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| Mel Belli |
Pittsburgh Post-Gazette (Pennsylvania)
April 16, 2007
SAX PLAYER SWINGS THE STONES
By Rick Nowlin
Ever wonder how Rolling Stones songs would sound in a jazz context?
Thanks to Stones backup saxophonist Tim Ries, who switched between tenor and soprano, the audience at the Manchester Craftsmen's Guild got a chance to find out Saturday night.
Truth be told, they sounded pretty good -- not a clunker among the repertoire -- and the band was first-rate as well.
Perhaps not surprisingly, the "Rolling Stones Project" opened with the classic "Satisfaction," Ries starting out on piano and later playing the theme on tenor but -- as jazz arrangements often do -- substituting chords just to spice things up a bit. "Gimme Shelter" contained all kinds of colors, with a rubato, a cappella opening from bassist Thomas Bramerie and a languid solo from trombonist and fellow Stones band member Michael Davis, who throughout the evening displayed about as much range on his horn as Ries's tenor.
Ries and company switched up "Angie" into Indian-influenced 15/8 meter -- that version will be included on an upcoming fall release of Ries-inspired world-beat arrangements of Stones music -- that slightly recalled Spyro Gyra and allowed drummer Clarence Penn to stretch out a bit.
Guest vocalist Bernard Fowler nearly stole the show with dramatic renditions of several songs.
Arguably the best of them was a swing, then shuffle rendition of "Honky Tonk Woman," with Fowler actually harking back to the Stones' confessed roots in Chicago blues. Guitarist Ben Monder contributed an amazing solo comprising almost exclusively chords.
Fowler also carried "Ruby Tuesday," accompanied only by Monder and Ries, on soprano; and "Wild Horses."
I especially enjoyed the heretofore obscure, Keith Richards-penned, midtempo "Baby, Break It Down," delivered by Fowler and with Ries adding background vocals.
The closing number was a funk-flavored untitled Ries original that nevertheless recalled the Crusaders, what with the frontline of Ries and Davis at one point trading off toward the end.
The encore offered a finger-style classical opening courtesy of Monder and became "Paint It Black" in 7/8 meter.
My only complaint was the overall sound -- it seemed that Penn overpowered everyone else, especially Monder, at times.
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| Saint Sway |
many of the horn section afficianado's on Shidoobee say that the Kent Smith shows with blow the Tim Reis shows away.
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| fireontheplatter |
this show would probably put me to sleep...but i would go anyway if it was in my town. |
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| Mel Belli |
Interesting choice to play "Baby Break It Down." Notice the reviewer says "Keith-penned." Did the players mention that onstage, or does the writer own Voodoo Brew/Stew? |
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| mmdog |
That gig came about, from the Stones trip to Pittsburgh in '05. Watts and Ries went to a jazz show at the Manchester Guild, and Ries had to get up on stage and take the place of somebody who was taken away in an ambulance. |
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| Saint Sway |
quote:
fireontheplatter wrote:
this show would probably put me to sleep...
I've heard that Michael Davies' trumpet renditions of Stones songs is transcendant and not to be missed |
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| Bruno |
quote:
Mel Belli wrote:
Interesting choice to play "Baby Break It Down." Notice the reviewer says "Keith-penned." Did the players mention that onstage, or does the writer own Voodoo Brew/Stew?
Itīs nice to see they value it, one of the best songs in VL IMO. Nice chorus and Ronnieīs work is so beautiful. It is Mickīs, isnīt it?
It is also a good tune to play in the acoustic guitar. |
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| Mel Belli |
quote:
Bruno wrote:
Itīs nice to see they value it, one of the best songs in VL IMO. Nice chorus and Ronnieīs work is so beautiful. It is Mickīs, isnīt it?
It is also a good tune to play in the acoustic guitar.
Primarily a Keith song. Mick filled out the verse lyrics, streamlined the melody. |
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