Walter Smith III & Matthew Stevens: In Common III
Whirlwind Recordings
Five years ago, tenor saxophonist Walter Smith III and guitarist Matthew Stevens devised a great concept for their In Common series: invite a trio of new musicians to play with the duo on each instalment. As inspired as the idea is, there is an admitted downside: when the recruits are as terrific as those on the third chapter—pianist Kris Davis, bassist Dave Holland, and drummer Terri Lyne Carrington—it's hard not to come away from the release sad it'll be the lone document of this particular grouping. It's a small price to pay, however, when the concept engenders interactions as compelling as those presented.
Smith III and Stevens hold academic positions, the former the Chair of Woodwinds at Berklee College of Music and the latter a Professor of Jazz Studies at the Peabody Conservatory at John Hopkins, but there's nothing dry or stuffy about the performances. Whether the tracks are improvs or structured pieces, the dialogues are engaging, and as Carrington notes, the co-leaders achieve a smart balance in not having the writing overly constrain freedom of expression.
The bassist and drummer make a dynamic team, even if they sit out for four spontaneously composed trio pieces, “Oliver,” “Lite,” “Shutout,” and “Dust.” They're showcases for Smith III and Stevens but also Davis, whose responsive playing is tremendous throughout the disc; consider, for example, how assuredly she stabilizes the explorative turns her partners take during “Oliver,” a track that might as easily have been titled “Wobbly” or “Woozy.” Of course it's always a treat to hear Holland play in any context (hear him step forth during “Reds,” a wiry nod by Stevens to the bassist's 1990 Extensions release), and the ever-inventive Carrington excels too. As the breezy bop of “Prince July” illustrates, the quintet cuts show the group operating at a fine, nimble high.
Appropriately, the album begins with a seductive duet by the co-leaders, “Shine,” notable also for paying affectionate tribute to jazz greats who recently passed away, McCoy Tyner and Chick Corea among them. Aptly titled too is the first quintet statement “Loping,” which powers its haunting theme with a sultry groove and crowns it with arresting sax and guitar solos and thoughtful chordal interjections by Davis. A good-time feel infuses the relaxed swing of “Hornets,” whose intricate unison sax-guitar head recalls the playing of Scofield and Lovano on the guitarist's own albums. Whereas Stevens' turn echoes Sco's sound, Davis pushes the performance in a boppier direction when hers arises. Inhabiting an entirely different realm is the funky post-rock of “Orange Crush,” which receives considerable thrust from a serpentine ostinato figure by the guitarist.
Shifting gears again, “After” brings an injection of smooth romantic balladry to the set as well as an energized detour into swooning swing. If a faint hint of South America is audible in “After,” it's overtly referenced in the infectious dance rhythms of “For Some Time”; when Smith III starts extemporizing over the enticing groove, don't be surprised if your thoughts drift back to Joe Henderson's Jobim tribute Double Rainbow. One final change-up happens when the album ends with “Miserere,” a lovely meditation previously featured on the guitarist's 2021 solo acoustic album Pittsburgh.
There's little to criticize here, aside perhaps from the occasional slowing of momentum that occurs when the dusky explorations “Shutout” or “Dust” surface amidst the livelier cuts. That such a departure is included speaks to the variety of the presentation, however. As should be clear, the album wends down multiple stylistic paths over the course if its fifteen-track run. Yet while there's abundant diversity, the omnipresence of the co-leaders ensures a sense of unity is preserved. As much as one might like to hear more from this particular lineup, the fourth instalment will obviously feature a different one, and it's exciting to contemplate who might join Smith III and Stevens next.March 2022