Walter Smith III, Three of Us Are from Houston and Reuben Is Not Review

Walter-Smith-III-Three-Jazz-Sensibilities-Feature

Walter Smith III, Three of Us Are from Houston and Reuben Is Not Review

by Icrom Bigrad

Walter-Smith-III-Jazz-Sensibilities-cdWalter Smith III’s sophomore Blue Note release, Three of Us Are from Houston and Reuben Is Not, is an album inspired by history and communal collaboration. The title, a playful nod to the Houston origins of Smith, pianist Jason Moran, and drummer Eric Harland, is more than just a geographical marker—it’s an expression of shared roots, camaraderie, and a legacy of creativity that extends far beyond Texas. Bassist Reuben Rogers, hailing from the Virgin Islands, might be the ‘outsider’ in this group, but the quartet’s chemistry is undeniable and palpable. Each member contributes to a narrative that feels organic, instinctual, and spontaneous, creating a sense of unity and harmony in the music.

Right from the opening track, “Seesaw,” there’s a sense of energy and forward tension—Smith’s swaying melody oscillates in musical structure and its deeper meaning. Smith draws parallels to the career choices he faced during his time at Houston’s Kinder High School for the Performing and Visual Arts, which has produced its fair share of jazz luminaries. With Moran and Harland as guiding figures during those formative years, the music here is reflective, as if they’re revisiting conversations from their past, now enriched by experience and mastery. The back-and-forth between Smith’s saxophone lines and Moran’s piano embellishments paints a vivid picture of their relationship—an exploration of history and the moment’s possibilities all at once.

Where Three of Us Are from Houston and Reuben Is Not excels is in its ability to balance personal storytelling with broader musical exploration. Smith’s compositions are the vehicles for the interaction and improvisation—they are soundscapes that allow each musician to contribute their distinct voice. The track ‘Gangsterism on Moranish,’ a reimagined piece from Smith’s 2010 album III, serves as a prime example. It’s a direct homage to Moran’s ‘Gangsterism’ series, and Moran’s unorthodox, sometimes angular approach is met with Smith’s pliable tenor, bending and shaping around the pianist’s unpredictable rhythms. Harland’s drumming, ever-supportive but always assertive, elevates this conversation to a fiery interplay where each player has ample room to shine, creating a sense of spontaneity and creativity in the music.

The album’s theme of homage continues with “Cézanne,” named after a beloved Houston jazz club rather than the famous French painter. Smith’s flowing phrases on this track seem to glide easily, echoing the memories of the venue’s intimate, listening-room vibe where he spent his high school years absorbing the music that would eventually shape his career. The rhythm section, anchored by Rogers’ foundational basslines, sets a groove that captures the essence of the club—a mix of elegance, swing, and a touch of nostalgia.

“Misanthrope’s Hymn” offers a more contemplative side of Smith’s writing. The track’s brooding melody, layered with Moran’s finely voiced chords, draws inspiration from the high school vocabulary tests Smith faced. There’s a studious quality to the composition, but as it unfolds, Smith allows himself to break free from the confines of the notated chords, soaring over Moran’s creative comping with a sense of liberation. This track, along with “Montrose Nocturne,” reinforces the theme of revisiting youth while simultaneously transcending it.

“610 Loop” is a tribute to the city’s sprawling highway system. The track’s cyclical form mirrors the constant flow of traffic and life in Houston, with Harland’s drumming taking center stage. The two-sectioned composition creates a hypnotic atmosphere, with Moran’s piano and Smith’s sax weaving in and out of each other’s lines in perfect symmetry.

Smith’s ability to blend personal narrative with collective improvisation shines through in the quartet’s take on Sam Rivers’ “Point of Many Returns.” This track exemplifies the group’s exploratory nature, with each musician pushing the boundaries of structure while maintaining a cohesive sound. The ensemble communicates beautifully to make the group interaction flow like a journey—one that invites listeners to lose themselves in its shifting rhythms and harmonic and melodic textures.

Where Smith’s previous Blue Note release, Return to Casual, leaned on meticulous compositional frameworks and featured a broader ensemble, Three of Us Are from Houston and Reuben Is Not feels looser, more instinctual. On tracks like “Office Party Music,” the humor and off-the-cuff energy are palpable, a far cry from the carefully crafted, layered structures of Return to Casual. However, both albums showcase Smith’s versatility as a composer and bandleader. While Return to Casual invited guest appearances like trumpeter Ambrose Akinmusire, Three of Us  strips back the ensemble to a core quartet, allowing for tighter, more focused interplay.

The album’s closing track, “Lone Star,” wraps things up with a declarative duet between Smith and Moran. While it hints at country influences, the piece is more a tribute to Houston’s cultural richness than to its musical stereotypes. It’s a fitting end to an album that’s as much about breaking molds as it is about honoring them.

Three of Us Are from Houston and Reuben Is Not is another enjoyable modern jazz outing for Smith—rooted in history, yet forward-thinking. Walter Smith III, through his thoughtful compositions and the extraordinary talents of his quartet, proves once again that he is an engaging voices in contemporary jazz. Whether you’re from Houston or not, this album speaks to the universal power of community, history, and the ever-evolving conversation that is today’s jazz.

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