Walter Smith III, celebrated saxophonist and composer, draws deep inspiration from his Texas roots in his sophomore Blue Note release, three of us are from Houston and Reuben is not. This album follows his acclaimed 2023 debut with Blue Note, return to casual, and showcases a stellar quartet of musicians, three of whom share a common bond: Houston, Texas. The album title, marked by Smith’s signature humor, nods to this connection: while Smith, along with pianist Jason Moran and drummer Eric Harland, are Houston natives, bassist Reuben Rogers – an integral part of the ensemble – is a native of the Virgin Islands. The playful title encapsulates the camaraderie and chemistry of a group united by diverse backgrounds and a shared passion for musical exploration.
A Tribute to Houston and its Musical Influence
Houston, a city known for its vibrant jazz scene, holds an enduring influence over Smith’s artistry. By bringing together musicians who share this background, Smith is not only paying homage to his roots but also highlighting the rich musical legacy of his hometown. The city's impact on Smith’s development as a musician is undeniable; it’s where he honed his skills, fostered his early connections, and began to carve out his unique voice in jazz.
In interviews, Smith has often emphasized the significance of Houston in shaping his musical identity. The city’s jazz clubs, music programs, and seasoned mentors provided a foundation for Smith and many other prominent musicians who came from Houston. By featuring fellow Houston luminaries Moran and Harland, Smith captures the city’s sound, community, and spirit, showcasing how it shaped each musician in unique ways.
An Ensemble of Mastery and Chemistry
The quartet featured on three of us are from Houston and Reuben is not brings together musicians whose talents and histories merge to create an extraordinary synergy:
Jason Moran (piano): A highly respected pianist and composer, Moran has carved out a distinct niche in the jazz world with his innovative and often genre-defying approach. A fellow Houstonian, Moran shares a deep connection with Smith, both as a musician and a friend. His contributions to this album underscore the dynamic range and emotional depth that are hallmarks of his playing.
Eric Harland (drums): Known for his versatility and rhythmic precision, Harland is another product of Houston's vibrant jazz scene. His drumming adds an intricate yet grounding element to the album, weaving in Houston’s rhythmic sensibilities with finesse. Harland’s intuitive interplay with both Smith and Moran reveals a shared musical language that has been shaped by years of shared experience and mutual respect.
Reuben Rogers (bass): Despite the joke in the album title, Rogers’s playing is anything but an outsider’s contribution. Hailing from the Virgin Islands, Rogers brings his own unique cultural and musical influences, grounding the quartet’s explorations with his masterful bass work. Rogers has collaborated with Smith on various projects, and his connection with the other members is evident in the album’s fluidity and seamless transitions.
Musical Explorations and Highlights
Smith’s three of us are from Houston and Reuben is not is a testament to his ability to compose and interpret music with emotional nuance and technical skill. The album blends traditional jazz elements with modern improvisation and unexpected rhythmic patterns, pushing the boundaries of jazz in compelling ways. Each track carries the mark of Smith’s distinct tone and approach, characterized by a blend of lyricism, exploration, and deep-rooted musicality.
Some standout tracks include:
"Bayou Blues" – A nod to the Gulf Coast heritage of Houston, this track is a bluesy, atmospheric piece that captures the essence of Southern jazz. Smith’s saxophone lines are sultry and smooth, evoking the mood and soul of Houston’s jazz scene, while Harland’s drumming keeps a steady, pulsing beat.
"Houston Homage" – A more abstract piece, “Houston Homage” delves into avant-garde territory. Smith and Moran engage in a spirited dialogue, pushing the boundaries of conventional jazz phrasing and incorporating influences from blues and gospel.
"Reuben’s Groove" – As a tribute to their “honorary Houstonian” bassist, this track allows Rogers to shine with a rhythmic bass solo that transitions seamlessly into a collective improvisation. His Virgin Islands roots are subtly woven into the mix, giving the piece an island-inspired groove that adds a fresh flavor to the album.
"Second Line Stroll" – Inspired by New Orleans jazz traditions, “Second Line Stroll” captures the celebratory energy of the South. It’s a lively, upbeat number that brings out the chemistry of the quartet in full force, with Harland’s drumming leading the way in syncopated rhythms and vibrant percussion.
A Deeply Personal Project
For Smith, three of us are from Houston and Reuben is not is more than just an album; it’s a personal journey that revisits the foundation of his artistic life. The album reflects his reverence for Houston’s jazz community and acknowledges the role it played in shaping not only his musical career but also his approach to collaboration and storytelling through sound. It’s an album that speaks to the universal experience of coming back to one’s roots while embracing new influences.
Continuing the Blue Note Legacy
With his second album on Blue Note Records, Smith adds another layer to the label’s storied history, contributing to its legacy of innovation and excellence in jazz. Following the success of return to casual, which received praise for its sophisticated compositions and modern jazz aesthetic, Smith’s latest effort feels like a natural progression. It’s a deeply reflective and intimate album, echoing the warmth and vitality of his Houston upbringing while pushing jazz forward.
Blue Note has long been known for supporting artists who push boundaries, and Smith’s work with the label exemplifies this commitment. three of us are from Houston and Reuben is not adds depth to both Smith’s discography and Blue Note’s catalog, solidifying his position as one of today’s leading saxophonists.
The Broader Impact of three of us are from Houston and Reuben is not
In an era where jazz is constantly evolving, Smith’s music serves as a reminder of the importance of honoring one’s origins while embracing global influences. three of us are from Houston and Reuben is not is an album that celebrates diversity, drawing on the rich cultural and musical landscapes of Houston, the Virgin Islands, and beyond. This fusion of backgrounds, combined ith the quartet’s extraordinary talent, makes the album a captivating listen from start to finish.
Whether you’re a longtime jazz aficionado or a new listener, three of us are from Houston and Reuben is not offers something for everyone. It’s an album that pays homage to the past while looking toward the future, pushing the boundaries of jazz and expanding our understanding of what it can be.
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