Originally set for 2020 release, this session was stymied by lockdown, so it’s good to have it now. Mullen guests on three tracks, otherwise it’s the line-up that Beaujolais used on his earlier StayTuned label albums. In other words, this a regular band and it shows.

Given that the album is a tribute to Milt Jackson, Beaujolais’ inspiration, it’s apposite that it should open with his riff-based ‘Blues for Bags’, this incorporating the surging cohesion offered by Thorpe and Clifford as they complement the leader’s opening statement, Aspland’s piano and Mullen’s booting chorded figures.

Thereafter, it’s an array of pieces associated with Jackson in one way or another, with John Lewis’s ‘Django’ first off, Thorpe propelling the group into swing after the solemn opening as Beaujolais plays it his way, four-malleted as ever, building a strong, multi-layered solo. Mullen re-appears for Wes Montgomery’s ‘Jingles’, his bubbling line buoyed up on the groove set up by this peerless rhythm section, the leader brim-full of ideas.

In contrast comes Jackson’s ‘Some Kinda Waltz’, quite considered, ahead of ‘SKJ’, this illustrating Jackson’s gift for creating originals with built-in momentum as Mullen and Beaujolais voice this clever piece together. Aspland makes the running on ‘Heartstrings’, its more lyrical aspect prompting an extended piano solo of genuine quality before the Latin-flavoured ‘Come To Me’, which again lifts off splendidly, with Aspland especially fervent. Beaujolais exults on Artie Shaw’s ‘Moonray,’ this recorded by a Jackson quartet way back in 1955. What better closer than ‘Bags Groove’, taken at a stately clip, the biblically-bearded leader’s creativity uppermost. Bags would have approved, for sure.