Personnel: Tim Ries (tenor saxophone, piano); Lisa Fischer, Milton Nascimento (vocals); Kazumi Watanabe, Keith Richards (guitar); Ronnie Wood (lap steel guitar); Mick Jagger (harmonica); Terumasa Hino, Brian Lynch (trumpet); Chuck Leavell (piano); Larry Goldings (organ); John Patitucci (bass instrument); Jack DeJohnette, Charlie Watts (drums); Badal Roy (tabla).

The project may seem odd at first: jazz and world music fusion covers of Rolling Stones songs? Yet saxophonist Tim Ries, a decade-long member of the Stones' touring band, fulfills his aim admirably. Gypsy music, gospel, African rhythms, flamenco, fado, Afro-Brazilian, salsa, and nearly every other music from around the world, are thrown in the blender for takes on "Jumpin' Jack Flash," "Brown Sugar," "You Can't Always Get What You Want," and other classics from the world's greatest rock-&-roll band. Even more impressive is the guest roster for these sessions, which includes Milton Nascimento, Eddie Palmieri, Jack DeJohnette, Bill Frisell, and the Rolling Stones themselves.

The second Tim Ries Rolling Stones Project is more of an ethnic/world fusion effort than rock tunes turned into jazz vehicles. Recorded over a four year period at numerous studios in distant locales, Ries has assembled a dizzying list of collaborators in various bands for every track of this two-CD set, reflecting his travels with the Stones, and his love for musics not restricted to two-beat rock and simple repeated riffs. An expansive concept fills up the nooks and crannies of every song, extrapolating on the possibilities of what these tunes might sound like when wielded by Portuguese, Latino, East Indian, Spanish, African, or American rhythm & blues performers. It's easy to recognize the framework of these familiar catchy refrains that Ries twists into intricate pretzel shapes, that sometimes one has to listen closely to identify -- but not too terribly much. Vocalist Bernard Fowler takes the lion's share of identifying the famous "Miss You" done as a mysterious contemporary jazz waltz, turns "Baby Break It Down" -- led out by guitarist Keith Richards -- into a smooth funk that Tina Turner would approve, and codifies the ballad "Fool to Cry" over the Parisian feel of Gary Versace's accordion. Fado singer Ana Moura delicately works old-school American R&B into a Nigerian/Portuguese mix, then in rock 'em, sock 'em fashion for "Brown Sugar," and is singing sweetly during "No Expectations" with Ries on piano opposite two acoustic guitars. Mick Jagger appears on "Hey Negrita," more "hey" on his bluesy harmonica than under the "negrita" of African Tuareg pioneers Tidawt. Eddie Palmieri and members of his group turn "Under My Thumb" into a hot montuno with the stellar vocalist Herman Olivera, and a mix of Jewish, Portuguese, Spanish, Arabic, German, or French lyrics, and a little rap, flows through "Salt of the Earth." A second video enhanced CD features an expressive flamenco flavored "Jumpin' Jack Flash," Badal Roy and Ben Monder on tablas and electric guitar respectively, trading exotic ideas on the hip contemporary jazz styled "Angie," and Milton Nascimento singing proper English lyrics to "Lady Jane" over an intricate chart that sounds inspired by Argentinean composer Guillermo Klein. There are two instrumentals; the cooking neo-bop infused "You Can't Always Get What You Want" led by bassist James Genus, featuring drummer Jack DeJohnette, electric guitarist Bill Frisell, and organist Larry Goldings, and the rousing funky Ries original "A Funky Number" recalling early Brecker Brothers with David Sanborn cum the original Saturday Night Live Band, spiced up with organ and Fender Rhodes piano. Ries plays a fine emotional soprano saxophone on many selections, especially on solos, and is underrated as an individualist. Trombonist Michael Davis is a contributing voice, Charlie Watts is the drummer on five tracks, with Chuck Leavell, Mike Holober and Franck Amsallem playing piano here and there. This is an extraordinary effort, conceptually and in terms of sheer talent, but if too many clich‚d cooks spoil the broth, this multi-cultural stew and brew is peppered, garnished, and simmered to near perfection. ~ Michael G. Nastos

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

Down Beat (p.75) - 3.5 stars out of 5 -- "[F]ull of exciting twists and turns...a marvel of production and logistics..."

JazzTimes (p.94) - "Ries' session work includes artists from Maynard Ferguson and Maria Schneider to Paul Simon and Sheryl Crow, and he creates highlights by staying close to his jazz and pop sensibilities."

Mojo (Publisher) (p.125) - 4 stars out of 5 -- "Treatments vary from full-on lengthy jazz breakdowns of 'Paint It Black' and 'Gimme Shelter' to a samba party 'Streetfighting Man'."