Tim Ries

The second Tim Ries Rolling Stones Project is more of an ethnic/world fusion effort than rock tunes turned into jazz vehicles. Recorded over a four year period at numerous studios in distant locales, Ries has assembled a dizzying list of collaborators in various bands for every track of this two-CD set, reflecting his travels with the Stones, and his love for musics not restricted to two-beat rock and simple repeated riffs. An expansive concept fills up the nooks and crannies of every song, extrapolating on the possibilities of what these tunes might sound like when wielded by Portuguese, Latino, East Indian, Spanish, African, or American rhythm & blues performers. It's easy to recognize the framework of these familiar catchy refrains that Ries twists into intricate pretzel shapes, that sometimes one has to listen closely to identify -- but not too terribly much. Vocalist Bernard Fowler takes the lion's share of identifying the famous "Miss You" done as a mysterious contemporary jazz waltz, turns "Baby Break It Down" -- led out by guitarist Keith Richards -- into a smooth funk that Tina Turner would approve, and codifies the ballad "Fool to Cry" over the Parisian feel of Gary Versace's accordion. Fado singer Ana Moura delicately works old-school American R&B into a Nigerian/Portuguese mix, then in rock 'em, sock 'em fashion for "Brown Sugar," and is singing sweetly during "No Expectations" with Ries on piano opposite two acoustic guitars. Mick Jagger appears on "Hey Negrita," more "hey" on his bluesy harmonica than under the "negrita" of African Tuareg pioneers Tidawt. Eddie Palmieri and members of his group turn "Under My Thumb" into a hot montuno with the stellar vocalist Herman Olivera, and a mix of Jewish, Portuguese, Spanish, Arabic, German, or French lyrics, and a little rap, flows through "Salt of the Earth." A second video enhanced CD features an expressive flamenco flavored "Jumpin' Jack Flash," Badal Roy and Ben Monder on tablas and electric guitar respectively, trading exotic ideas on the hip contemporary jazz styled "Angie," and Milton Nascimento singing proper English lyrics to "Lady Jane" over an intricate chart that sounds inspired by Argentinean composer Guillermo Klein. There are two instrumentals; the cooking neo-bop infused "You Can't Always Get What You Want" led by bassist James Genus, featuring drummer Jack DeJohnette, electric guitarist Bill Frisell, and organist Larry Goldings, and the rousing funky Ries original "A Funky Number" recalling early Brecker Brothers with David Sanborn cum the original Saturday Night Live Band, spiced up with organ and Fender Rhodes piano. Ries plays a fine emotional soprano saxophone on many selections, especially on solos, and is underrated as an individualist. Trombonist Michael Davis is a contributing voice, Charlie Watts is the drummer on five tracks, with Chuck Leavell, Mike Holober and Franck Amsallem playing piano here and there. This is an extraordinary effort, conceptually and in terms of sheer talent, but if too many clichéd cooks spoil the broth, this multi-cultural stew and brew is peppered, garnished, and simmered to near perfection. ~ Michael G. Nastos, All Music Guide