Tim Ries

Tim Ries - The Rolling Stones Project - 2005 - Concord Records

There are very few jazz interpretations of Rolling Stone songs, but "The Rolling Stones Project" has certainly made up for that. This critically acclaimed album (Not by all!) features many guest musicians, including Keith Richards, Charlie Watts, Ronnie Wood, Norah Jones, Sheryl Crow, Bill Frisell, John Scofield, Brian Blade, John Patitucci, Larry Goldings and Bill Charlap. There are two problems here, if they are problems. If you are a jazz purist, you may not like to hear these great Rock 'N' Roll classics covered by artists like John Scofield, John Patitucci, or Tim Ries. And if you are a hard core Rolling Stones fan, you may dislike jazz versions of Stones' classics like "Street Fighting Man", "Honky Tonk Women", or "Gimme Shelter". However, the album was given full approval by the band. Keith Richards, Ronnie Wood, and Charlie Watts all participate in this album, and Tim Ries has toured with The Rolling Stones. As a young man, Charlie Watts' was a jazz lover, and always maintained an interest in jazz music. Tim Ries is an extremely talented saxophonist. He has worked with greats like Stevie Wonder, Paul Simon, Blood, Sweat and Tears, and Tony Bennett. Listen to Tim's playing on Donald Fagen's classic "Kamakiriad" album. Check out his "Imaginary Time" album, and his "Stones World: The Rolling Stones Project", and "Stones World: Rolling Stones Project, Vol. 2" albums are also available. And please give "The Rolling Stones Project" a listen. All the tracks are covered brilliantly by world class musicians, and these Stones' classics are well worth hearing in a jazz format

TRACKS

1.(I Can’t Get No) Satisfaction - 6:19
2.Honky Tonk Women [Organ Trio Version] - 4:33
3.Slippin’ Away - 6:41
4.Street Fighting Man - 7:02
5.Wild Horses - 8:01
6.Waiting on a Friend - 7:11
7.Paint It Black - 10:06
8.Honky Tonk Women [Keith’s Version] - 5:33
9.Ruby Tuesday - 3:50
10.Gimme Shelter - 8:39
11.Belleli - 5:25

All songs composed by Mick Jagger, and Keith Richards, except "Belleli", by Tim Ries

MUSICIANS

Keith Richards (Guitar and vocals on track 3; guitar on track 8)
Ronnie Wood (Guitar on track 3)
John Scofield (Guitar on track 1)
Bill Frisell (Guitar on tracks 5, 6, 9 and 11)
Ben Monder (Guitar on tracks 4 and 10)
John Patitucci (Bass on tracks 1, 4 and 10)
Tony Scherr (Bass and vocals on track 5)
Darryl Jones (Bass and vocals on track 3; bass on tracks 6 and 8)
Larry Goldings (Organ on tracks 1, 2, 3 and 8)
Norah Jones (Vocals and piano on track 5)
Bill Charlap (Piano on tracks 1, 7 and 10)
Edward Simon (Piano on tracks 1 and 4)
Robert DiGiola (Piano on track 11)
Clarence Penn (Drums on tracks 1, 4, and 5)
Charlie Watts (Drums on tracks 2, 3, 6, 8 and 11)
Brian Blade (Drums on tracks 7 and 10)
Jeff Ballard (Percussion on tracks 1 and 4)
Mauro Refosco (Percussion on track 4)
Tim Ries ( Tenor sax on tracks 1, 2, 3, 6, 7, 8, 10 and 11; soprano sax on tracks 4, 5 and 9)
Kent Smith (Trumpet and flugelhorn on track 4)
Michael Davis (Trombone on tracks 1 and 10)
Stacey Shames (Harp on track 5)
Sheryl Crow (Vocals on track 3)
Luciana Souza (Vocals on track 4)
Lisa Fischer (Vocals on tracks 6, 8 and 10)
Bernard Fowler (Vocals on track 1)

REVIEWS

Jazz interpretations of popular songs have long been an important part of the jazz experience, but regrettably, that tradition has been plagued by two unfortunate trends in the '90s and the 21st century. At one extreme are the ideologues who believe that worthwhile popular music ended with the George Gershwin/Irving Berlin/Cole Porter era and insist on playing the same old warhorses over and over — and at the other extreme are the smooth jazz players who think that performing note-for-note Muzak covers of Top 40 tunes is creative. But there are some imaginative improvisers who are using rock and R&B songs as vehicles for real, honest to God jazz expression — people like the Bad Plus, England's Claire Martin, and Philadelphia singer Lou Lanza (who paid tribute to the Doors on his excellent Opening Doors album). And on The Rolling Stones Project, tenor/soprano saxman Tim Ries reminds listeners how nicely the Stones' songbook can work in a jazz-oriented environment. This post-bop/soul-jazz effort isn't without its flaws; the opener, "(I Can't Get No) Satisfaction," is ruined by the pointless background vocals of Bernard Fowler, who repeats the song's chorus over and over (without singing the verses) and merely gets in the way of Ries' expressive tenor. But when Ries' largely instrumental Stones tribute is great, it's really great. The saxman soars on an organ combo version of "Honky Tonk Women" (with organist Larry Goldings and Stones drummer Charlie Watts), and Ries is equally imaginative on a Brazilian-influenced arrangement of "Street Fighting Man" and a probing, somewhat Michael Brecker-ish take on "Paint It Black." Singer Norah Jones has a memorable spot on "Wild Horses"; her performance is jazzy pop/rock rather than actual vocal jazz, but she's enjoyably good at what she does. Despite some occasional missteps, The Rolling Stones Project has more ups than downs and is well worth the price of admission. © Alex Henderson, allmusic.com

Saxophonist Tim Ries has made a name for himself over the past decade as a committed and creative jazz player. But he may actually be best known to pop music fans through his association with the Rolling Stones. Touring with the legendary band as a supporting musician, Ries has obviously absorbed the nuances of the their enduring work. He pays tribute to Jaggers, Richards, and company by reworking some of their classic songs, adding jazz and R&B elements to flavor the indelible melodies. Ries has also taken advantage of his access to the upper echelons of both rock and jazz. While his solid tenor and soprano are never far from the center of the mix, he also spotlights on various tracks such A-listers as Keith Richards, Ronnie Wood, and Charlie Watts from the Rolling Stones, as well as hit-making vocalists Sheryl Crow and Norah Jones; jazz luminaries include guitarists John Scofield and Bill Frisell, pianist Bill Charlap, and drummer Brian Blade. While maintaining enough of the original melodic content to satisfy longtime Stones admirers, Ries has also crafted some daring arrangements that lend new life to, among others: “Ruby Tuesday,” here, a lovely Ries-Frisell duet; “Honky Tonk Women,” rearranged as an organ trio workout; and “Slipping Away,” “Waiting On a Friend," and “Gimme Shelter,” which weave shards of the lyrics into the compelling instrumental textures. And best of all is “Wild Horses,” a beautifully executed feature for Norah Jones that frames her delicious and affecting vocal against harp and Frisell’s delicate guitar. Creating fusion at its best, Reis has brought together the worlds of jazz, pop, and R&B with exceptional imagination. © William Pearl, Barnes & Noble

Jazz-radio programmers are going to love this one: "This'll bring listeners to the station-jazz interpretations of Rolling Stones songs! By a saxophonist who toured with the Stones! With Bill Frisell and Norah Jones! And Sheryl Crow! And Ries even got a couple of the Stones to play on it!" Ries had some good ideas: The organ-trio version of "Honky Tonk Women," with Stones drummer Charlie Watts and organist Larry Goldings, puts a raunchy swing on the tune, and "Satisfaction" borrows from Lee Morgan's "The Sidewinder" to swing harder than you might expect, despite the vapid backup vocals. But the CD's better moments have little or no connection to the compositions. The arrangement of "Paint It Black" sounds "lite" until Ben Monder unleashes a nasty guitar solo. Norah Jones trades in the heartbreak of "Wild Horses" for a slick, confident, too-cool delivery. Watts and Keith Richards don't add more than their names to "Waiting on a Friend" wherein the solos happen over a two-chord vamp, ignoring the blowing potential of the theme's chord change. © Mike Shanley, © 1999–2009 JazzTimes, Inc. All rights reserved

TIM RIES BIO

Saxophonist, composer, arranger and producer Tim Ries received degrees from both The University of North Texas (BM) and The University of Michigan (MM). He has had a unique and varied career, which began in 1983 with the great Maynard Ferguson. Since that time, his performing and recording credits include a who’s who of jazz, rock and pop icons: The Rolling Stones (touring from 1999 to the present), Stevie Wonder, Paul Simon, Donald Fagen, Michael Jackson, Blood, Sweat and Tears, Lyle Lovette, and jazz greats Red Garland, Donald Byrd, Hank Jones, Phil Woods, Tom Harrell, Chico Hamilton, Michael Brecker, Joe Henderson, Tony Bennett, Dave Liebman, Al Foster, John Patitucci, Danilo Perez and Maria Schneider. Tim has released seven CDs as a leader. His last two discs, The Rolling Stones Project (Concord) and Stones World (Sunnyside), are his versions of Stones tunes arranged in the jazz and world music genres. Both CDs have drawn rave reviews across the globe. Guest artists featured on these CDs include: all four Rolling Stones, Norah Jones, Sheryl Crow, Milton Nascimento, Bill Frisell, John Scofield, Jack DeJohnette, Lisa Fischer, Bernard Fowler, Larry Goldings, Eddie Palmieri, Brian Blade, flamenco dancer Sara Baras and fado singer Ana Moura. Tim is currently an assistant professor of jazz studies at the University of Toronto and shares his time between New York and Toronto. Tim Ries plays Francois Louis mouthpieces, reeds and ligatures and The Virtuoso tenor and alto saxophones by RS Berkely. © timries.com

MORE ABOUT TIM RIES

Wearing numerous hats and having a deep résumé with plenty of famous names on it is par for the course for top-notch pickup and session musicians. Saxophonist Tim Ries went one better by cultivating a healthy solo career through a series of well-regarded solo albums, respected compositions and arrangements, and a sound Rolling Stone legend Keith Richards described as "amazing." A graduate of the University of North Texas and the University of Michigan, Ries made his recording debut in 1983 on Maynard Ferguson's Live from San Francisco. His love of rock and jazz was first put to record in 1989 when he appeared on Bob Belden's Straight to My Heart: The Music of Sting. Four years later he was a featured name on the album Regards, sharing headlining credits with Franck Amsallem. Moo Records released Ries' first solo album, Imaginary Time, in 1994. Is That So? -- which was also credited as Amsallem/Ries -- was from a 1990 date, but the more abstract record didn't see release until 1996, the same year that Ries appeared on the Grammy-winning Joe Henderson album Big Band. Universal Spirits arrived in 1998 and featured frequent Ries collaborator Billy Drummond on drums. Ries had already done session work for plenty of pop/rock acts by this time (Donald Fagen, Paul Simon, Sheryl Crow, Stevie Wonder, David Lee Roth, and many others), but in 1999 he got his biggest offer yet. While performing for President Clinton at the White House, the cell phone he forgot to shut off began ringing. It was an offer to tour with the Rolling Stones, an offer Ries immediately accepted. After an extensive tour with the Stones, Alternate Side from 2001 reintroduced Ries as a solo artist, but a year later he became a founding member of the Prism Saxophone Quartet, whose debut, Real Standard Time, was released by the Innova label. Another tour with the Stones took up most of his time during 2003-2004 and inspired Ries to write his own jazz arrangements of Mick and Keith's compositions. The results were road-tested on an American tour and then released in 2005 as The Rolling Stones Project on the Concord label. © David Jeffries , © allmusic.com