Roger Beaujolais is one of the UK’s leading vibraphone players and is at home in a variety of musical contexts. Following early forays into acid jazz with The Beaujolais Band and Vibraphonic he later formed a more orthodox jazz quintet.

Released on Beajolais’ own label, “Blue Reflections” is the quintet’s fourth album and sees Beaujolais returning to his roots as he presents a series of blues based tunes inspired by the classic Blue Note recordings of the 50’s and 60’s.

Alongside six Beaujolais originals there are interpretations of hard bop classics by Hank Mobley, Stanley Turrentine, Grant Green and Kenny Burrell. From a slightly later vintage a version of Joey Calderazzo’s “Midnight Voyage” rounds out the set. It is a marked contrast to the quintet’s previous release, a collection of ballads entitled “Sentimental”.

Once again Beaujolais is joined by two long-term collaborators in the form of the grossly underrated Robin Aspland at the piano and that most musical of drummers Winston Clifford. Bass duties are shared pretty much equally between Orlando LeFleming and Simon Thorpe who are both excellent players. Mark Lockheart’ s tenor sax is a welcome addition to five of the tracks.

The mid tempo groove of Hank Mobley’s “Soul Station” sets the tone for the album with the first of a series of fine solos from Beaujolais and Aspland. As elsewhere the effortless swing of Clifford pushes things along assisted here by Simon Thorpe.

Stanley Turrentine’s “Sugar” introduces Lockheart’s tenor, the relatively straightahead playing here a far cry from the abstractions of Polar Bear or the more considered approach of his solo projects. Beaujolais, Aspland and LeFleming also solo to good effect.

Beaujolais’ own “Lazy Days” is also a vehicle for more powerful, blues drenched soloing from Lockheart plus a virtuoso solo from the leader himself. Aspland also solos on a piece with far more energy than it’s title might suggest.

The lazily swinging “T Bone’s Take” has a real blues feel with Beaujolais and Aspland once more to the fore.

Another Beaujolais original “Some Blues” sounds more like a vintage Blue Note recording than some of the covers as Beaujolais recreates those classic hard bop stylings.

Grant Green’s “Green Jeans” maintains the mood with Simon Thorpe featuring as soloist alongside Beaujolais and Aspland. The ever inventive Clifford is featured on a number of drum breaks.

Kenny Burrell’s “Chitlins Con Carne” sees Aspland sitting out as Beujolais embellishes the melody underpinned by Thorpe’s powerful bass groove and Clifford’s chattering drums. The attention to detail in Clifford’s playing is a delight throughout the album.

Beaujolais’ “For Those Who Dream” represents the album’s only ballad and features the more lyrical and expressive side of the quintet’s playing. Lockheart is particularly effective and he is sympathetically supported by Aspland and the rest of the group.

Another original “Full Monty” ups the tempo again, an unpretentious and swinging blues that brings forth joyous solos from Beaujolais, Lockheart and Aspland.

Joey Calderazzo’s much covered “Midnight Voyage” is something of a modern classic and is given the blues treatment here above LeFleming’s loping bass line. Beaujolais, Aspland and Lockheart all feature strongly.

“Admission Impossible” closes the album, Clifford’s crisp drumming providing the springboard for Beaujolais and Aspland to take flight one final time.

There is nothing earth shattering about “Blue Reflections” but it is an unpretentious and very listenable album with a great groove and plenty of fine soloing. Beaujolais’ own compositions are consistently strong and sit well alongside the classics of the genre.

Beaujolais is an ebullient performer with a dazzling four-mallet technique and it would no doubt be a hugely enjoyable experience to see and hear this music performed in a live context.

See http://www.rogerbeaujolais.com for details of live dates and other album releases.

blog comments powered by Disqus