Don’t be fooled by the title. With its highly unusual instrumental line up this certainly isn’t a blues album. However, it is a highly imaginative work that transcends the apparent limitations of the instrumentation. A truly international cast sees German saxophonist Lauer collaborating with French tuba player Michel Godard and British drummer Gary Husband.

The instrumental palette is broader than it might appear. Lauer plays both soprano and tenor saxes and Godard doubles on the mediaeval serpent, certainly the first time I’ve heard this instrument used in a jazz context. Gary Husband is as fine a pianist as he is a drummer and has led his own groups from the piano stool. He appears in both roles here, but primarily as a drummer.

It is a tribute to both the playing and the writing that the music on this album is consistently interesting. Of the eleven original compositions five are by Lauer with Godard and Husband contributing three each.

Godard’s opening “Un Regalo Per Natale” is driven by his astonishingly agile tuba groove underpinned by Husband’s skittering drums. Lauer’s slippery soprano dances over the top of this lively and spirited piece, dropping out to give Godard some solo space before returning for the coda.

On Lauer’s ” The Kite” his tenor swoops and soars a la Garbarek over Godard’s deep, didgeridoo like pulsings.

“Pan Fatigue” also by Lauer is a stately feature for tenor saxophone with sensitive backing from Godard’s rich tuba and Husband’s delicate brushwork.

Husband’s lively “First Bite” features Lauer’s tenor in Coltrane/Brecker mode over an insistent tuba vamp and the composer’s crisp, intelligent drumming. After a solo interlude by Godard the second half of the tune features some killer riffs.

Godard’s “Suave Sospiro” (or “Sweet Sigh) is dark and mysterious. It opens with Husband on piano accompanying the intriguing tones of the serpent. Lauer’s feathery soprano is introduced and Husband returns to the drumkit from where he offers sympathetic support. Taken as a whole the piece is rather lovely.

In total contrast “At Least” is a barnstorming piece of funk with the composer’s raunchy tenor propelled by Godard’s tuba bass lines and Husband’s powerful drumming. The versatile Husband once drummed for Level 42 and this is the only track here that bears any resemblance to his work with them- a slim resemblance I’ll grant you.

It’s back to the dark and mysterious for Lauer’s title track, his brooding, probing tenor backed by a seemingly impossible low register growl from Godard and dense rolling thunder type drumming.

Lauer’s brief “Circe” sees his soprano dancing over Husband’s imaginative and supportive patterns.

The drummer’s “Angels Over City Square” is probably the most wide-ranging track on the album. Husband features on both piano and drums. The gentle shimmering piano introduction gives way to a second section led by Lauer’s tenor and with Husband back behind the traps. Underpinned by Godard’s tuba it’s cerebral but funky. This in turn gives way to a brooding interlude with Husband back on piano. Finally Husband goes back to the drums as a different funk pattern plays us out. An adventurous composition that covers a lot of ground.

Godard’s “De Cuir Et De Cuivre” features a gorgeous (and naggingly familiar) melody line for Lauer’s soprano which soars above Godard’s nimble tuba and Husband’s understated drumming.

Husband’s “One Prayer” finds its composer back at the piano for this gently elegiac album closer.

Taken as a whole this is a remarkable record that covers a wide range of moods and styles and is consistently melodic and engaging. Although not an “easy” listen it is by no means “difficult” and the technical quality of the playing is second to none. Lauer is a boundlessly imaginative player, full of ideas on both tenor and soprano. Godard is incredibly agile and nimble on the tuba and Husband is a flexible and intelligent drummer who colours the music superbly when using either sticks or brushes. He is on the ball throughout and his piano work is a most welcome bonus. When this is added to a set of strong compositions and a high level of group interaction quality is guaranteed. This album has been a very pleasant surprise.

Lauer has been a featured soloist for the NDR Big Band and he has also recorded extensively for ACT. One of his collaborations was with pianist Eric Watson whose own album “Jaded Angels”.

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