The latest review - 4 Jan 2009 at the Eagle Rochester by Don Emmanuel:
A superb first of the new year gig for Johnny Jazz at the Eagle. Roger with his first team Quartet wowed the audience once again. Roger was at the top of his game on vibes (we are so lucky in the UK to have three superb world class vibists in Roger, Jim Hart and Anthony Kerr), he was caressing on the ballads and stomping on the up tempo numbers, a master class of jazz vibraphone playing.
Pianist Robin Aspland showed once again why he is one of the best jazz pianists the UK has ever produced. Sensitive, intuitive, a complete command of the piano and swings like mad. He proved once again what a listener he is, in his brilliant comping behind Roger's solos.
Simon Thorpe was once again a powerhouse on bass. lovely lines, great note choices and he swings.
Drummer Winston Clifford is a 'hot' drummer, he drove the band when required and played sensitive brushes on the slower numbers. His occasional solos, and fours and eights were exciting and original.
A great couple of hours music, thanks guys.
Review of "Blue Reflections" from The Observer (30 March 2008) by Dave Gelly:
If the temptation to play bits of it over and over again is anything to go by, then this has to be one of the most attractive albums of the year so far. For pace, swing, tonal variety and all-round relaxed good feeling it's irresistible. Beaujolais leads on vibraphone, with long-time associate Mark Lockheart on tenor saxophone, pianist Robin Aspland, Simon Thorpe and Orlando Le Fleming taking turns on bass, and the flawless Winston Clifford on drums - in short, some of Britain's best. From Hank Mobley's sneaky 'Soul Station' to Beaujolais's almost-blues 'Admission Impossible', 11 superb tracks.
Review of "Blue Reflections" from Jazz UK (April/May 2008) by Brian Blain:
Once, the laid back blues laden music on this latest album by vibes player Roger Beaujolais’ marvellous quintet would have been sniffed at by jazz fans as populist. Now the themes by Stanley Turrentine, Grant Green & Hank Mobley (there are several in similar vein by Beaujolais himself), are almost the stuff of connoisseurs. Roger’s “T Bone’s Take” could be considered ‘just a blues’ but the feel of the rhythm section (bassist Orlando leFleming & drummer Winston Clifford), and the changes pianist Robin Aspland lays under the leader’s solo are reminiscent of a couple of the final recordings of the MJQ. There’s enormous craft (and soul) in deceptively simple music like this.
Review of Blue Reflections from Blues & Soul (April 2008):
Originally as a sideman with ‘The Chevalier
Brothers’ and ‘Fairground Attraction’, vibraphonist
Roger Beaujolais came to clublands attention in the late 1980’s
with his latin jazz project ‘The Beaujolais Band’ and the
more state of the art clubland project ‘Vibraphonic’ –
both on Acid Jazz records. This time this is Roger with his straight-down-the-line
Modern Jazz quintet stellar line-up and he’s in a Blues mood (mode?).
Very good it is too. It’s that good that I just can’t stop
playing it in the car.
There are no barriers being broken here, it’s just good honest Jazz
Blues all the way and is balanced beautifully with a mixture of tempos
and feels. There is even something here for those that like to dance to
their Jazz too with the original mid-tempo jazz-mambo composition ‘Some
Blues’ (think ‘Work Song’). Very refreshing.
8 out of 10
Review of “Blue Reflections” from Jazzwise ( Feb 2008) by Tom Barlow:
Vibes player Roger Beaujolais’ new album is dedicated to in-the-pocket Blue Note-heyday blues bop. The covers made by the long-standing quintet are unpretentious, sharp & hard swinging but not as good as the music made when the group plays Beaujolais’ own songs. There’s nothing wrong with the cover of Hank Mobley’s mid-tempo groove “Soul Station”, setting the tone for a listenable album. But rather than the classic repertoire (there are tunes by Grant Green, Stanley Turrentine, Kenny Burrell) it is the six originals by Beaujolais that make for more expansive listening – notably the ballad “For Those Who Dream”, showcasing Mark Lockheart at his expressionistic best; and the ballsy “Full Monty” a rough-around-the-edges that is distinctly more fiery and fresh. As ever, the vibist plays skilful, slinky improvisations and has a class band- not least bassist Orlando leFleming – to help him along.
Review of “Blue Reflections ” from Vortex Jazz Club online magazine (Feb 2008) by Chris Parker:
As vibes player Roger Beaujolais notes, European musicians these days are often keener to acknowledge their roots in 'classical' music than go back to the blues, perhaps regarding the latter as 'old-fashioned', but, as he says, 'if I'm as old-fashioned as Coltrane, Charlie Parker, Joe Henderson, Wes Montgomery, Clifford Brown and many others, I don't care too much'.
Accordingly, he sets his stall out immediately, going to Hank Mobley's wonderful 'Soul Station' for his opening track, and providing a sparky but sensitive rendition of same with the vigorous assistance of drummer Winston Clifford, pianist Robin Aspland and bassist Simon Thorpe.
Joined by tenor player Mark Lockheart for five cuts, and with Orlando LeFleming substituting for Thorpe now and again, the rest of the album moves entertainingly between Beaujolais originals which intelligently ring the blues changes, with regard to both mood and tempo, and more familiar fare such as Stanley Turrentine's classic 'Sugar', Grant Green's 'Green Jeans', Kenny Burrell's 'Chitlins Con Carne' and Joey Calderazzo's 'Midnight Voyage'.
The result is an accessible, lively but polished and elegant album with clear roots in the classic Blue Note albums from which it takes some of its material, but with an unmistakable contemporary feel courtesy both of Lockheart's pleasingly terse, absorbing tenor and (above all) Beaujolais' alternately glowingly sensuous and percussively powerful vibes playing. A well-programmed set, informally but imaginatively addressed.
Review of “Blue Reflections” from Fly Global Music (16 Feb 2008) by Gerry Hectic:
If you’re new to Roger Beaujolais, in short, he’s the closest we’ve got to a British Roy Ayers, Cal Tjader, Lionel Hampton or Milt Jackson.
And this lastest release on his own StayTuned label (as in vibraphone being a tuned percussion instrument), see him and the Quintet very much in the jazz-bop cool of Blue Reflections. The non-original tracks read like an old Gilles Peterson Vibraphone session; Hank Mobley, Stanley Turrentine, Grant Green (who was featured on Droppin’ Science this week), Kenny Burrell (with the classic ‘Chitlins Con Carne’) and blues walk of Joey Caldarazzo’s ‘Midnight Voyage’.
The tracks are split over two sessions; one at Trinity
College (where Simon Thorpe was on double bass) and the other at Workhouse
Studios (with Orlando LeFleming on double bass). The rest of the band
are Robin Aspland (piano), Winston Clifford (drums) and the saxophone
duties are undertaken by Mark Lochheart (who appeared on Radiohead’s
‘Ntational Anthem’ on the Kid A album).
Lockheart sounds very Turrentine on ‘Sugar’ but that’s
not to say this is some ‘One & Only’ tribute band. The
standard is just so excellent, you’d even be hard pressed to say
Beaujolais’ own tracks like ‘Admission Impossible’ or
‘Lazy Days’ weren’t 60s Blue Note originals. Don’t
get me wrong, it doesn’t have to sound 40 years old to be any good,
it was just the time when the vibes were jazz and Beaujolais captures
that mood perfectly.
Anyone that can switch from the dinner jazz of ‘For Those Who Dream’ to a boppy jazz dancer called ‘Full Monty’ proves he’s got it all.
Review of “Blue Reflections” from The Jazz Mann( Aug 2008) by Ian Mann:
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 Beaujolais’ 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 Beaujolais 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.
Review of "Sentimental" from The Observer (13 November 2005) by Dave Gelly:
The vibraphone is capable of great tonal variety, from the tinkling of icicles to a warm, pulsating cloud of sound, and Roger Beaujolais deploys it all with consummate skill and delicacy. Most of these 11 pieces are his own compositions, some cast in the form of duets with other instruments and each one has a distinct mood and character. All of them are attractive and some, such as 'Chasing a Dream', with its light, pebbles-in-a-pool feeling, are quite magical. His timing is so good that each isolated note lands fractionally later than you expect, but when it does, it sounds just right. The complete quintet appears only on one track, the standard 'What's New?', but each member has some telling exchanges with the vibraphone, especially pianist Robin Aspland and bassist Simon Thorpe. There is a quiet assurance about this whole set that characterises the best contemporary British jazz at the moment.
Review of "Sentimental" from The Guardian (21 October 2005) by John Fordham:
British vibraphonist Roger Beaujolais made a mark over a decade ago as part of the local acid-jazz movement, but this is an unflinchingly straightahead jazz album, with a few standards and plenty of originals. Beaujolais' mix of firm emphasis and mellow tone, coupled with a shapely sense of improvised melody, gives much of it an unexpected richness and bounce; even a well-travelled standard such as You Don't Know What Love Is reveals haunting new turns, with a good deal of spin provided by the excellent pianist Robin Aspland.
Polar Bear's Mark Lockheart plays on three tracks, and the keening sound of his soprano on the wistful Brief Encounter and Parodious comes surprisingly close to a John Surman atmosphere. Beaujolais' empathy with a rhythm section is powerfully demonstrated in his unison groover with Simon Thorpe and Winston Clifford on Mr Non PC, while Lockheart shows his romantic side on What's New. Those old dancefloor habits are occasionally apparent in how upfront Beaujolais makes the sound of Simon Thorpe's bass. Straightahead maybe, but not remotely formulaic.
Review of “Sentimental” from Jazzviews.com (Feb 2006) by Nick Lea:
Ballad albums are a strange breed, and sometimes one is never quite sure why they are made or released. The best are albums recorded by the artist to depict in detail a particular aspect of their playing or composing, whilst others maybe simply performances culled by the record company from previously issued albums of some nice slow tunes as a stop gap (and money maker) before they have to invest further funds in their artist to produce some new material; or the worst of all those that provide nothing more than supermarket muzak.
It is therefore with great pleasure that I can report that Sentimental falls into that first (and most difficult category), simply great music recorded with feeling, passion and integrity at a slower tempo. Proof, if needed, that you don't have to play at breakneck speed with notes (or mallets) flying everywhere to generate heat, but that a slow burn can be as equally, and sometimes, more satisfying.
Beaujolais has picked his repertoire and arrangements with great care and attention to detail, and delivered performances that sound entirely natural and unforced. Three of the pieces are drawn from the same sessions in 2002 that produced his previous quintet album I'll See You Tonight with the remaining eight titles recorded last year. Another major advantage has been in retaining the same personnel throughout with only bassist Simon Thorpe brought in to replace Orlando LeFleming who left the UK for the States a couple of years ago.
The full quintet are only heard on one piece, Haggard and Burke's 'What's New' that feature the ubiquitous Mark Lockheart's wonderful tenor playing in an arrangement that allows all five musician's the space to be clearly heard and contribute that never sounds cluttered or over busy. Elsewhere, Beaujolais has arranged the music predominantly for trios and duos, and even a couple for solo vibraphone that were spontaneously composed. In doing so he has been able to open up the sound of his vibes in a way that is not normally heard, allowing the dynamics and sustain to be explored as well as having to vary his own approach to each change in line-up.
Fine examples of this can be heard in the trio pieces with bassist Simon Thorpe, and drummer, Winston Clifford. From the delicate 'Chasing A Dream' to the more propulsive 'Mr Non PC' hear how Clifford uses his brushes to create different rhythmic accompaniment, and then switches to sticks in a superbly restrained and creative manner on 'Lonnie's Legacy'.
Further delights of this nature abound in two duets with soprano and vibes that have a fragile beauty that remain in the mind long after the last notes have decayed into nothing; and two sparkling dialogues with piano and vibes on Duke's 'In A Sentimental Mood' and a Beaujolais original 'Grey Skies' that show that the two musicians can inhabit territory that can unmercilously show any doubt or shortcomings in the performer with total assurance.
This is an album that should not be confused with late night listening, but a compelling set that can stimulate and entertain in a way that all good music can and should. Recommended without reservation, this is an album that I have enjoyed more and more with each hearing.
Review of “Sentimental” from Jazzwise (Dec 2005) by Tom Barlow:
From his early days on the acid jazz scene, Roger
Beaujolais has matured into a classy vibes player equally at home in progressive
or mainstream settings. Sentimental falls into the latter bag and is his
first ballads album, integrating a trio of old chestnuts (“You Don’t
Know What Love Is”, “What’s New” and “In
A Sentimental Mood”) with a set of sophisticated originals.
Beaujolais has assembled a gifted team for the job for his tenth album.
Winston Clifford is superb; Robin Aspland is a particularly sensitive
pianist on the Ellington number, and Mark Lockheart plays wistful soprano
creating relaxed, free-flowing interplay with the vibist on the stand-out
duet “Parodious”. Whilst the standards material is boppish
and easy going, the moody “Lonnie’s Lament” –
a minor tone Latin played with stylish economy – shows how adventurous
the leader can be in a mellow setting. A solo piece, “Hair, There
and Everywhere” is searingly romantic. And “Mr Non PC”
a subtly funky throwback to Blue Note acoustic funk is even better. It
is here, on his own tunes, that Beaujolais’ style sparkles, gently
stretching out over Winston Clifford and Simon Thorpe’s grooves.
Jazzwise talks to Roger Beaujolais about his album
What inspired you to record a ballads album?
I wanted to make a record that really featured the sound of the vibes.
Quite often when I’m playing up-tempo, intense tunes, I play a lot
of notes. What happens is that people don’t hear the real quality
of the vibes – something you only hear when there is a bit of space
to let it breathe. The intention with Sentimental was to highlight the
sound of the vibes.
Was it difficult to create this sound?
I wanted to put the instrument in different settings to the ones I’d
normally done, and one way to create more space was by having less people
on each track! So that’s why there are several duos, solo tracks
and trios. It means there is more room and more of an ambiance. It’s
something I’ve never done on an album before – I’ve
done it on lots of gigs though.
Do you have a particular role model for
ballad playing?
I wasn’t thinking of anything like that in terms of this album.
Although having listened to it as a whole (once it was finished) I picked
up on a certain ‘chamber music’ feel. Which is sort of what
the MJQ were about. And there is no question that Milt Jackson was a master
of playing ballads. On any instrument I think he would rank up there with
the greatest. But I also love Dexter Gordon playing ballads.
You lead several groups. Why use this quintet
for the album?
It’s the same quintet I’ve used on the last two albums, but
here we’re not all playing at the same time on the record. We’re
in the middle of a tour so we have a lot of chemistry and it’s a
great band with great players.
Review of "I'll See You Tonight" from Observer (23 Feb 2003) by Dave Gelly:
The man turns up playing vibraphone in so many diverse contexts - salsa, acid jazz, R & B, pop - that it makes a nice change to have this CD by the "real" Roger Beaujolais. It reveals him as not only a masterly instrumentalist but a highly imaginative leader, drawing a wonderful range of tones & textures from just 5 instruments. His whole approach is fresh & original without straining for effect. The band itself contains some of the brightest sparks on the contemporary scene - saxophonist Mark Lockheart, pianist Robin Aspland, drummer Winston Clifford & the bassist with the least forgettable name in jazz, Orlando Le Fleming.
Review of "I'll See You Tonight" from The Guardian (14 March 2003) by John Fordham:
Maybe it's his name, but the British vibraphonist Roger Beaujolais has trouble shaking off a frivolous, party-on jazz image with the more sober of enthusiasts. Beaujolais has been a club success from the acid-jazz era onwards. Elements of pop & R & B are powerful features of his work, he has close links with Ray Gelato & the Chevalier Brothers & he still makes acid-jazz albums today.
But this set represents straightahead Beaujolais with a superb jazz rhythm ensemble including Mark Lockheart & drummer Winston Clifford, & it supports Gary Burton's contention that the Briton could now frighten any vibes virtuoso on either side of the Atlantic. Beaujolais' glassy-toned vibes-playing is agile, fresh & inventive, but the arrangements - as well as the Beaujolais originals - are also very distinctive.
The upshot is an album of considerable panache. The delicacy of the vibes is a very effective contrast to Mark Lockheart's rather sombre tenor-sax sound & a complimentary partner to his brittle soprano, & there's a tempting choice of contemporary jazz standards including Jobim's Dindi, Wayne Shorter's Night Dreamer, & Joe Henderson's Black Narcissus. The soulful version of Carl Perkins' Grooveyard will bring a tear to the eye of those who remember the decades-earlier account by guitarist Wes Montgomery & his brothers.
Review of "I'll See You Tonight" from Musician (June 2003) by Dave Gelly:
Is this the real Roger Beaujolais? I only ask the question because he is such a sharp, all-round musician that his vibraphone keeps turning up in so many diverse contexts - salsa, acid jazz, R&B, pop - & sounding like exactly the right man for the job each time. He's certainly got a good band here, with Mark Lockheart on tenor & soprano, Robin Aspland on piano & what has to be one of the best bass-and-drums teams around, consisting of Orlando LeFleming & Winston Clifford. If I say the music reminds me slightly of the things Bobby Hutcherson did for Blue Note in the 1960's, I don't mean to imply it's any sort of imitation, just that it has a similar variety of sound & texture, & some of the same sure-footed expansiveness. It's a very demanding style & latter-day attempts often suffer from a kind of nervous eagerness to get everything right. In this case, however, it's the poised self-confidence that is so impressive. Yes, I don't think there's much doubt about it. This is the real Roger Beaujolais.
Review of "I'll See You Tonight" from Independent on Sunday (16 Feb 2003) by Sholto Byrnes:
Le Beaujolais nouveau est arrive, & in contrast to some of his funkier past vintages this is a relatively straightahead affair, medium-bodied & with a clean finish. Beaujolais on vibes is joined in the front line by Mark Lockheart on sax, a cheese'n'grapes combination with great precedents. The rhythm section is typically British & understated, although Robin Aspland on piano loosens his collar on a couple of numbers. This album, mostly originals with Jobim & Joe Henderson thrown in, succeeds in its modest ambitions. Not a grand cru, but enjoyable everyday drinking.
Review of "I'll See You Tonight" from The Birmingham Post - (Feb 2003) by Pete Bacon:
"....And here we are over 30 years on
with an excellent no-nonsense set from a vibraphone-led band of Mark Lockhart
on saxophones, Robin Aspland on piano, Orlando leFleming on double bass
and Winston Clifford on drums.
The songs are by Beaujolais when they are not by Joe Henderson (Black
Narcissus), Antonio Carlos Jobim (Dindi) or Wayne Shorter (Night Dreamer)
and the playing is swinging and supple.
The harmony lines of vibes and sax are a particular sonic joy and the
solos never favour technique over musicality, while the rhythm team pull
and push with subtle energy.
This is the sound of five men having a ball combining their talents and
creativity in the joy of the moment.
Like the most delicious food, the recipe can be straightforward if the
ingredients are of the finest quality, and the result is simply, lip-smackingly
satisfying." **** (4stars)
Review of "I'll See You Tonight" from Jazz UK (May/June 2003) by Brian Blain:
Vibist Beaujolais may not have the highest of profiles but he has assembled a brilliant quintet with Mark Lockheart on saxes, Robin Aspland on piano, Orlando leFleming on bass & Winston Clifford on drums. The result is a burn in the class of the legendary New York-inspired British bands led by Tubby Hayes, Ronnie Scott, Dick Morrissey & Jim Mullen. Lockheart is amazing, playing throughout with just enough of the Coltrane cry & harmonic approach - tempered by a softer, more oblique Hank Mobleyesque sound - to produce the perfect jazz voice. Roger Beaujolais writes great melodic, hooky themes, like the title track, the spiky "Oregano", or the grooving 12-bar "The Jazz Syrup", but he also finds room on the album for the exquisite "Night Dreamer" by Wayne Shorter, some Joe Henderson & Jobim's "Dindi". Robin Aspland might just be the UK's most underrated pianist, & together with leFleming & Clifford he makes up a dream rhythm section. Play this one on the motorway & the needle will be hitting 100 mph before you know where you are. Absolutely exhilarating.
Review of "I'll See You Tonight" from Jazz Review (May 2003) by Hugh Gregory:
Such is the lot of the modern jazz musician that he needs to be an expert at multi-tasking. These days the need to juggle lucrative session work with personal projects is paramount. Beaujolais has got the trick off pat by all accounts, working with the acid-jazz group Vibraphonic, The Travis/Beaujolais Quartet & The Chevalier Brothers., while still finding the time to operate the Beaujolais Quintet. "I'll See You Tonight" is the Quintet's second offering - following the debut "For Old Times" - & is split evenly between Beaujolais' own compositions & a diverse range of covers. Opening with "I'll See You Tonight" Mark Lockheart's mid-tempo vamp opens into a finely phrased solo until Beaujolais moves in with Aspland in support. However LeFleming's not-quite-walking, more-a-steady-canter bass line in tandem with Clifford's highly organised drumming, provide the pace & momentum. Joe Henderson's "Black Narcissus" suits Lockheart's style admirably because it's all in the tone, but Beaujolais' solo offers some opportunities for exchanges with Clifford who again does not try to overwhelm, although there is no way he's just going to lay back behind the beat. Beaujolais' "The Jazz Syrup" & "Oregano" are amiable workouts, which revolve around agreeable yet insubstantial melodies that have the ring of familiarity about them. Even so LeFleming & Clifford provide robust accompaniment while Aspland's pithy phrases punctuate these episodes.
Jobim's "Dindi" is taken at a thoughtful pace principally as a dialogue between piano & vibes, while LeFleming provides some conciliatory interjections. Wayne Shorter's "Night Dreamer" is another opportunity for Lockheart to show his mettle but in fact it is the rhythm section that comes out holding all the aces. When Shorter cut "Night Dreamer" in 1964 it included McCoy Tyner: both LeFleming & Clifford keep the tempo buoyant, but it is Aspland's chording that sounds more like Tyner than Tyner does. The final cover, "Grooveyard", from the pen of Carl Perkins, seems a bit too leisurely for these ears. But the last track "In The Habit" is a thoroughly rousing finale to this highly engaging collection.
Review of "I'll See You Tonight" from Jazzviews.com (Feb 2003) by Nick Lea:
As a follow up to the quintet's 1999 release 'For Old Times' this album certainly does not disappoint and has been worth the wait. A stable line up is not to be sniffed at these days, and the continuity and rapport between the musicians is an integral part of the albums success. The material throughout is nicely programmed, mixing standards and originals in a set that cannot fail to satisfy.
I cannot help but feel that saxophonist Mark Lockheart is unfairly overlooked. Very patronising and frustrating, considering that he has been on the scene for a number of years, to suggest that he is a talent deserving wider recognition but his profile could definitely do with being raised a notch or two and if there is any justice his playing here should do just that. Just listen to the opening title track, with his huge sound and warm tone on the tenor, building his solo effortlessly to its climax.
The band tackle Joe Henderson's 'Black Narcissus' with a suitable hint of darkness, whilst Carl Perkins' 'Grooveyard' naturally enough finds its own groove aided and abetted by bassist Orlando le Fleming.
Throughout the hand of Roger Beaujolais at the tiller can be felt, whether stating the melody or playing some delicate fills his vibes bring a touch of distinction to the set. His solos have a relaxed and natural swing, and it is difficult to pick highlights when the quality of playing is so consistently high. As well as playing, Roger has bought some enjoyable originals, from the storming 'I'll See You Tonight', a bright 'In The Habit' complete with flying mallets and fingers from Beaujolais and pianist, Robin Aspland, and the sweetly (?) swinging 'The Jazz Syrup'.
Top drawer contemporary British jazz!
Review of "For Old Times" from Jazz Review (Dec 1999) by Brian Morton:
A debut release from StayTuned and an absolutely cracking jazz record. As so often - though small appreciation they get for it - it's the most musical of musicians who turn to the vibraphone with its complex harmonic and rhythmic requirements. Beaujolais writes crisp idiomatic themes, chooses his repertory material with great taste - Shorter's "Tom Thumb" up against Waldron's "Soul Eyes", "Old Devil Moon" balancing Grant Green's all too rarely covered "Jean De Fleur" - and he has assembled & drilled a band of real class.
Lockheart's saxophone sound has broadened and grown ever more mature over the last couple of years. He's shed some (real or apparent) influences and emerges here as a formidable soloist. The rhythm section balances discipline & relaxation and the engineering - step forward, one Derek Nash - is exemplary. Check out the opening "Yes We've Met" and the beautifully constructed "Less Said" but above all check out Roger Beaujolais at the first available opportunity. Orphy Robinson may have laid down the torch. Beaujolais is more than fit to carry it.
Review of "For Old Times" from Jazz UK (March/April 2000) - no author credited:
Vibraphone wizard Beaujolais makes welcome appearances on plenty of other people's recordings, but this is his own first straight-ahead jazz album. It's a swinging affair, too, as you would expect from from Mark Lockheart (saxes), Robin Aspland (piano), Orlando LeFleming (bass), and drummer Winston Clifford.
Review of "For Old Times" from Jazzwise (February 2000) by Brian Priestley:
This celebrates old times for vibist Beaujolais (and indeed for the reviewer) but there may be many listeners who've never heard him play straightahead post-bop, and the same may apply to their experience of front-line partner Mark Lockheart. The quintet assembled here (completed by Robin Aspland, Orlando LeFleming and Winston Clifford) prove excellent at sounding as if they've nothing to prove. The five catchy originals are mixed with Shorter's "Tom Thumb", Hutcherson's "Highway One" and other canny choices, and the whole session comes off relaxed as well as communicative.
"Fresh original music from two of Britain's best soloists, teamed with a pair of star players from Hamburg, bassist Stefan Weeke and drummer Bjorn Lucker. Travis is not afraid to experiment with structure - why not use drums to close a lengthy original? - and his flute playing goes from strength to strength. The blend of flute and vibes gives the quartet an airy, ethereal sound, and this carries over to the tracks where Travis plays soprano or tenor. And, although it's hard to do, he catches the energy of his live sets, especially the way he builds from a gentle bluesy opening to the climax of his own "Lark in the Dark". Both UK contributors hold their own as composers, too, notably Beaujolais' ballad "For Those Who Dream."
From Tablet Jazz Reviews (2001) by Chris Parker:
"...... on everything from classy blues (Milt Jackson¹s "Bags' Groove") to freeish material (Anthony Cox¹s "Conclusion/Beginning"), plus a few cogent band originals, he (Theo) plays flute, soprano and tenor, joined by the fluent but powerful vibes player Roger Beaujolais and the German rhythm section featured on some of Heart of the Sun, bassist Stefan Weeke and drummer Björn Lücker. Two highly accomplished releases from a mature, thoughtful talent.
From The Birmingham Post (2001) - unknown writer:
There are certain combinations of instruments not heard often enough, and the flute/vibes front line is one of them. Saxophonist Theo Travis switches to the long thin silver thing on a number of tracks to complement his co-leader Roger Beaujolais's vibraphone, and they are joined by a German rhythm team for this thoroughly satisfying session of melodic improvisation both on original themes and the odd old warhorse like Milt Jackson's "Bag's Groove". The joy and satisfaction both leaders get from bouncing ideas off each other is clear and augers well for a more lasting partnership.
From The Jazz Rag (Summer 2002) by John Eyles:
"Feel" is one of those
intangibles that jazz fans often give as a reason for liking some music
but not other. When pushed, few of us could define it, but we all know
it when we hear it. This album has it.
Dating from December 2000, it was recorded following a summer tour of
the UK by Berlin Vibe, the Anglo-German-quartet that Theo Travis put together
for the tour.
Old associates Travis and Beaujolais - they go back nearly a decade -
are joined by Bjorn Lucker on drums and Stefan Weeke on bass. Travis selected
Lucker for his "relaxed feel and sensitive playing" and Weeke
because his playing is "strong, melodic, imaginative and supportive",
both decisions amply justified by the results.This sounds like a band
that has toured together.
The music here is mellow, melodic and swinging throughout. Travis has a warm, gentle tone, whether on tenor or soprano, that blends well with the vibes to produce a very laid-back feel. When he plays flute, there is an incisiveness that commands attention, as on his own Everything Matters or the Beaujolais composition Some Things Just Happen, on which the flute is just the ingredient it needs to avert bland pleasantness.
This album walks that fine line between predictability and creativity, but manages to stay on the right side of it. The most adventurous piece here, Anthony Cox's Conclusion/ Beginning, is also the best, providing a showcase for all four players. Its looseness provides a welcome contrast to the tight arrangements of some of the other material. It never loses its swing but it also prevents the album becoming just too comfortable.
Travis composes real tunes, nicely varied in mood and setting, and with shapely melodies underpinned by strong harmonic and rhythmic structures……... Travis invariably finds something both surprising and satisfying to say on any given piece, and has a beguiling, richly burnished tone on tenor saxophone to complement his intelligent musicality.
From The Guardian (2001) by John Fordham:
Travis' spinning of sax adventures around a core of bluesy soulfulness has made him an engaging communicator.
From the Watford Observer (July 2000) by Beowulf Mayfield
For some reason, there are people who hate the sound of the vibraphone, also called the vibraharp but best known to jazzers as the 'vibes'. It is probably the instrument's vibrato, ringing tone which grates with some people but, for my ears, it's one of the best sounds in jazz. Invented in the 1920's, the instrument was initially confined to providing a few schmaltzy chords for the odd ballad number until a wild young drummer named Lionel Hampton began using it to play fast, energetic solos, which earned him star status and established the vibes as a spectacular jazz voice.
Punters at PizzaExpress in Watford were treated to good vibes playing from Roger Beaujolais when he appeared with saxophonist Theo Travis on Monday, June 26. With Berlin-based rhythm players Stefan Weeke on bass and Bjorn Lucker on drums completing the quartet, punters were treated to a night of adventurous jazz led by Theo's full-toned tenor playing. Roger's vibes work provided the chord structures usually provided by a piano or guitar behind the saxophone and produced very melodic solos constructed from tantalisingly short phrases, which kept these ears wanting to hear more. Wayne Shorter's Latin-flavoured Tom Thumb was a particular highlight. Stephan Weeke, playing an exotic, upright electric bass, which produced a remarkably resonant tone, produced some of the most energetic solos of the night - often launching into break-neck passages with a huge maverick smile on his face. All this was underpinned by Bjorn Lucker's drumming, which was stunning for its subtlety and restraint. He used brushes much of the time and, when he did come to beat out a solo, he focused on throwing out intriguing rhythms instead of volume.
The quartet was on its third night of a UK tour before which they had never worked together as a unit before - we were lucky to hear them in Watford and I hope they have a chance to put the results of this project on tape.
Review of "Acid Jazzizms" from Musician (March 2001) by Paul Scott:
Right from the opening of "Chance Meeting" you can tell that "Acid Jazzizms" is going to be heard on the radio a lot. The rhythm section team of Frank Tontoh (drums), Nick Cohen (bass) & Tony Remy (guitar) link up with Roger Beaujolais on vibes to give us groove heaven."Know What I Mean" could almost be classic Graham Central Station plus vibes. Add in Mark Lockheart (saxes) in his funkster mode & this is the perfect crossover band. Vibraphonic have produced yet another hit here. Acid Jazzizms or Cool Jazzizms? Who cares - this is great groove music from some of the finest musicians working in Britain today.
Review of "A Vibraphonic Christmas" from The New York Times (Dec 1996) by Jon Pareles:
Vibraphonic, an English acid-jazz group, adds crisp funk rhythms & jazz-tinged harmonies to old tunes. Vibraphone & saxophone solos are punctuated with wah-wah guitar licks, while anonymous female choruses sing a song title. The group's leader, Roger Beaujolais, wrote two songs with the singer Alison Limerick, applying Christmas lyrics to insinuating pop-soul tunes: Lex Cameron imitates Stevie Wonder on two other songs. It's splendid lounge music, eager to slide into the background.
Review of "A Vibraphonic Christmas" from USA Today (Dec 1996) by Melinda Newman:
The acid-jazz group blends funk & fresh jazz on six instrumentals & four vocal numbers, including Lex Cameron's "Someday at Christmas" & Alison Limerick's "A Present Just For Me".
Review of "A Vibraphonic Christmas" from Billboard (Dec 1996) - unknown writer:
Vibraphonic strikes the perfect blend here with a combination of fusion & funk-laced instrumentals of traditional tunes & new compositions featuring vocalists Alison Limerick & sweet-voiced Lennox Cameron, who sounds like a young Michael Jackson. Dance diva Limerick's "A Present Just For Me" adds just enough sass to the holidays & will have them dancing under the mistletoe. Just right for the cocktail party where the martinis are delightfully dry & everyone has one drink too many.
Review of "Vibraphonic 2" from Straight No Chaser (1995) - unknown writer:
Passionate & sensuous vocalist Alison Limerick opens this 10 track collection with a version of Vince Montana's "Heavy Vibes". She effectively moves through the fluid sounds of the vibes as laid down by composer, producer & Vibraphonic leader Roger Beaujolais. "Buck The System" & "Down Home" are essential funk grooves while special mention must got to bassist Nick Cohen on "Very?" & grand guitarist Tony Remy on "Fizzly". The softly blown soprano of Mark Lockheart & the double bass of Phil Steriopulous will get you strolling for a very peculiar re-make of Stevie's "To Know You Is To Love You". The Vibraphonic vibe gently flows while the inter-relation between the vocals of Alison Limerick & Lennox Cameron is exquisite. "Funkly" is frankly funky & gets you ready for the final ride of an album that is well plotted & chilled out.
Review of "Vibraphonic 2" from Time Out (May 1995) by Linton Chiswick:
As well as being one of the country's most polished vibraphone players, Roger Beaujolais is an Acid Jazzer through & through - a regular contributor to the acclaimed "Totally Wired" series of compilations, & the leader of one of the funkiest instrumental groups around. It was the resurgence of popularity for the music of Roy Ayers that demonstrated an alternative for mallet men who didn't dig the more spiky, contemporary jazz sounds of the mighty Bobby Hutcherson, but wanted something more than "Sale of the Century" style elevator music. The funky, dance-orientated Vibraphonic is the result - rock solid bass & drums propelling jazz-influenced instrumentalists & soulful vocalists into that peculiarly British Acid Jazz territory.
Their latest album called "Vibraphonic 2" (perhaps they couldn't agree on a title), continues in the same vein with some nice, breezy grooves courtesy of Pete Lewinson & bassist Nick Cohen. Guitarist Tony Remy plays with more delicacy & feel than on his own GRP release, & there's some effective muted trumpet from John Eacott. But Beaujolais leaves no doubt as to whose band this is, with a collection of catchy original tunes & some assured solos. They're more than a bit handy live too, so don't miss this week's opportunities to catch them on stage.
Review of "Vibraphonic 2" from Musician (Dec 1995) by Brian Blain:
Roger Beaujolais, who served his time with the splendid Chevalier Brothers alongside Ray Gelato, is a fine vibes player & writer of really appealing funky melodies who disguises his jazz cred by putting out albums from time to time under the name of Vibraphonic.
Here the groove's the thing above all & Richard Marcangelo & Roger have done a splendid job of production which has been humanised by Pete Lewinson's drums, Nick Cohen's bass & Pete Eckford's congas. Despite the presence of Alison Limerick's vocals on some tracks I can't see them adding to the commerciality of the album & it deserves more than the casual attention it will probably receive from E'd out geeks in chill out rooms throughout the land. Note Nick Cohen's "less means more" bass throughout, an object lesson, & there are good solos from Tony Remy & John Eacott (on "Light & Shade") which unfortunately, jazz fans will never hear, such is the fragmented nature of jazz perceptions in the '90's.
Review of "Vibraphonic 2" from Wired (May 1995) - unknown writer:
My word has this man be busy or what? Morphing & resurfacing in as many different guises as the Scarlet Pimpernel himself, from the Beaujolais Band to sessioning for Fairground Attraction amongst others. Roger Beaujolais resurfaces again with Vibraphonic his new alter ego, & album "Vibraphonic 2", a sleepy chilled canvas of soulful jazz with his distinctive vibes banter etched into all the songs dancing liberally over unobtrusive beats.
Several vocal tracks appear, Alison Limerick gives a particularly soulful performance "True Life". My preferences lie with the instrumental tracks such as "Light & Shade" which induce a summery comatose.
Review of "Vibraphonic 2" from Spark (June 1995) - unknown writer:
This second album further showcases Roger Beaujolais' remarkable talents as a vibraphone player. The album features the superb vocals of Alison Limerick on many of the dancier tracks, but the stand-out is the relaxed cover of Stevie Wonder's "To Know You is To Love You" with vocals by Lennox Cameron. With the top flight talents of guitarist Tony Remy & English-style rapper D coupled with the rhythms of Pete Lewinson the album exudes a Roy Ayers-like summer cool.
Review
of "Vibraphonic 2" from Rhyl Journal (March 1995) - unknown
writer:
Vibes maestro Roger Beaujolais' current combo is Vibraphonic &
they've put out a wonderfully summery album simply called "Vibraphonic
2". The vibes & Alison Limerick's stunningly soulful vocals are
laid over a set of Latin-funk rhythms that have got the Coast Scene crew
itching for the sun to arrive.
Review of "Vibraphonic 2" from Ripple (March 1995) - unknown writer:
An album full of breezy, funky rhythms. Standout cuts include the cool cover of Vince Montana's "Heavy Vibes , the floating saxophone on "Can't |get Enough" & the splendidly spangly sound of the old Stevie Wonder tune "To Know You Is To Love You". If you like the feel of acid jazz, but you're tired of the same old shit, then check this out for a refreshing alternative.
Review of "Vibraphonic 2" from Excess (March 1995) - unknown writer:
Vibraphonic 2" is the latest offering from Acid jazz signing Roger Beaujolais, & if you're fed up with the recent commercialisation of the scene then this will pleasantly surprise you. Old Skool style, Beaujolais offers us a Roy Ayers like Summer cool with a modern feel & features the stunning vocals of Alison Limerick & string talents of Tony Remy. This album is definitely recommended as a Summer Sunday listen.
Review of "Vibraphonic 2" from Blues & Soul (1995) - unknown writer:
"Vibraphonic 2 " (LP Acid Jazz) is, believe it or not, the second album from Roger Beaujolais' outfit which includes Tony Remy, Pete Lewinson, Nick Cohen & Mrs. Beaujolais herself, Alison Limerick, in the line-up. The vocal cuts are the ones to go for with "Buck The System" coming across as a strong club dancer, closely followed by the mid-tempo "True Life" & the similarly paced "To Know You Is To Love You" when Lennox Cameron gets behind the mic. The rest of the album is great vibey instrumental stuff with the cover of "Heavy Vibes" standing out like dog's wotsits.
Review of "Vibraphonic 2" from Sunderland Echo (March 1995) by Nick Speed:
Short though Sunderland may be on the easy-listening clubs currently a la mode with the capital's coolest, you can bring some Soho sophistication to your own lounge with this breezy beauty.
Xylophonic tinklings give many of the tracks that Fifties French film soundtrack feel, while the obvious highlight is a cover of man-of-the-moment Stevie Wonder's "To Know You Is To Love You".
This is the groovy, laid-back Latin, stereophonic sampler that goes with the Audrey Hepburn look that is 1995's silver lamé street style. Viva stereo.
Review of "Vibraphonic 2" from Blac (April 1995) - unknown writer - 8/10:
Vibraphonic deliver 10 tough grooves guaranteed to challenge hearts, minds, & souls. Featuring the sultry vocals of Alison Limerick & the rap man 'D', "Vibraphonic 2" sees Roger Beaujolais & crew swathe through the undergrowth with confident disregard. From the opening cuts "Heavy Vibes" originally recorded by Vince Montana, & the anthemic "Buck The System" the tone for this Funk/jazz roller coaster excursion is well & truly laid down. Cuts such as "Can't Get Enough" - laid back but ably delivered, & my personal faves, the wonderful "True Life" & the Stevie Wonder cover "To Know You Is To Love You" - vocals courtesy of Lennox Cameron, makes this one essential listening for Acid Jazz groupies!
Review of "Vibraphonic 2" from Overall (May 1995) - unknown writer:
……From the same stable comes the somewhat street ruffer, but deeper for it, sounds of "Vibraphonic 2" the second LP/CD from vibesman Roger Beaujolais & Vibraphonic. I have to like it as it starts off with an excellent reworking of Vince Montana's "Heavy Vibes" & from there on the influence of Roy Ayers on Roger Beaujolais' free flowing vibes flows through. Vocals when & where necessary are superbly supplied by the sultry Alison Limerick & Lennox Cameron including another reworking, this time, Stevie Wonder's "To Know You Is To Love You". Dropped points for me in the form of a couple of message tracks, "True Life" & "Buck The System" but apart from that this doesn't move from the good groove. My advice is to acquire "Vibraphonic 2", pick a destination far from home, Abergavenny say, & drive there listening to it continuously on your in-car entertainment system & you'll be a better person for it. No, I don't what you'll do when you get there.
Review of "Vibraphonic 2" from Leeds Student (March 1995) by Martyn Beauchamp:
Prior to 1990, which saw the release of the Beaujolais Band's debut "Mind How You Go" vibesmith Roger Beaujolais had been to the vibes what Farmer's Boy is to baked beans: necessary, but still not quite at the cutting edge. Collaborating with the likes of Morrissey, Kirsty MacColl & Fairground Attraction (who remembers the vibes on "Perfect" for God's sake), Beaujolais dragged the perception of the vibraphone up by its breeches, & yet still he could see nothing but the hairy bottle of the master. Mr Roy "Heinz" Ayers.
Nowadays, of course, jolly Rog is bashing away on an entirely different vibe. Vibraphonic began as a project featuring Beaujolais & producer Richard Marcangelo, but with "Vibraphonic 2" has grown to include such chickin' lickin' rhythm merchants as Tony Remy & Mrs Roger Beaujolais, Miss Alison Limerick.
If you feast on Bobby Hutcherson & Max Beesley jnr. This album will moonwalk into your record collection. If you think vibes are a xylophone over-reaching itself, either steer well clear or challenge your preconceptions: Rog drives a refreshingly tight band with vibes as omnipotent as they are eclectic. Beaujolais' latest project swings, shakes, glides & generally turns itself loose, not least with the breezy latin-tinged cover of Vince Montana's classic "Heavy Vibes". Heinz at last.
Review of "Vibraphonic 2" from Northern Newspapers (March 1995) - unknown writer:
Following on from Roger Beaujolais' last splendid 12" "Trust Me", Vibraphonic burst onto the scene with a smashing second album "Vibraphonic 2" - released on Monday.
This smooth street soul production induces a Roy Ayers like summer cool with a modern feel.
Featuring the sultry vocals of Alison Limerick & the English style rap of "D" with Pete Lewinson supplying solid rhythms on the skins & the string talents of Tony Remy, these 10 deep funkin' grooves will make for chilled-out listening.
Among the songs to watch out for is the superb Stevie Wonder cover of "To Know You Is To Love You" (vocals by Lennox Cameron) along with the splendid version of Vince Montana's classic "Heavy Vibes."
Review of "Vibraphonic 2" from Norfolk & Suffolk Preview (May 1995) - unknown writer:
A smooth soul sojourn in the same mould as Roy Ayers, Vibraphonic have produced a silky album that bubbles along gently with that certain COOL feel. With Pete Lewinson supplying the funky percussion & Tony Remy delivering a touch of magic on the strings, it's left to Alison Limerick's golden vocals to deliver that magic sparkle!
Review of "Vibraphonic 2" from Juice (May 1995) - unknown writer:
If you like to sit back in the sun & relax to some deep funk, then this album is for you.
This is COOL FUNK. Latin rhythms & jazz swing in a dance based groove. Dreamy.
The album was made with a little help from Alison Limerick, & is going to MAKE YOUR SUMMER. The style is SMOOTH STREET SOUL. Perfect for funkin' in the sun.
Includes the classic "Heavy Vibes" & vocals mellow enough to melt your ice cream.
FUNKABILITY = 9 out of 10. Relax, & you'll think you're in heaven
Review of "I See You" (12" single) from Billboard (1990) - unknown writer:
Acid-jazz instrumental begins with a simple
xylophone intro that serves as base for myriad sounds that develop into
a multilayered dance groove. Sparse vocals (aahh, yeah") & some
deft scratching play off the hypnotic, synthetic instrumentation.
.
Roger
Beaujolais is of course the carroty vibraphone hippy, erstwhile of the
Chevalier Brothers, who was fashionably sporting a pony tail when you
still looked like Woody Woodmansey. The Beaujolais Band is his latin-jazz
combo & "Mind How You Go" is their debut album. There are
eight tracks of varying tempo & intensity, but it's not so much the
individual tunes themselves as the overall tone & texture of the album
that make it such an unexpected pleasure. To wit, Beaujolais has eschewed
all the obvious latin hot'n'sweaty exotic erotica (i.e. horns & other
forms of brassy metaphor) & plumped for a small, light percussion
based sound, with only the leader's vibes & Roland Perrin's piano
to fill the harmonic spaces. The result is intimate & controlled &
should be played at barbecues & other intimately controlled gatherings.
It will also bear detailed listening. Nice one.
If curiosity killed the cat, it inspires the jazz musician. Roger Beaujolais is one of those whose inquisitiveness for other musics, & keenness to learn more about his chosen instrument the vibraphone, has an honesty & enthusiasm that is infectious. He is a graduate of that unsung minor school in the jazz resurgence, the popular jump-jive outfit Chevalier Brothers. After a spell with Fairground Attraction, Beaujolais has lately applied principles he learned there (along the lines of "if it ain't got that swing….") to Latin jazz. While the early incarnation may have veered more towards the clink of cocktail glasses than the clang of the cowbell (both elements of the new album Mind How You Go), live performances tend to burn with something approaching the steam of a genuine Afro-Cuban session, with Roland Perrin's global grasp of the keyboard a driving force. Ideally built for the lighter textures of jazzy salsa, Beaujolais' vibes ripple & weave on the edge of a breakthrough. It can't be far off.
Just as we all thought this label (Acid Jazz) had forsaken jazz for the more lucrative pastures of contemporary funk, out comes "Mind How You Go", a cooking platter of Latin jazz. Masterminded by Roger Beaujolais, former vibesman with the Chevalier Brothers & popsters fairground Attraction, they tread a path paved by Joe Cuba, Tito Puente, Louis Ramirez & Carabali.
It's an awesome legacy to further but this hard working combo, plus friends, boldly pursue the tradition. Apart from Bill Withers' "Ain't No Sunshine" they commendably shun the easy option of covers in favour of their own musical ingenuity. A saxophone & brass free zone, the album gives free rein to Beaujolais' vibes & mellow marimba to vie for space with Perrin's piano & the rhythm section.
Along with other UK based outfits like Snowboy Descarga Band, Roberto Pla (who guests on timbales) & Conjunto Fuego, The Beaujolais Band are set to add a new dimension to Latin jazz, a music some were ready to confine to the dustbin of history. Tune in & turn on.
Roger Beaujolais' life of cool anonymity may about to be unpleasantly shattered. Formerly vibes-merchant with college rave faves The Chevalier Brothers & evil accomplice of the infernal Fairground Attraction, he's now king-pin of the egomaniacally named The Beaujolais Band, an outfit hopefully destined to show the world that there is more to Latin jazz than that Gloria Estefan & her Miami Sound machine.
Vibes are clearly a neglected art, & every year there seem to be fewer & fewer disciples of that seductive Milt "Bags" Jackson sound (barring the more outré combos - Gary Ainge of Felt is a regular user). Fewer still can coax anything out of them of more than cheesy or throwaway value.
Roger Beaujolais has his shit well down on the groovy toobs, but more than that: dear God does he have a hot band. The sort of unit capable of mesmerising even pathological wallflowers onto the boards & inducing that mind-boggling dance that involves throwing out alternate hip joints (one is constitutionally obliged to perform this to such a heady blend of samba & salsa). If I told you that Roberto Pla guests on timbales, then you'd know we were talking authentic & sinuous to the max.
"Mind How You Go" rarely features kit (though when it dies, Roy Dodds is more than equal to the task), so all those weird 'n' woody Latin sounds are well up in the mix & power the grooves hectically, enhanced by Perrin's spiky, percussive piano. It's perfect ensemble playing: nobody sees the red mist & no-one tries to do too much.
It's hardly possible to single out particular tracks: the collection is thematically consistent & consistently superb. Only when the central melody lines threaten the boundaries of good taste do things approach the cringeworthy. For example, reworking Bill Withers' "Ain't No Sunshine" is an activity comparable with turd polishing: pointless & very messy.
However there's antidote aplenty to redress the odd lapse. For the funkiest of funky marimba check out "Descarga Na' Ma'" & the witty "So Much For That", & for the ultimate percussive blast, get yer lugs round "Mi Banda Llego". To conclude: don't miss out on The Beaujolais Band, 'cos summer's nearly over, & you may hate yourself FOR EVAH!
3 star (outstanding) review by John Fordham in the Guardian of gig at Ronnie Scott's Club (Jan 2001):
Unlike many of the bop-based jazz guitarists who preceded him, Tony Remy, a lean, relaxed black Briton of the Courtney Pine generation, hasn't made his phrasing mimic the ducking & diving intricacies of a sax. More often than not he's resembled a Philly session player, infectiously chopping chords save for the odd brief foray into single-line solos infused with soul & blues, and tied inexorably to the groove. Early in his career, Remy proved he could do this as well as anybody in the business.
Remy is at Ronnie Scott's in London this week. The upsides of his show are his own succintly fluent playing, some inventive variations on the George Benson unison singing-and-soloing technique with the help of a voice-bending synth, and a sharp band. The downsides in a jazz context are that the preponderance of funky mid-tempo dance shuffles in this sit-down venue tends to make them blur together, and the tight rhythmic prescriptions of funk make it hard to force the fingers away from hot-licks playing to a phrasing of unexpected turns.
The vibraharpist Roger Beaujolais is one of the primary colours of this ensemble, and at times his ringing sound, harmonic subtlety and elegant phrasing against Remy's spare chordal hipness gave the group it's jazziest aspect, recalling the early Gary Burton jazz-funk bands of the 70's. Their partnership was at its most sympathetic on a version of Goodbye Pork Pie Hat that began as a slow groover and cranked up into a churning and soulful funk exercise, with extra impetus coming from Joe Bashorun's inventive keyboard support. The smooth Stevie Wonderish vocals that followed were elegantly unremarkable, but Remy's blend of Phil Upchurch's hungry drive and Wes Montgomery's quiet caress were compelling qualities of the subsequent instrumental. So was the excellent Frank Tontoh's drumming, a mix of crackling boldness and secure backbeat-playing that is typical of him.
Review by Jack Massarik in the London Evening Standard of gig at Ronnie Scott's Club (Jan 2001):
Craig David fans might be surprised to know that one of his entourage is good enough to headline at Scott's this week. Tony Remy, a dazzling stand-up guitarist, but not one of nature's born show-offs, delivered expert jazz-funk with a deceptively casual air.
Last night's opening number set the band's typical scene, a comfort zone somewhere between George Bensontown & Roy Ayersville. After a fast neo-bop theme, drummer Frank Tontoh & bassist Nick Cohen eased things back to half-tempo & a spacey dancefloor beat.
Riding his choked wah-wah guitar riffs & Joe Bashorun's electric-piano chords were singer Lennox Cameron, who also offered short punchy flute solos, the more convoluted soprano sax of Jean Toussaint & the mellifluous vibraphone of Roger Beaujolais.
Roger, who featured on numbers from Remy's Metamorfollow-G album, was in his element. We could see every note his flying mallets produced, while all around him seemed to swamp the other player's personalities & leave the audience colder than they might otherwise have felt.
After a modest response to four or five nifty numbers, Remy, recognising a stiff Monday-night audience when he saw one, issued a mild rebuke. "Don't be afraid to get down with us," he said. "You don't look like you're enjoying your food & wine like they do in Europe."
"This is Europe," one of the band reminded him. "Oh yeah," sighed Tony without conviction. "Right."