It seemed inevitable that saxophonist and composer Walter Smith III, who has produced and appeared as a sideman on several Blue Note projects, would eventually join the stable of the label’s artists. With his debut, return to casual, Smith III follows up his 2014 self-released still casual with nine originals and one new arrangement of a Kate Bush song. As alluded to in the review of Kendrick Scott’s recently issued Corridors where Smith III has a prominent role in the trio, the quintet featured here mirrors the instrumentation and includes Scott (drums) as well pianist Taylor Eigsti from Scott’s group, Oracle. Smith III plays tenor throughout alongside guitarist Matt Stevens, who was Smith’s ‘go-to’ collaborator on all three of his In Common albums, with bassist Harish Raghavan who appeared on the first. Guests include Blue Note trumpeter Ambrose Akinmusire and pianist James Francies.
Inspired by friend and label mate Derrick Hodge’s approach to his own Blue Note debut, Smith III wrote all the music the week of or week before the recording session to avoid overthinking. Smith III’s In Common projects provide an insight into his compositional style where the emphasis is on textures, harmonics, shifting moods, and interplay as opposed to the conventional jazz sequence of head-solo-solo-head. In the course of doing so, he displaces patterns, delays melodies, or sequences them in order to inspire creative improvisational bursts from his unit. He’ll inject humor and some surprising quotes in places too.
The opening “Contra” nods to Smith III’s childhood, specifically a tester code in a video game. The saxophonist leads the busy, pinball-like piece which features individual turns from each member, with Eigsti doubling on piano and Rhodes (as he does on most tracks). One can almost envision a kid’s smile as if he’s playing the game. Akinmusire makes one of his two appearances on “River Styx,” an undulating piece where Smith III’s solo holds sway until fortified by the trumpeter and Scott’s frenetic kit work, the latter also prominently featured in the melodic “Pup-Pow.” Its melody is similar to Smith III’s arrangement of Kate Bush’s “Mother Stands for Comfort,” a tune sent to him over ten years ago by Akinmusire. This arrangement features primarily a stunning duet between the leader and the bassist.
“Shine” pays tribute to the fallen during 2020, namely Wallace Roney, Jimmy Heath, and Ellis Marsalis. The piece is requisitely tender and elegant, yet celebratory in tone through the leader’s robust tenor tone and terrific support from Eigsti and Scott. “quiet song” is anything but, especially following the gentle Bush tune. Smith III claims that it was originally meant to comply with the title but once rehearsed, Stevens and Scott took it to an ear shattering level where the rhythm section motors and rumbles underneath the simple melody. Smith III ventures into swing on “lamplight,” a style he has never felt totally at ease with. Yet, the listener senses no struggles as the piece comes across effortlessly.
Akinmusire joins again for “Amelia Earhart Ghosted Me,” with the saxophonist and trumpeter etching contrail-like (sky trails) patterns as they weave around each other. It’s the kind of tune one might find on an Akinmusire record as Smith III wrote it with the trumpeter in mind. Smith III aficionados may recognize “K8+BYU$” as a mashup between two of his originals, including the first song he ever composed. On the original “Kate” from 2006 Aaron Parks and Robert Glasper traded lines on piano and Rhodes while Eigsti and Francies so the honors here. The piece begins with Smith III stating a flowing melody before the pianists build intensity with their cascading lines. In the second half the momentum eases but the mood remains upbeat and liquid – a standout track. The closer, “REVIVE” (all these upper- and lower-case distinctions are confusing) is an elegiac tribute to Meghan Stabile – an artist, promoter, activist and friend of many in the jazz community who is sorely missed. Smith’s pure tone supported by Eigsti’s shimmering and simpatico piano puts a sublime cap on this moody, evocative effort.
