CD Review: Rose Room, It’s been A Long, Long Time.

Such is their integral position in the 1930s ‘Hot Club’, Gypsy Jazz scene and the extent of their following in Scotland and beyond, it feels as though Rose Room have been around for ever. Indeed, this year is their 15^th anniversary, and their popularity including at gypsy jazz festivals, just continues to grow.

Led by former presenter of BBC Radio Scotland’s ‘Jazz Nights’, tutor at prestigious Grappelli-Django Camp in The Netherlands, and multi award winner, violinist and singer Seonaid Aitken, the band otherwise consists of Tam Gallagher on Rhythm Guitar and occasional Vocals, Jimmy Moon on Double Bass, and relative newcomer Conor Smith on Solo Guitar and Backing Vocals.

On this, their fourth album, the band is joined by several guests: Kristan Harvey on Violin 2, Patsy Reid on Viola, Alice Allen on Cello, Artek Siwak on Accordion (Track 4), Owen Gunnell on Vibraphone (Tracks 7, 13) and Bryan Gear on Fiddle (Track 2). Each add their own special qualities to the album, the string section also showcasing Aitken’s considerable arranging skill.

Seonaid Aitken by Nicky Murray.

With thirteen tracks in all, a constant is Aitken’s ringing vocals and high-spirited violin, as is the tight playing from the whole band, heard right from the get-go with superbly executed, The Andrews Sisters’ song, Joseph Joseph.

The album continues in as cheerful a manner, with songs from mostly the 20s to the 50s, from traditional gypsy tunes including Django Reinhardt, to Gershwin and Hoagy Carmichael. Paced well, the album includes occasional slower tempo tracks. At these times Aitken’s zesty vocals show a tender languor, as in beautiful title track, Harry James’ 1959 It’s Been A Long, Long Time.

In an album full of standouts, two tracks particularly shone for this listener. Django Reinhardt’s Nuages had guest percussionist Owen Gunnell providing a delicate and dreamy intro, and throughout the piece some truly exceptional musicianship was showcased. Similarly special was penultimate track, Gershwin’s Lady Be Good in which Shetland fiddler Bryan Gear added his not inconsiderable string chops to Aitken’s, to superb combined effect.

This, like Rose Room’s previous three albums, is an utter charmer and a true reflection of how the band sound live. On the album they sound like they’re smiling all the time. Listen to this album or go see them live, and you’ll soon be smiling too.