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| 1. | Stompin' Grounds
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| 2. | Lester
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| 3. | Webb City
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| 4. | Bieja Floor
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| 5. | Final Answer
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| 6. | There's No You
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| 7. | Arts & Crafts
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| 8. | Old Gospel
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| 9. | Love Walked In
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| 10. | All Through The Night
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Jazz
Post-Bop
Recorded: Oct 2, 2000
Matt Wilson (drums); Terrell Stafford (trumpet); Larry Goldings (piano); Dennis Irwin (bass)
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.
For his fourth Palmetto CD, Matt Wilson sends his regular quartet on a brief vacation and recruits Terell Stafford on trumpet, Larry Goldings on piano (not organ), and Dennis Irwin on bass. Previous efforts with the Matt Wilson Quartet and with Dewey Redman have gained Wilson a left-of-center reputation, but on Arts and Crafts the drummer confounds expectations altogether. He begins with Rahsaan Roland Kirk's "Stompin' Grounds," a no-frills ride through "Stompin' at the Savoy" changes. Two tracks later, the band runs down Bud Powell's "Webb City," packing an enormous punch without exceeding four minutes. But just when it seems this might be a bebop record, the band puts a boogaloo spin on Ornette Coleman's "Old Gospel" and throws yet more curves on Wilson's three adventurous originals. "Lester," written in honor of the late Lester Bowie, develops into a slow shuffle blues; "Final Answer," a diatonic free bop theme, features Goldings challenging the ears with some bracingly "outside" playing; and the title track, a slow groove, again finds Goldings reaching in subtle but marked contrast to the superb bop playing he does elsewhere on the disc. (Indeed, Goldings' presence is one of the album's biggest draws, not least because his outings on acoustic piano are so rare.) Back in straight-ahead mode, the group offers George Gershwin's "Love Walked In," Hal Hopper's "There's No You," and Nelson Cavaquinho's bossa classic "Beija-Flor." The disc wraps up with a soothing, simple arrangement of the folk melody "All Through the Night." On balance, this could be considered Wilson's most straight-ahead record yet, but it's clearly not Wilson's intention to fit neatly into any category. If anything, with Arts and Crafts he seems to insist, quite eloquently, that musicians need not declare allegiance to any of jazz's warring camps.
---David R. Adler, allmusic |
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