Dr. Thomas R. Erdmann, Elon University for jazzreview.com.

Smith is a musician who performs in a manner that can truly be described as beautiful. His percussive thrust behind oft overlooked yet critically praised trumpeter John McNeil's excellent This Way Out (Omnitone), sends that small ensemble, and McNeil's playing in particular, into some wildly exciting and rarely traversed territory. In particular, Smith's sensitivity to find colors that both compliment and stylishly ring out from the group on slower numbers make him a musician of the highest caliber. With Melodic Workshop Smith further develops his work in this area.
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Andrew Rowan, All About Jazz (New York)

Joe Smith's Melodic Workshop begins with a joyful piano-bass-drum fanfare that leads to a long-lined theme, motored by an almost martial drumbeat. "Shroo" is grand and generous in its scope. Jazz to be sure, but not the traditional kind. Free of more conventional metric considerations, the musicians make the most of the occasion to improvise thematically.

In contrast, "Rebel" has a more regular rhythm and, with closely voiced horns in the exposition spelling out its harmonies, a more easily recognized improvisatory roadmap. Gorka Benitez's flute and Bill McHenry's tenor spark the mood.

The Fender Rhodes piano lends a darkly inviting sheen to "Sasa Sings" that works well with the horns' opening drone-like notes. Chris Lightcap's undulating electric bass lines propel the saxophonists' sometimes jagged, sometimes flowing lines. Smith's energetic drumming leads back to the two tenors working in unison, sans accompaniment. "Gulp" opens with the feel of a noir film theme but soon moves into a free association that, while musically ingenious, never seems to cohere, at least emotionally.

Then, there is "Sassy," a fun, tuneful takeoff on soul-laced rock. This probably will not be heard in dance clubs, but a dance could be worked out to fit its jaunty, off-centered rhythms. "Y (No Tengo Dinero)" and "Long" offer some of the most focused playing on the session. Their sensuous melodies and settings bring out impassioned solos from all the players.

Beautifully voiced and recorded vocals by Coda are added on "Sad," another pensive theme, and a gorgeous one too. The only problem is that the programming of these three melodies, one after the other, ends the CD with a long, rather somber mood.

Touches of Carla Bley and even Jane Ira Bloom peek out from time to time. But Joe Smith has crafted a recording that is original. While it's probably not for the tastes of die-hard purists, others may want to take a listen.

Larry Appelbaum, in the Drum Beat section of the 11/02 issue of JazzTimes.

It's a little hard getting a handle on Joe Smith or his new record Happy (Fresh Sound New Talent). There are no real liner notes with the CD, just feltmarker drawings, thanks and credits. Smith's Web site is no help either. So, even though this is a new group of virtually unknown younger players, they must assume that everything worth knowing about them is in the music, right? Hmm, so what can we tell? Well, the title track is reminiscent of 1960s' Blue Note crossover tunes with some off-kilter changes. Another Smith original, "Duet Now," may not be jazz but it's improvised, sounds vaguely Asian and swings. "Sing a Song" by bassist Giulia Valle is in 7/8 and reminiscent of Ornette Coleman's haunting "Lonely Woman." Tenor saxophonist Bill McHenry, the featured soloist on this disc, contributes his own "Time," with its smeary melody and ragged unisons, and trumpeter Benet Palet digs in on "Nic's Night," which starts conventionally, then rocks out after the drum solo. Smith and cohorts then wrap things up quite nicely with the hip, furry blues, "Funny Bunny." OK, so some of the titles may be a bit too cute and there's no real context to help new listeners understand, but this is a group that plays pretty well, shows real promise and bears watching.

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David R. Adler, All Music Guide.

Drummer/composer Joe Smith had a couple of projects in the can when Happy, his official debut, was released. It features a fine quintet, with Bill McHenry on tenor sax, Benet Palet on trumpet and flute, Joan MonnŽ on piano, and Giulia Valle on bass. The writing is strong and varied, the group's interplay adventurous and playful ("Happy" is in fact a good title). Among Smith's six originals are the quirky, quasi-rock title track, the ambitious "Motion of Slow," and the brightly swinging "Nic's Night." McHenry weighs in with the piano trio ballad "Lady Friend" and two freer pieces, "Ahora" and "Time." And Valle contributes the two-part "Sing a Song," an amazingly well-constructed piece that contains some of the best soloist/rhythm section dialogue on the date. The band displays not only superior musicianship but also a strong and engaging personality. Kudos to the leader for knowing just how to bring it out.