[8][6] During this time he performed tirelessly, often with expatriate US jazz musicians, including Don Byas, Kenny Clarke, Frank Foster and Thad Jones.
[14] In 1955 Hall assumed responsibility for overseeing the revival of Decca's subsidiary, Tempo, quickly recording, producing, and issuing sessions by Reece, as well as many of his London contemporaries, such as Tubby Hayes and Victor Feldman.
[4] Reece did not produce another solo record in the 1960s,[26] instead concentrating on his sideman dates and his composing, the latter of which included the creation of the Contemporary Jazz Drum Suite (1966),[5][8] a piece written entirely for percussion.
However, this session went unreleased until 2006[31] and his principal playing was instead on sideman dates for the likes of Hank Mobley, Dexter Gordon, and Andrew Hill.
[8] Reece was busier with his solo work in the 1970s, during which time recorded four albums,[32] including Manhattan Project, which featured his best friend, saxophonist Clifford Jordan.
[28] Prior to this Reece issued From In to Out, a live recording demonstrating his experimentation with avant-garde and free jazz and featuring John Gilmore, Art Taylor, and French musicians Siegfried Kessler and Patrice Caratini.
[33] Reece continued his experimental themes in 1977 with two sessions from 1972 and 1973, both which were combined and released as Possession, Exorcism, Peace, notable for featuring an interpretation of Tubular Bells.
[5] Reece has also engaged in autobiographical writing[32] and curates numerous live recordings arising from the NYC Jazz Festival, an event he helped to establish in 1979.
[37] With Art Blakey & The Jazz Messengers With Tony Crombie And His Orchestra With Victor Feldman With Dizzy Gillespie With Dexter Gordon With Tubby Hayes And His Orchestra With Andrew Hill With Philly Joe Jones With The In-Town Jazz Group With Clifford Jordan With Duke Jordan With Art Matthews With Hank Mobley With Gerry van der Klei