M@'s EPK & Press Propaganda —Reviews
onefinalnote.com Review of Wake Up!
Posted: Mon, Mar 28, 2005
Matt Wilson continues his unique streak of drummer-led albums with Wake Up! (To What’s Happening), a set that touches upon Cuban carnival, swinging post-bop, and swirling psychedelica. He is assisted admirably by Larry Goldings on piano and organ, Terell Stafford on trumpet and flugelhorn, Dennis Irwin on bass and clarinet, and guest vocalist Curtis Stigers who makes his presence felt mightily on the Tony Williams penned “There Comes a Time”.
Unique among drummer-leaders, Wilson is a finesse player, quiet and understated, giving plenty of room to his fellow bandmates. No Blakey, Elvin, or Williams, Wilson glides his way through the music with a sound almost imperceptible, so much does he concede to the musicians around him. Both an admirable characteristic and somewhat sedating—one wishes to hear Wilson drive a little more, push a little more—it is this quality of sound and feel that most sticks with one after a Wilson recording comes to its conclusion.
It is also this approach that makes his take on Williams’ Ego-era “There Comes a Time” so interesting. Far from some hip drum shit, Wilson’s playing is almost egoless, and for him to approach Williams seems peculiar to say the least. What he manages to pull out of the piece, however, is a quite remarkable take on fusion psyhedelica, a whirling mass of sound resting atop the formidable organ playing of Larry Goldings. At seven minutes the piece floats by well before one grows weary and easily commands repeated listens. Even the vocals, typically hackneyed at best in a Williams tune, are convincing with Stigers’ laidback yet earnest delivery making every word sound almost poetic. A gem of a tune, truly.
“Free Range Chicken”, a Wilson original, showcases impressive compositional skills and provides an ideal vehicle for Stafford to stretch out a bit, slurring his lines, both muted and not, and generally cutting a fine statement throughout. Again Goldings commands attention on organ with his own unique vision, touching some outer-space voicings briefly. Irwin bounces along nicely through it all.
On Jaki Byard’s “Aluminum Baby” the group is on much more familiar ground and frankly loses some of its intrigue in that safer territory. One immediately misses the sheer exuberance of some of the other pieces as well as the propulsion and quirkiness of Goldings’ organ lines. It’s a perfectly executed piece, admittedly, but nothing to make it stand out and grab attention.
Antonio Carlos Jobim’s “Luiza” fares much better thanks in no small part to a lovely melody and an utterly graceful Stafford. Affecting stuff. “Cuban Carnival Song”, Wilson’s take on a traditional, is cute but doesn’t quite get past it’s own self-conscious wittiness. Everyone sounds as if he’s having a fine time, but the whole thing comes off as a bit too obvious.
The same can’t be said of Charlie Haden’s “Silence” which is devastatingly poignant, again thanks to Stafford who fairly pours out the end of his instrument. Goldings makes yet another appearance on organ and again peaks interest.
The entire disc ends with a reprise on “There Comes a Time”, a very fine choice indeed. Wilson Writes: “The reprise… is a meditation on the melody. Larry and Terell created sonic poetry that was mystical. Put it on repeat and breathe deeply.” I couldn’t agree more. Easily worth the price of admission.