The Reese Project employs a larger variety of musical palettes than many other jazz combos, most notably from flutist front man Tom Reese. In addition to his energetic leads on the instrument in the album’s opener “On the Flipside” to his rapid tonguing and pitch bending in “Almost Wednesday,” Reese also masterfully plays the alto flute on the “King Duncan’s Groove” This cool, smooth Mancini-esque tune also features cellist Laurie Haines Reese. The cello thankfully does not make the midrange of the music heavy, but rather serves its purpose wonderfully by providing the running bass line when plucked. However, because the cello has a nice deep resonant sound, it provides lovely solos when bowed as well and Laurie Haines Reese executes both styles artfully.
Worldly influences are added to The Reese Project with Tom Reese’s exotic Lakota Indian flute on “Blue Man.” The solos are traded with guest keyboardist Kirk Reese in this mid-tempo number. Tom Reese then switches to the pennywhistle in the island jam “St. Anne’s Reel” trading solos with the bowed cello. Guitarist Bobby Brewer unfortunately chips away at the luster of the piece with a less than stellar solo. He thankfully redeems himself in the funky “Risie Patate” with a full sound and occasional wah peddle. His electric performance in the ethereal new age tune “Ijiki” is also noteworthy. Drummer Aaron Walker consistently keeps time whether he is riding the high hat or playing independent of his band mates as in the closer “Shaken, Not Stirred” which features tight playing from the entire ensemble with rapid cut-offs and delayed entrances.
In This Just In, funk, blues, Latin calypso, eclectic, jazz standards and classical influences abound. This vast menagerie of musical tastes makes The Reese Project’s fifth album another fine collection of smooth jazz with its own unique set of flavors that gives them a broader appeal to music aficionados of many genres.
Reviewed By Kelly O’Neil
