Matt Wates Sextet – Ballad For Steve
(Audio-B ABCD 5032, Evaluate by Frank Graham)

The story of the Matt Wates Sextet spans three many years and round a dozen recordings, and it’s a narrative which speaks as a lot to the enduring recognition of Arduous Bop as to Wates’ appreciable items as a composer and arranger. The sheer high quality of the soloists to have handed by way of the group’s ranks is to not be sniffed at both, and one of many brightest was the late Steve Major, who tragically died in February 2021 aged simply 49. Major may be heard on Talia’s Tune (2011) and Yemanja (2015), and to know simply how deeply revered he was amongst his friends I’d urge readers to scroll again to LJN’s posthumous tribute (hyperlink beneath).

Ballad For Steve is in fact devoted to Major, and save for the newly minted title-track the entire materials consists of items he usually carried out with the group. The unenviable process of filling Major’s footwear falls to Andy Panayi (tenor sax), although it might be arduous to think about a extra excellent stand-in. Sharing Major’s ardour for the superior harmonic language of Coltrane,
Panayi is like Major a consummate ‘doubler’ on a wide range of devices and a primary name musician for a number of large bands. Rounding out the top-drawer ensemble are Martin Shaw (trumpet and flugelhorn), Leon Greening (piano), Malcolm Creese (bass), Matt House (drums) and, final however not least, chief Matt Wates (alto saxophone).

Whereas the sounds of the traditional Blue Observe, Pacific Jazz and Status years are very a lot in proof all through, it might be mistaken to dismiss the sextet as revivalists. Belonging as a substitute to a residing custom, Wates captures the spirit of the period from his personal explicit vantage level. All however one of many items are Wates’ originals (the one exception being “What Good Is Spring?”,
which was written by his brother), and every participant receives ample area to precise their individuality.

Panayi is first to solo on the intense opener “Coasting”, his sometimes sturdy assertion transferring throughout the complete vary of the horn. The swaggering Shaw takes a brilliantly ingenious solo on “Gin And Bitters”, and it’s Greening who catches the ear as he digs into the shuffling backbeat of “Heatwave”. The engaging waltz-time theme of “Hill Avenue” is a launchpad for Wates, his
intelligently paced solo drawing on each the cool West Coast stylings of Bud Shank and Artwork
Pepper and the earthier inflections of Julian “Cannonball” Adderley.

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Elsewhere “On The Up” nods to the soul jazz of Silver and Morgan, Panayi probing on the outer harmonic limits earlier than Greening’s cascading solo. Wates glides imperiously over the lilting grooves of “Shadow Play”, and the arresting “In Different Phrases” hints on the expansive post-bop with which Blue Observe grew to become synonymous within the mid ‘60s. The closing “Mojito” dances to a supple Latin beat, and it might be remiss to not point out the poignant title-track. Squeezing out each final drop of emotion, Wates’ uncooked ballad leaves completely no doubts as to the depths of admiration he holds for his erstwhile bandmate and pal.

LINK: LJN’s tribute to the late Steve Major
Ballad for Steve at Audio-B Information