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| 4.460 Ft
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| 1. | Thank You Billy Higgins
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| 2. | Swimming in the Trees
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| 3. | Cooperation
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| 4. | Free Willy
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| 5. | Wall Shadows
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| 6. | Raga
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| 7. | Code Yellow
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| 8. | Humidity
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| 9. | Don't Blame Me
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| 10. | Our Delight
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| 11. | All My Chidren
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| 12. | Beginning of a Memory
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Jazz
Post-Bop
Avant-Garde Jazz
Recorded: Mar 13, 2002-Apr 1, 2002, Maggie's Farm, Buck's County, Pennsylvania
Matt Wilson Quartet
Jeff Lederer (clarinet, soprano saxophone, tenor saxophone, hand bells); Andrew D'Angelo (bass clarinet, alto saxophone, hand bells); Yosuke Inoue (double bass, bass guitar, hand bells); Matt Wilson (drums, percussion, hand bells, chimes). Additional personnel: Felicia Wilson (violin); John Carlson (trumpet); Curtis Hasselbring (trombone)
A band like this allows the music to go places and courageously goes along for the ride. While the destinations are of importance, how we get there is often what's most rewarding. Smooth roads, bumpy roads, beautiful landscapes, weird detours and nice surprises all combine here for THE SCENIC ROUTE. We hope you enjoy the journey!" Matt comments about the recording.
Matt contributes four unique tunes including "The Scenic Route," "25 Years of Rootabagas," "Feel the Sway," and "In Touch with Dewey."
Also included are Ornette Coleman's "Rejoicing," Bobby Hutcherson's "Little B's Poem," Pat Metheny's "The Bat," Thelonious Monk's "We See," Donald Ayler's "Our Prayer" which is blended with John Lennon's "Give Peace a Chance" and a swinging version of "Tenderly."
This recording is dedicated to the memory of saxophonist Dewey Redman
(May 17, 1931 – September 2, 2006)
Matt played with Dewey from 1994 to his passing, which happened just prior to the making of the album. Matt remembers Dewey fondly: "Dewey was a special musician whose sound and openness to all kinds of music made playing with him a treat. He was an incredible man and I loved him dearly."
One of the most versatile and touted drummers in jazz, Matt Wilson is known for mixing things up and infusing his music with intelligence, humor and non-stop energy. A favorite of the college/progressive music crowd, he raps, recites Carl Sandburg's poetry to his music and is known to wear wigs from time to time. Wilson can play one night with Ohad Talmor's out MOB Trio and then keep rhythm the next for straight-ahead pianist, Bill Mays.
A composer, bandleader and an educator, Wilson's versatility extends to his own bands. His last CD, Humidity, featured his most well-known group, the Matt Wilson Quartet, a formation of two saxophones, bass and drum. The CD was universally praised by NPR's "Fresh Air," The New Yorker Magazine and other prominent national outlets.
Matt Wilson is the sort of jazz musician who insists on keeping his options open. The flexible drummer/percussionist is comfortable in straightahead situations, but he is also well acquainted with the pleasures of the avant-garde--and Humidity falls into that category. This 2002 date finds Wilson favoring an inside/outside approach, and he does so while leading a pianoless quartet that includes two reedmen (Andrew D'Angelo and Jeff Lederer) and bassist Yousuke Inoue (who is heard on both the acoustic and electric models). Three other musicians are listed as "very special guests"--violinist Felicia Wilson, trumpeter John Carlson and trombonist Curtis Hasselbring--but the members of the quartet are the main players. Humidity gets off to a very Ornette Coleman-influenced start with the opener "Thank You, Billy Higgins," which recalls the late Higgins' work with Coleman's trailblazing quartet of the early '60s. And the Coleman influence is equally strong on "Swimming in the Trees". But Humidity is far from a Coleman tribute album; after acknowledging the saxman's work on the first few selections, Wilson moves on to other things--and they range from a Middle Eastern-influenced jam titled "Raga" to the AACM-like "Cooperation" (which uses space in a way that would be appropriate for an Anthony Braxton or Roscoe Mitchell disc). Although Wilson's own material dominates the CD, he does interpret two well known standards: "Don't Blame Me" and Tadd Dameron's "Our Delight". But instead of playing them the same old bebop/hard bop way, Wilson comes up with interpretations that are angular and quirky. Myopic bop snobs will accuse Wilson of heresy and insist that he is defiling sacred ground, but thankfully, Wilson knows better than to be swayed by dogmatists--and that attitude serves him well on this fairly unpredictable avant-garde effort.
---Alex Henderson, allmusic |
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