By Glenn Astarita

Mention Matt Wilson’s name these days and you’re likely to hear enthusiastic responses alluding to his monstrous technique as a drummer and/or his hip and thoroughly modern jazz quartet. Wilson was recently named one of the “25 Rising Stars for the future” in Down Beat magazine and along with his quartet are blazing some refreshingly new trails while melding “older jazz values” with modern jazz tendencies and a splattering of avant-garde for good measure. Here, we took a look at Wilson’s first three recording for the flourishing Palmetto record label.

Wilson’s first CD for Palmetto, As Wave Follows Wave features Wilson’s ex-employers saxophonist Dewey Redman and bassist Cecil McBee along with assistance from fellow Palmetto recording artist, organist Larry Goldings. Here, Wilson and company engage bouncy, light hearted lyricism on the opener, “Free Range Chicken” exemplified by Redman’s enticingly edgy tone and full-speed-ahead phrasing as Wilson illustrates why he is such an accomplished drummer. Simply put, Wilson is “right there” – while maintaining complex rhythmic structures, textbook style swing coupled with his cunning integration of percussion instruments within “fills” that indicate discipline, remarkable speed and overall brilliant execution! Matt Wilson is a true student of jazz drumming as he applies concepts initiated by masters such as Buddy Rich, Philly Joe Jones, Dave Tough and others yet Wilson possesses a well-defined personality behind the kit as a modernist with a vision. A fine composer, Wilson’s composition titled, “Bingo” has an Ornette Coleman vibe, as he employs melodic African style rhythms which may be a nod to the late drummer Ed Blackwell who’s near legendary performances with Coleman, Redman and “Old and New Dreams” are well documented. On this piece, Wilson takes the listener on a tour of modern jazz drumming, complete with a mind-boggling drum solo as he displays incredible control banging out melodic intervals in circular fashion. A venerable rhythm machine, Wilson and the band swing into the land of no return on the title track, “As Wave Follows Wave” as Wilson and Goldings forge ahead into free-jazz territory and along with Redman’s fiery articulations display tons of raw energy through heated soloing and ensemble work. Other highlights include a bluesy, earthy version of the classic “Body and Soul” and McBee’s gorgeous and sonorous upper register plucking on “Sweet Betsy From The Pike”.

Wilson establishes himself as a leader on his second recording for Palmetto, titled Going Once, Going Twice. Here, Wilson along with an extremely potent front line consisting of fellow Palmetto recording artist, saxophonist Joel Frahm, saxophonist Andrew D’ Angelo and bassist Yosuke Inoue, blend post modern bop-ish abstractions with simmering interplay having some capricious fun along the way. Herbie Nichols’ “Chit-Chatting” is a hard ass swing as D’Angelo and Frahm trade viscous “fours” while Wilson accelerates the at times odd-metered pulse coupled with the band’s brief, punctual unison choruses . Wilson’s humorous, “Going Once, Going Twice” features the fast talking “auctioneer” iterations of Ned Sublette along with guest artist and Palmetto recording artist, guitarist Pete McCann. On this piece McCann strums the banjo as Wilson’s deft brush work and D’Angelo’s booming bass clarinet work suggest a hybrid, off center C&W-Jazz band as a backdrop to a farm auction. Wilson performs a brief duet with guest saxophonist Lee Konitz on “Brattleboro” while the ensemble literally smoke and breath fire on Wilson’s “The Land Of Lincoln”.

Wilson’s new release titled Smile is a tour de force with strong soloing from the twin saxophones of Frahm and D’Angelo on tracks such as Monk’s “Boo Boo’s Birthday. Here, Frahm has some fun with the familiar theme and reworks the melody performing on soprano sax as bassist Yosuke Inoue stretches out atop the dainty choruses of Frahm and D’Angelo. The humorously titled, “Big Butt” is witty and offbeat while Coltrane’s “Grand Central” boasts a rapid-fire attack and generous doses of soloing from the often spectacular horn section. Wilson is in turbo mode behind the kit as he swings, prods and pushes his bandmates into some playful mayhem. A quiet scorcher yet to the point! The boys even render a lamentable version yet have a little fun with Bert Kaempfert’s “Strangers In The Night” which of course was a hit for “Old Blue Eyes”. D’Angelo’s “Making Babies” is a no nonsense hard-bop piece featuring fierce and mighty soloing. Wilson’s “Cinderblock Shelter” commences with a dirge-like motif as Palmer & Williams’ classic, “I’ve Found A New Baby” features New Orleans, dixieland “second-line” clapping as D’Angelo conveys a sense of merriment and innocence performing on bass clarinet. A fitting finale to a thoroughly intriguing recording as Wilson utilizes a cow bell, employs rim shots and even quotes Gene Krupa as he mimics Krupa’s famous drum solo on “Drum Boogie”. Yes, the music will most assuredly put a Smile on your face. Good-natured antics along with serious if not mind bending soloing and ensemble work is the key.

Along with top notch and dare we say “cutting edge” musicians, Matt Wilson’s star has risen! The word is catching on.........One of the most “talked about” drummers on the planet, Wilson’s brand of modern jazz represents a hodgepodge of wit, mirth and an overall invigorating if not stylistic approach. Good things are in the cards for these extremely talented lads, as modern jazz undergoes a revolution of sorts, with the advent of the Matt Wilson and his exciting quartet.......

For additional information please check the Palmetto website: www.palmetto-records.com