Few tenor saxophonists working today possess the commanding presence and expressive clarity of Walter Smith III. Known for his powerful tone and thoughtful improvisational voice, Smith has steadily built a reputation as one of the most compelling artists in modern jazz. With the release of Twio, Vol. 2, his third album for Blue Note Records, he offers a recording that celebrates both the joy of spontaneous musical conversation and the enduring vitality of jazz tradition.
Smith’s playing has long embodied a delicate balance between modern innovation and deep respect for the lineage of jazz saxophone. His sound is both muscular and articulate, capable of filling a room with resonant warmth while maintaining remarkable nuance. As an improviser, he represents a generation of musicians who continue to evolve the language of jazz organically—absorbing the wisdom of past masters while shaping new directions for the music’s future.
Throughout his career, Smith has had the opportunity to learn from some of the genre’s greatest figures, including trumpeter Terence Blanchard and legendary drummer Roy Haynes. Those experiences helped refine his musical voice and reinforced a philosophy of constant exploration that continues to guide his work.
Over the past two decades, Smith has also become part of a remarkable cohort of forward-thinking musicians who are equally dedicated to composition and improvisation. His creative circle includes artists such as Ambrose Akinmusire, Eric Harland, Jason Moran, Chief Xian aTunde Adjuah, Taylor Eigsti, and Matthew Stevens—musicians who have reshaped contemporary jazz through ambitious original compositions and collaborative experimentation.
Yet Twio, Vol. 2 emerges from a different impulse. Rather than presenting complex new scores or elaborate arrangements, the album reflects a simple but powerful idea: sometimes great musicians just want to play. No extensive rehearsal schedules, no dense charts, and no pressure to master entirely new repertoires. Instead, Smith and his collaborators return to the music that shaped them—songs they have known and loved for years—and allow their shared experience to guide the performances.
At the heart of the album is a tightly knit trio featuring Smith alongside bassist Joe Sanders and drummer Kendrick Scott. Together they form a highly intuitive ensemble capable of navigating both structure and spontaneity with remarkable ease. Their interplay reflects years of musical and personal connection, creating a sound that feels both relaxed and deeply focused.
Adding to the album’s excitement are two extraordinary guest artists. Legendary bassist Ron Carter appears on half of the album’s ten tracks, bringing with him the experience of thousands of recording sessions and a deep connection to the history of modern jazz. Meanwhile, saxophonist Branford Marsalis joins the group on two tracks, creating exhilarating moments where two of the most respected tenor players of their generation engage in spirited musical dialogue.
For Smith, the opportunity to collaborate with Marsalis holds special significance. The saxophonist was a formative influence during Smith’s early years as a musician, shaping his understanding of what was possible on the instrument. Carter, meanwhile, represents a towering figure in jazz history whose guidance during the sessions proved both supportive and creatively challenging.
Rather than simply accompanying the trio, Carter approached the sessions as an active collaborator. His musical philosophy emphasizes listening as much as playing—encouraging fellow musicians to respond to the ideas unfolding around them rather than simply following their own instincts. That approach helped deepen the collective energy of the recordings, reinforcing the album’s central theme of shared exploration.
Twio, Vol. 2 builds upon the concept introduced in Smith’s earlier release Twio from 2018. That first volume featured bassist Harish Raghavan and drummer Eric Harland as the core rhythm section, along with guest appearances by bassist Christian McBride and saxophonist Joshua Redman. Critics praised the album’s stripped-down approach, noting how Smith focused on the essence of jazz improvisation.
The new volume continues that process of artistic distillation. Like its predecessor, the album employs a piano-less trio format reminiscent of classic ensembles led by saxophone icon Sonny Rollins. Without a chordal instrument providing harmonic structure, the musicians enjoy extraordinary freedom to shape the music collectively. Every note played by the bass or saxophone subtly influences the harmonic direction, while the drums guide the ensemble’s rhythmic pulse.
When Marsalis enters the picture, the dynamic becomes even more compelling. The interaction between two tenor saxophonists can easily descend into competitive showmanship, but the performances here reflect something far more nuanced. Instead of battling for attention, Smith and Marsalis engage in a musical conversation built on mutual respect and shared curiosity.
Equally notable is the album’s thoughtfully curated repertoire. Rather than relying on the most frequently performed jazz standards, Smith selected songs that exist on the edges of the traditional canon—pieces familiar enough to provide structure yet open enough to encourage reinterpretation.
Many of these compositions have personal significance for Smith. Songs like “My Ideal,” “I Should Care,” and “Circus” represent melodies and harmonic frameworks that have accompanied him throughout his musical development. Revisiting them in a trio setting allows him to explore their possibilities in new ways.
One particularly inventive moment arrives with “Casual-Lee,” a track featuring both Marsalis and Carter. The piece overlays a newly composed melody onto the harmonic progression of the classic standard East of the Sun (and West of the Moon), creating a bridge between tradition and modern creativity.
Another highlight is “Swingin’ at the Haven,” written by pianist and educator Ellis Marsalis. Smith first encountered the tune on the 1986 album Royal Garden Blues, one of the many recordings by Branford Marsalis that helped shape his musical imagination.
The album also pays tribute to the work of composer Carla Bley with a performance of “Lawns,” a composition Smith revisited through drummer and educator Terri Lyne Carrington and her influential project New Standards: 101 Lead Sheets by Women Composers.
Two additional selections honor composers who have profoundly influenced Smith’s musical thinking. Thelonious Monk’s “Light Blue” offers a playful and structurally rich canvas for improvisation, demonstrating why Monk’s compositions remain among the most beloved in jazz. Meanwhile, “Fall” by Wayne Shorter brings a more introspective mood to the album. For Smith, Shorter’s compositions often evoke distinct emotional landscapes, and performing this piece alongside Ron Carter—who originally recorded it as part of Miles Davis’ famed Second Great Quintet—adds an extra layer of historical resonance.
Other selections reflect Smith’s admiration for saxophone legend Joe Henderson. The Ellington–Strayhorn classic “Isfahan” first captured Smith’s attention through Henderson’s 1992 tribute album Lush Life, which celebrated the compositions of Billy Strayhorn. Henderson’s influence also appears in Smith’s interpretation of “Escapade,” written by trumpeter Kenny Dorham and featured on Henderson’s 1964 album Our Thing.
For Smith, Henderson’s early recordings were transformative. The saxophonist recalls learning his very first jazz tune—Blue Bossa—from Henderson’s landmark album Page One. That experience helped spark his lifelong fascination with the Blue Note catalog and ultimately fueled his desire to record for the label himself.
The resulting album captures a rare balance between spontaneity and mastery. Many of the tracks were recorded in only a few takes, reflecting the trio’s ability to communicate instinctively without elaborate preparation. Instead of carefully planned arrangements, the musicians simply begin playing and allow the music to unfold naturally.
What emerges is a set of performances that feel both exhilarating and deeply comfortable. The musicians respond to one another with remarkable sensitivity, adjusting dynamics, texture, and tempo in real time. Every interaction feels purposeful, yet nothing sounds forced.
In this way, Twio, Vol. 2 offers listeners a glimpse into the living heart of jazz improvisation. It demonstrates how seasoned musicians can take familiar forms and transform them into something vibrant and unpredictable.
For Walter Smith III, the album represents both a continuation of his artistic journey and a reminder of why he fell in love with jazz in the first place. At its core, the music is about connection—between musicians, between past and present, and between the shared experiences that shape the language of improvisation.
No comments:
Post a Comment