Walter Smith III brings a spontaneous flair to his album titles, with previous releases like “casual” and “return to casual.” His latest, “Three of Us Are From Houston, and Reuben Is Not,” continues this trend while showcasing a vibrant ensemble on his second Blue Note release. This album not only honors his Houston roots but also marks Smith’s first time leading this group, which includes pianist Jason Moran, drummer Eric Harland, and bassist Reuben Rogers from the Virgin Islands. While Smith is younger, all four musicians share a connection through Kinder High School for the Performing Arts, a well-known jazz training ground.
The album emphasizes a more instinctual compositional approach compared to “return to casual.” The opener, “Seesaw,” embodies the duality of evaluating career paths while reflecting on the influence Moran and Harland had on Smith during high school. The piece flows through Smith’s lead, allowing his bandmates to embellish and improvise seamlessly.
Another highlight, “Gangsterism on Moranish,” pays tribute to both Smith’s earlier work and Moran’s own “Gangsterism” series. Here, Smith engages in a thoughtful dialogue with Moran before unveiling familiar themes from his past album. Throughout, Smith skillfully navigates his instrument, adjusting his volume to spotlight his collaborators, particularly Moran, whose unexpected notes add depth.
The quartet explores themes from high school life, as seen in the brief Ornette-like piece “24,” a nod to Smith’s pager code number. The contemplative ballad “Misanthrope Hymn” also reflects his educational experiences, with Moran’s rich chords echoing the intellectual spirit behind the composition.
The album also draws on Houston itself. “Cezanne” is named after a popular jazz club where Smith spent time in the late ‘90s, while “610 Loop” references the city’s interstate, featuring cyclical sections that create a hypnotic feel. The closing track, “Lone Star,” cleverly evokes Houston’s cultural richness through its country-inspired strains.
In addition to these themes, the close collaboration between Smith and Moran shines in the free jazz piece “A Brief Madness,” alongside the quartet’s rhythmic interpretation of Sam Rivers’ “The Point of Many Returns.” The humorous track “Office Party Music” adds a lighthearted touch, inspired by the psychological thriller TV series Severance.
With Charles Lloyd’s trio supporting him, Smith’s inventive writing and playing are sure to captivate audiences, offering a fresh perspective on these talented musicians.
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