The Rolling Stones Project

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

Barnes & Noble

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

All Music Guide

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