Walter Smith III: Twio Vol. 2

Walter Smith III is a deceptive musician. His deep jazz roots and distinctive tenor saxophone tone mask a technique that is both complex and understated. Smith rewards attentive listeners; his mastery lies in refinement rather than display.

One of the pleasures of following Smith's career is hearing him change. Though no longer a young newcomer, he continues to evolve. His tone and timbre have matured, his rhythmic command has become more supple, and his avoidance of theatrics has deepened. The earlier harshness in his sound has softened, replaced by a more nuanced harmonic approach. None of these shifts have been abrupt. Today, his playing carries a playful and joyful freedom. Over the years, he has absorbed lessons from collaborators such as Terence Blanchard, Jason Moran, Herbie Hancock, and Joshua Redman.

For his third Blue Note release, Smith revisits the Twio concept. The new album features bassist Joe Sanders and drummer Kendrick Scott, with special appearances by Ron Carter and Branford Marsalis. It is a lineup that reflects both lineage and renewal—an ensemble that embodies Smith's balance of tradition and exploration.

One of Smith's defining virtues is artistic integrity. In an era when commercial pressures often lead artists to compromise, he remains steadfast in his pursuit of authenticity. His music is never about mere virtuosity; it is about emotional communication, subtle exploration, and genuine dialogue with his listeners. Whether leading his own groups or working alongside jazz luminaries, Smith brings a sincerity that deeply resonates.

He subscribes to an adage attributed to Dizzy Gillespie: "You have to have one foot in the past and one foot in the future." That captures Smith's artistic equilibrium—innovation within tradition. Albums such as Still Casual (Whirlwind Recordings 2021) and Twio (Whirlwind Recordings, 2018) exemplify this ethos, blending reverence for jazz history with a forward-looking imagination. He experiments with form, harmony, and rhythm, keeping the music fresh without losing its soul.

"My Ideal" features strong bass support from Joe Sanders. Smith's solo moves velvetly from note to note, reminiscent of a seasoned vocalist gliding through phrasing and rhythm. He is a master of the tenor's middle register, often constructing solos within the instrument's 'speaking range,' which gives his playing a conversational, vocal intimacy.

"Casual-Lee" initially sounds like a display of virtuosity as Marsalis and Smith race through lines that recall the cool agility of Lee Konitz and Warne Marsh. Yet the speed never feels showy. The fast runs have a liquid smoothness—calm, lyrical, and flowing even at high velocity.

Carter's performance on "Isfahan" reveals his characteristic sensitivity, harmonic intelligence, and poise. He blends seamlessly with Smith while maintaining his own voice. Together, they bring out the delicate emotional shades of Billy Strayhorn's composition, originally titled "Elf" before becoming part of The Far East Suite (RCA 1966). Smith's reading is imaginative, finding subtleties that even Johnny Hodges might have missed. The duo's interpretation sustains and renews the power of tradition.

Carla Bley's "Lawns," with its deceptively simple melody, tests a musician's subtlety. Smith, Carter, and Scott move through it with grace and delicacy. Scott's drumming suits the composition's stately character, while Carter anchors Smith's lyrical variations. The tonal nuances Smith reveals here are deeply expressive.

On Thelonious Monk's "Light Blue," a lesser-known gem, Smith's rhythmic sensibility shines. Listening alongside Monk's own recording clarifies his achievement: he smooths out the tune's internal edges, overlaying his interpretation with supple phrasing and tonal warmth. The result feels both relaxed and assured.

Smith's fondness for words like "casual" in his titles is often read as self-aware humor. He indeed makes music of great complexity sound relaxed and effortless. His sound is fluent and sinewy—flexible and continuous, much like the human voice's ability to slide and shape tone rather than merely strike isolated notes.

This album confirms Smith as a major voice in modern jazz—an artist pointing, with quiet confidence, toward a new way forward.

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