Matthew Stevens (acoustic & electric guitars),
Gerald Clayton (keyboards & piano), Vicente Archer (bass), Eric Doob
(drums) & Paulo Stagnaro (percussion)
(Review by Russell)
Woodwork is Matthew Stevens’ first album as leader.
His pedigree is not in doubt having worked with tenor saxophonist Walter Smith
III, Christian Scott and Esperanza Spalding. Described as a ‘stellar’ quintet,
the musicians on this recording are ‘first call’ individuals. Stevens chose to
record the twelve tracks at the Clubhouse Studio, Rhinebeck, New York over two
days in May, 2014. The studio happens to own an acoustic guitar played by the
late Pete Seeger. Stevens took the opportunity to play it and it is heard on
this recording.
All but one of the tracks are Stevens’ compositions.
Distinctive, light-of-touch, with more than a hint of Metheny, the melodies
involve all five musicians, none dominate, Stevens a democratic force.
Ashes (one) is a guitar and
percussion-only opening statement. There is a return on the ninth track – Ashes (two) – which sounds like
unfinished business; a guitar solo at the heart of it, Stevens flying on
acoustic. Star L.A. could be a
reference to glittery Los Angeles. Whatever, there is a Larry Carlton West
Coast vibe going on, suggesting an epic fusion statement could be about to
break out behind Vicente Archer’s in-the-pocket drumming.
David Bowie’s Sunday
is a slow-burner. Gerald Clayton opens on piano, Stevens’ etches the melody,
guitar low in the mix, the climax electric. Uptown
Dance Party and Grown Ups are
energetic work outs; tight drum ‘n’ bass work from Eric Doob on the former, the
latter featuring an agile Clayton piano solo.
The musicianship on Woodwork is faultless throughout. Stevens is scheduled to tour the
UK next year. In the meantime, Woodwork is due for release in early
November on the Whirlwind Recordings label
(catalogue no.WR4677) run by the
indefatigable Michael Janisch.
Russell.
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