Roger Beaujolais Quartet

“Mind The Gap”

(Stay Tuned Records ST009)

A late comer to both the vibraphone and the professional jazz ranks Roger Beaujolais has more than made up for lost time. He took up the instrument at twenty four and turned professional at thirty working first with the Chevalier Brothers and Ray Gelato during the 1980’s before becoming part of the 1990’s Acid Jazz movement. Beaujolais’ albums for the Acid Jazz label with The Beaujolais Band and Vibraphonic brought him a degree of commercial success including a US hit with Vibraphonic’s “Can’t Get Enough”.

Since 1999 Beaujolais has placed a greater emphasis on straight ahead jazz setting up his own Stay Tuned label to document his output. He has released four jazz albums in a quintet format beginning with 1999’s “Old Times” and progressing through “I’ll See You Tonight” (2003), “Sentimental” (2005) and “Blue Reflections” (2007), the last of these is reviewed elsewhere on The Jazzmann.

Beaujolais has also worked as a session musician and sideman with an impressive and extensive list of jazz, pop and rock performers. In a live contest I’ve enjoyed his playing with pianist Tim Richards’ Great Spirit group, in a quartet co-led with saxophonist Theo Travis and as a member of ex Specials keyboardist Jerry Dammers’ Spatial AKA Orchestra. 

“Mind The Gap” is an extension of Beaujolais’ quintet recordings and features the nucleus of the group that appeared on “Blue Connections” with the vibraphonist joined by pianist Robin Aspland, bassist Simon Thorpe and drummer Winston Clifford. Saxophonist Mark Lockheart who appeared on roughly half the tracks on “Blue Connections” is omitted but percussionist Oli Savill provides an added degree of rhythmic exotica to three of the album’s nine cuts. The material is a mix of jazz and Latin standards and Beaujolais originals with Wes Montgomery particularly well represented.

The quartet kick off with Montgomery’s “Full House”, one of the late guitarist’s most famous compositions and the title track of a 1962 album. Anyone who’s seen Beaujolais live will know that he’s a spectacular performer with a prodigious four mallet technique. He swarms all over and up and down his instrument and appropriately he takes the first solo here, adopting a clanking, metallic vibes sound. Aspland, one of the UK’s most versatile (and consequently underrated) pianists goes next, his playing matching the leader for exuberance but still retaining a core of lyricism. In a piece that serves as an introduction to the voices of the band we hear briefly the meaty tones of Thorpe’s bass as Clifford swings mightily throughout.

Milton Nascimento’s “Vera Cruz” brings a little Brazilian sunshine to the proceedings. Savill’s shakers and other percussion adds an extra splash of colour to this breezy take on a typically lovely Nascimento melody. Beaujolais brings a softer edge to his tone on a flowing solo and he’s followed by the effortlessly mellifluous Aspland. There’s also some delightful vibes/piano interplay topped augmented by Savill’s lively but tasteful percussive accompaniment. Lovely stuff. 

“West Coast Blues” is another Wes Montgomery favourite here given a boppish reading with expansive solos from Aspland, Beaujolais and Thorpe. With its thoroughly appropriate blues feel it’s very much a continuation of the themes visited on 2007’s “Blue Reflections”.

The title track is Beaujolais’ own little piece of bebop trickery, the slippery theme acting as the jumping off point for some dizzyingly swift mallet work and some correspondingly agile pianistics. The absence of a horn player frees up additional solo space for bassist Simon Thorpe, an opportunity he utilises superbly. Meanwhile Clifford negotiates the twists and turns of Beaujolais’ tricky theme with aplomb and also enjoys a couple of sparky drum breaks.

I’ve always loved Chick Corea’s “Sea Journey” as a vehicle for the vibraphone since I first heard it on Gary Burton’s classic 1976 “Passengers” album. Beaujolais’ version is also hugely enjoyable with the vibraphonist in particularly fine form. Aspland also impresses as does Clifford but I do kind of miss the distinctive sounds of guitarist Pat Metheny and bassist Eberhard Weber who both grace the Burton album.

Beaujolais sets up a series of ringing overtones on the solo vibes introduction to Thad Jones’ ballad “A Child Is Born”. After the hard driving “Sea Journey” the piece makes for an effective contrast with Aspland and Beaujolais at their most lyrical, both sympathetically supported by Clifford’s deft and delicate brush work. It recalls the softly luminous performances of the 2005 ballads album “Sentimental”.

“Joe Beam” (see what he did there?) is Beaujolais’ tribute to a certain Brazilian composer. It’s very much in the style of its inspiration, relaxed and languid with an effortlessly flowing solo from the composer. Aspland is similarly melodious and Clifford’s gently propulsive drum work is augmented by Savill’s percussion.

Next up is “Bad Connection”, another Beaujolais original, this time with a strong bebop flavour that provides the opportunity for nimble solos from vibes and piano plus features for bass and drums.

The closing “Estate” by the Italian jazz composers Bruno Martini and Bruno Brighetti represents the album’s lengthiest track. The pace is languid and unhurried with Beaujolais and Aspland stretching out in supremely melodic fashion.

“Mind The Gap” finds Beaujolais continuing to refine his craft on a swinging, unpretentious album full of fluent solos and all round good playing. Beaujolais, Aspland, Thorpe and Clifford are a well balanced team who play to each other’s strengths. With its blend of hard driving bop and blues and languorous ballads this is a well programmed album with the Latin elements providing an additional tasty twist. There’s nothing wildly original here but there is still plenty to reward the listener and the performances suggest that the quartet would also prove to be a hugely enjoyable live act. I’ve seen each of the individuals perform previously in other contexts but have yet to see the Roger Beaujolais Quartet as a collective unit.