With their rich harmonies, an unbelievable ability to replicate instruments and a stage presence that can be felt in every seat of the house, Naturally 7, the first vocal play group ever, are amazing, charming fans where ever they perform.
Today Naturally 7 are Roger Thomas (musical director, arranger, 1st baritone, rap), Warren Thomas (percussion, guitar, clarinet, 3rd tenor) Rod Eldridge (1st tenor, scratching, trumpet), Napoleon (Polo) Cummings (4th tenor, guitar), Dwight Stewart (2nd baritone, vocals, trumpet), Garfield Buckley (2nd tenor, harmonica) and “Hops” Hutton (bass).
What makes Naturally 7 special is that every instrument sound that they sing is created from the human voice. There are no actual drums, guitars, horns, flutes, or any other instrument that is heard when listening to them perform; it’s the band members playing each of their vocal instruments.
The origins of the group date back to New York City in 1999 when Roger Thomas started the group with his brother, Warren, and five other talented singers they had come to know over the years from singing around the city. Having been in and out of several traditional male groups over the years, Roger developed an affinity for a cappella sounds and a unique ability to create distinct harmony arrangements. When invited to sing at a major a cappella competition in New York, they won the competition, moved onto the nationals and took away two more wins.
Naturally 7’s success is inspiring, and has taken them around the world: they have appeared with Michael Buble on several tours, and have recorded 3 songs with him. N7 have also recently appeared with Coldplay, Herbie Hancock (for the BET Honours), and performed a duet with Ludacris on Quincy Jones’s latest record.
What Other People Have Been Saying...
“their astonishingly versatile voices provide not just the lyrics, melodies and harmonies, but every musical instrument in every song… they are magnificent.” - Guardian
“Naturally 7 have talent to burn.” – Telegraph
“a tight and lively show… galvanizes an audience” - International Review of Music