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Mathieu Soucy

Canadian guitarist Mathieu Soucy is “a natural-born swinger” (Jack Bowers, All About Jazz) hailing from Montréal. His voice on the instrument “[...] has one foot planted firmly in the tradition and one foot planted firmly in the now” (Lyle Robinson, Jazz Guitar Life). He has released three albums/EP as a leader: Say Listen (2025), An Afternoon in NDG (2024) and Recollecting (2022). He is a graduate of the Tribeca Jazz Institute (2025) where he was mentored by the heaviest jazz musicians in NYC. Mathieu has performed alongside the illustrious Chris Byars and some of the most promising young talents: Tomás Martinez (Buenos Aires/NYC), Willie Bowman (NYC), Jacob Chung (NYC), Ian Cleaver (Amsterdam/NYC), Leighton Harrell (NYC) and Caleb Tobocman (NYC).

Mathieu Soucy: Recollecting

Read "Recollecting" reviewed by Jack Bowers

by Jack Bowers
December 12, 2022

Guitarist Mathieu Soucy, a 2019 graduate of Canada's McGill University, in Montreal, hits the ground running with a splendid debut album, Recollecting, on which he guides a talented quartet of young musicians through seven of his engaging compositions plus Thelonious Monk's “Reflections" and the well-traveled Rodgers and Hart standard, “Where or When" (sung by Humber College alum Caity Gyorgy). Gyorgy is heard on one other number, “Thinker and a Fool," a bright samba whose cryptic lyric is ...

Featuring the extraordinary Buenos Aires, Argentina, alto saxophonist Tomás Martinez and a splendid pair of Canadian rhythm players – bassist Leighton Harrell and drummer Baptiste Lejeune – the top-drawer Soucy and company offer a selection of originals and items from the jazz repertoire and the pop standard catalog. This stellar program of contemporary bebop doesn’t sound dated at all. It sounds like now [...] (Zan Stewart, 2026 Recipient of the Jazz Journalists Association’s Lifetime Achievement Award)

The fascinating thing about this album is how Soucy manages to make these pieces sound as if they could have been written back in the golden era yet also fit incredibly well into the current musical landscape. (Kati Kiilaspea, TheWholeNote, vol. 28 issue no.4)