympathetically plucked bass and marxophone adding to the sublimely spiritual nature of their version.
Tizita, which translates into English as nostalgia/longing, is a form of music originating from Ethiopia/Eritrea. NJE’s tune of the same name is gorgeously woozy. It should make Bedders feel at home as elements of the saxophone wouldn’t sound out of place in a Madness song. Closing out the EP with a tune titled Nought to 60, you’d expect something with the compelling urgency that is created by the three gents here. A hypnotic rhythm section underlies Edwards wrestling with his instrument and creating an all-encompassing range stupefying notes, squeals and squalls.
It’s just a shame its an EP and not longer. I could sit in awe of the talent on show here all day long.
The NJE: Afloat (reviewed by Louder Than War)
The Near Jazz Experience deliver brass-led instrumental improvisations with a free approach on their debut album Afloat. From blues to afrobeat and some funky electronica, inspirations fuse in vibrant and innovative arrangements; prepare your ears for Hendrix jazzification on a rebirthing of Voodoo Child.
Two-parts Higsons (Terry Edwards alto and tenor sax, and Simon Charterton drums) and one-part Madness (Mark Bedford bass), set sail aboard the Near Jazz Experience. Afloat is an album they say they’d not really intended to record, reflective of their focus on live, improvisational performance. That being the case you could call this a happy accident that demands one’s attention. Horn section at the helm, blousy sax, bongo beats, and root base rhythms abound. Hot Chip’s Alexis Taylor contributes sweeping synthesiser and post-apocalyptic sound effects with vintage analogue quality; putting the listener in mind of transistor radio days, intermittent connections to international frequencies and happening upon unexpected treasures.
An interference soundscape with imperceptible message opens St Leonards’ Suite, squiggly synth leads into funk sounds, drum brushes set locomotive pace, galloping percussion keeps a steady beat, brass evokes a sense of proclamation; a sci-fi flavoured synth shut down ends. On Diamonds for Breakfast instruments collude in a call and response exchange, taking on the feel of a 1960s TV soundtrack. Songo, eases into calm waters; under currents of mellow keyboard reverie evoke St Tropez seascapes, adding 80s influences into the mix. Title track, Afloat, drifts easily, as lingering strings, languorous sax and ethereal piano pitch serenity.
Moving into absurdist Bongo Cut Ups, dirty brass and menacing intent build to a muffled indignation sound effect and frenzied angst. St Mary’s Suite opens with a cold war, scratchy numbers station intro. Ensemble playing, featuring flute, live background ambience and finger-clicking, escalates to carnival and a low frequency fade-out chatter, reaching a frenzied finale. Sailing into calmer seas for Beachcomber, sunlight sparkles on rippling waves, descending to an in utero, melodic calm, before splashing back to the surface.
Voodoo Child is distinctly Hendrix yet distinctly an NJE take; drawling saxophone takes focus with thundering intent and driving blues feel. The track rocks the cradle of familiarity whilst navigating new territory. Live cut Acoustic Pts 1&2 swings along buoyantly in the surf; pulsing rhythms vibrate with castanet percussive backing. Knife Edge rides the waves as bleeding edged notes ebb and flow to a triumphant end, complete with live applause. Festive We Three Kings swings along, offering shades of Brubeck and expanded bass lines: the adventurers return to land, laden with oriental riches.
A new box set anthologises that period in the immediate aftermath of punk when musicians began drawing influence from US funk.
Bands – most notably Gang Of Four and The Pop Group – began marrying often confrontational lyrics and exploratory, experimental sounds with the bass and drum rhythms of Funkadelic and the Fatback Band, and emboldened by New York’s no-wave movement brought post-punk to the dancefloor.
Compiled and with sleevenotes by noted DJ and writer Bill Brewster, the 3-disc Shake The Foundations: Militant Funk & The Post-Punk Dancefloor 1978-1984 features a raft of rarely heard floorfillers from familiar bands like The Higsons (pictured), A Certain Ratio, Simple Minds, 23 Skidoo and Jah Wobble to the less familiar – Quando Quango, Playgroup, The Chicken Granny etc.
Set for release through Cherry Red on 26 March 2021, Shake The Foundations is available to pre-order.
Simon&thePope live at the Green Door Store, Brighton 12.10.19
Brighton promoters Spinningchilli have been putting on John Peel nights to celebrate the life of the great DJ, and tonight’s at The Green Door Store is the 10th such event. All three bands have featured on his show in some way.
First up are Simon&thePope (no spaces), a black clad duo pumping out an intriguing concoction of post punk funk. John Pope stands, calmly wrangling a low throb and flurries of snaps and pops from a white jazz bass. Drummer Simon Charterton provides the vocals as well as the John Peel connection, having previously drummed in The Higsons, who recorded several sessions for the show. More recently I came across Simon playing in experimental trio Near Jazz Experience, and I’ve just met a gang of his old friends from university in the bar, down from London to catch tonight’s gig. He’s an impressive drummer, conjuring a rich palette of hypnotically complex rhythms from a very minimal kit, which comprises of snare and hi-hat, a single synth drum, and an old suitcase acting as the bass drum (their music is put out on The Luggage Label).
Opening number ‘Beats Workin’ is built around an insistent bass throb with funky octave notes and a repeating vocal figure. It leads into ‘Cannelloni’, which is light, twiddly and interesting, and not at all stodgy. ‘Space Bossanoodle’ unsurprisingly has a bossa nova rhythm, led by the clattering synth drum. ‘Fella’ has a funky bass line but it’s the lyrics that grab the attention, with an extensive list of increasingly funny and improbable rhymes: Nutella, acapella, patella, Stella, Paul Weller, umbrella, Uri Gellar, salmonella and so on. ‘Gallery’ has a an Indian vibe, with the synth drum sounding like a tabla. ‘Art’ is a throbbing psychedelic funk groove, punctuated by a chiming note from the rim of the synth drum. They leave us with ‘Bangin’ On’, another trippy piece with a complicated rhythm and a nice bit of slap bass. It’s been a brief set but most enjoyable. Simon&thePope’s music is available to listen to on Soundcloud, and I could easily imagine it played on a John Peel show in a different reality.
