Jazz Articles about Matt Wilson

The Matt Wilson Quartet: Smile

by Jack Bowers
November 1, 1999

Drummer Matt Wilson leads a piano–less quartet with two horns, but if you’re expecting the second coming of Mulligan / Baker, you can shelve that notion. Wilson’s group is no lame throwback to the ’50s; on the contrary, it is almost obsessively up–to–date, using sophisticated harmonies, shifting time signatures, unconventional sounds and eccentric improvisations to press home its frequently absorbing but slightly off–center musical perspective. Wilson seems comfortable in any context, hammering the drums or caressing them as the occasion ...

Matt Wilson Quartet: Smile

by David Adler
October 1, 1999

Drummer Matt Wilson has been active with tenor great Dewey Redman for some time; Smile is the latest installment from his own inventive quartet. The very title, not to mention the close-up of Wilson’s grinning mug on the cover, suggests that this group likes to have fun. Andrew D’Angelo is on alto sax and bass clarinet, Joel Frahm is on tenor and soprano, and Yosuke Inoue handles bass duties, both acoustic and electric.Wilson travels mainly in avant-garde circles, ...

Matt Wilson: Smile

by Mark Corroto
October 1, 1999

This is a warning to Drummer Matt Wilson: Stop what you’re doing! Jazz is serious business. You don’t think that that Wynton Marsalis and Stanley Crouch spent all those years writing long serious diatribes on the cultural and social implications of jazz, using words like ‘fundamentalist,’ ‘nobility,’ and ‘canon,’ to allow you to actually have so much fun playing this music. There were reports that you donned a wig on your last tour in tribute to heavy metal drummers and ...

Matt Wilson: As Wave Follows Wave

by AAJ Staff
March 1, 1997

Never let it be said that drummer Matt Wilson lacks vision or world-class jazz contacts on his first album as a leader.

On As Wave Follows Wave, Wilson recalls his boyhood in rural Illinois with a series of twelve tunes (and even the solo drum cuts could be called “tunes") that are unified by the common theme and sounds of off-the-beaten-track Americana. Proving that you can take the boy out of the farm but that you can't take the farm ...