RAY COMISKEYreviews Tim Ries Bernard Fowler: The Rolling Stones Projectat the Mermaid Arts Centre, Bray.

For anyone raiding the repertoire of the Rolling Stones for jazz purposes, Tim Ries is equipped for the job. The tenor and soprano saxophonist has a dozen years’ experience of backing Mick Jagger and company on tour; and to do the vocals he had a fellow American, Bernard Fowler, with 20 years of working with the Stones behind him.

With that background, serial deconstruction of the material was never going to happen, but, for a user-friendly jaunt over the repertoire, Ries and Fowler make a potent enough package. Ries, who also did some work on keyboard, is a capable jazz soloist, while Fowler has the soulful voice, timing and presence to deliver what the songs require.

Well backed by Hugh Buckley (guitar), Dan Bodwell (bass) and Shane O’Donovan (drums), that is what they did. Ries’s arrangements were largely functional, with enough spice to keep the musicians on their toes – something the very limited rehearsal time also did – but they offered plenty of space for solo work by himself and Hugh Buckley, with occasional spots for Bodwell and O’Donovan.

Stones fans, too, in the audience would have been reassured by Fowler's opening vocal on Honky Tonk Womenand O'Donovan's insistent shuffle rhythm, while the jazz was taken care of in the tenor, guitar and bass solos. It set the pattern for the concert and, despite an uncertain start to an unusual arrangement of Keith Richards' Lady Jane, as the quintet settled in, the groove grew more relaxed.

That helped Fowler's emotive vocal on Wild Horses, while Paint It Black, which included a solid soprano solo, gave Buckley a chance to shine. And Miss Youdid the same for Shane O'Donovan in an arrangement first conceived by Ries as a showcase for the Stones' drummer (and jazz fan), Charlie Watts.

With Keith Richards' Baby Break It Down, Miss Youwas part of a brief second set, which finished with the Stones' signature piece, a declamatory and bluesy (I Can't Get No) Satisfaction. It was an undemanding wallow in nostalgia, but skilfully done and, on its own terms, enjoyable.