Steve said:
It was a pleasure to welcome back vibraphonist Roger Beaujolais to Fleece Jazz after so long and especially with the three spectacular musicians that made up the quartet.
Roger was an entertaining and engaging compere throughout the performance over two sets. He explained that the evening was a celebration of the great jazz vibes player, Milt “Bags” Jackson, who was best remembered as a member of the Modern Jazz Quartet (MJQ) but also from his collaboration with bebop, hard bop and post-bop players. This year is also the 100th anniversary of the invention of the vibraphone and we were given an overview of the instrument, its history and its working, which went some way to enhance our appreciation of what we heard. This was no dry lecture thanks to Roger’s entertaining and often amusing style of delivery.
The first set began with what is probably Milt Jackson’s most famous composition, Bags’ Groove, in which Beaujolais gave us a full flavour of that characteristic cool, swinging bluesy sound which was beautifully echoed in Mike Gorman’s elegant piano playing before Paul Jefferies took up the lead on the double bass with a supple and fluent solo followed by a brief riposte from Milo Fell on drums. Next up is the jaunty Moonray, composed by Artie Shaw, which Milt Jackson performed with his quartet. Once again, the prevalence of the blues in Bags’ interpretation comes across clearly, with Beaujolais exultant on the mallets and Gorman buoyed up on the groove. MJQ founder, director and pianist, John Lewis’ Django starts with Beaujolais in solemn mood before Jefferies pushes it towards a more swinging sound. Jerome Kern’s romantic ballad, Yesterdays, as interpreted by the MJQ is followed by the bossa nova sound of Bags’ Come to Me which lifts off superbly, with Gorman’s increasingly fervent piano playing standing out. The relaxed bossa rhythm is deftly created by Paul Jefferies, his gymnastic style producing a superb tone on double bass and Milo Fell complementing this on drums. The first set closes with another Bags composition, Heartstrings, where once again Gorman makes the running as he takes the opportunity to seize on the lyricism of the piece with an expansive piano solo as he matches Beaujolais for skill and imagination.
The second set featured four originals from the pen of Roger Beaujolais and it is to his credit that they matched the quality of Bags’ compositions in terms of lyricism and rhythm. Clearly it isn’t just Bags’ playing that has served as a genuine inspiration. The riff-based Blues for Bags emphasises this more than most with the rhythm section complementing the leader’s opening statement and once again Gorman delivers a wonderful solo. The up-tempo interpretation of Cole Porter’s I Love You is a highlight, not least because of the tumbling piano chords at various points from Gorman. There isn’t a single filler in either setlist and Beaujolais shows an ear for melody and lyricism in his composition with And When You Smile and in his dedication to Antonio Carlos Jobim with Joe Beam which featured Beaujolais and Gorman mirroring each other’s phrases with increasing pace and complexity. The last official number was a standout piece and performance – Chick Corea’s Sea Journey as interpreted by vibes prodigy Gary Burton. Every single member of the quartet availed themselves splendidly and with obvious passion for the music, with subtle changes of rhythm and tempo keeping things interesting.
THE ROGER BEAUJOLAIS QUARTET
SETLIST, FLEECE JAZZ 9/10/24
- Bags Groove (Milt Jackson)
- Moonray (Artie Shaw)
- Django (John Lewis)
- Yesterdays (Jerome Kern)
- Come To Me (Milt Jackson)
- Heartstrings (Milt Jackson)
* * * * * * *
- Blues for Bags (Roger Beaujolais)
- Full House (Wes Montgomery)
- I Love You (Cole Porter)
- And When You Smile (Roger Beaujolais)
- Joe Beam (Roger Beaujolais) dedicated to Antonio Carlos Jobim
- Sea Journey (Chick Corea) as played by the Gary Burton Quartet
- Encore: Admission Impossible (Roger Beaujolais)
Dave said:
Roger was back, wonderful 4 mallet playing (he explained the grip for four), great storytelling and fun to be with. Mike Gorman was back, inventive and flowing pianistic ideas in both hands. We had two new people who delighted us.
Paul Jeffries came to the old Fleece for his first jazz experience. It was a Stacey Kent gig. He had been playing electric bass in some pop groups. Jazz won him over completely. He bought a double bass. His playing was inventive with spot on intonation.
Milo Fell is a drummer who understands how to play a room. He has big ears: he hears his colleagues and complements them. He had lots of trading 4s and one extended solo. The former was interesting and often fun. The latter was intense, varied and fascinating.
If I had to pick a favourite thing from a great gig, it would be Roger and Mike trading 4s. It was a bit like an old fashioned cutting completion, great fun.
Bryan Corbett’s gig with us was delayed as he was unwell. Well, he is back gigging up a storm and will be with us on Wednesday, 23 October. Of all the wonderful trumpeters that have played in our club, Bryan is my favourite because of his power, flexibility of tone, and imagination. He will be giving us the Blue Note era. This one should be unmissable.
Take care,
Dave