Label: Blue Note Records, 2024
Personnel - Walter Smith III: tenor saxophone; Jason Moran: piano; Reuben Rogers: acoustic bass; Eric Harland: drums.
Saxophonist and composer Walter Smith III, who has been quietly pumping out excellent records as a leader, opted for writing less in his latest recording, Three of Us Are From Houston and Reuben is Not, a tribute to his hometown, Houston, Texas. The saxophonist, always clear in the ideas and strong in the emotions conveyed, gathered the protean rhythm section that supported saxophonist Charles Lloyd - pianist Jason Moran, bassist Reuben Rogers, and drummer Eric Harland - and humorously informs who is from Houston and who’s not. Rogers hails from the Virgin Islands.
The record opens with “Seesaw”, a medium-fast post-bop tune in 3/4 time, whose staccato melody oozes charisma. There’s a sense of urgency in the arrangement, with serpentine lines floating over a rich harmonic progression. “Gangsterism on Moranish” tips its hat to Moran’s Gangsterism composition series, beginning with a plaintive sax figure that is followed closely by the pianist. They develop it from there with creativity, delivering soulful solos that emphasize the middle range.
The driving intensity of “24” channels the spirit of Sonny Rollins, with sparse bass comping and continuously active drums laying the groundwork. Later, Moran matches the energy, responding adequately to the rhythmic stimuli by harmonizing freely. “Cézanne”, a post-bop piece named after the iconic Houston jazz club rather than the French painter, offers another elegant post-bop canvas for the group to swing hard with unbridled energy.
The album’s only cover, Sam Rivers’ “Point of Many Returns” delivers a vibrant dose of freebop, filled with joyful improvisations and suave interlocking passages. After an energetic outpouring like the one mentioned above, Smith isn’t afraid to step back and provide quiet moments of contemplation. “Montrose Nocturne” emerges as a reflective ballad but builds into moments of fervent interplay, with Moran demonstrating his mastery of inventive piano dynamics. The pace picks up again and the mercury rises with “A Brief Madness”, featuring breathtaking unison lines played at remarkable speed. The album closes with “Lone Star”, a soul-stirring country-tinged ballad written for Moran, which unfolds as a tender sax-piano duet.
Showcasing elevated levels of musicianship, the album is seasoned with high craft and warm radiance, solidifying Smith’s reputation as a formidable force in modern jazz.
Favorite Tracks:
01 - Seesaw ► 07 - Point of Many Returns ► 10 - A Brief Madness