Count On Swingin’

LINER NOTES By Dr. Wayne Goins

Those who know me have always heard me say that Big Will’s tone and phrasing is a perfect blend of George Benson, Grant Green, and Wes Montgomery, supported by his strong chordal concept, which, unavoidably, is pure Kenny Burrell (and why would anyone want to go around that?) In his own right, Will Matthews has accomplished a feat that few others dare—he has won two Grammy Awards with the Count Basie Orchestra, after holding the coveted Freddie Green chair from 1996 to the present day.

His debut CD, Solo, was released in 2000 to critical acclaim, and the audience has since been waiting for his return, long overdue as a solo artist. In the most beautiful sense, Will’s phrasing is downhill, leaning forward, he waits for nothing; there’s a real sense of urgency here—he’s gotta get it to ya’, and now! With respect to that sense of urgency, let me give you a thumbnail sketch of the swinging tunes you’re about to hear:

The appropriately titled, “Count on Swingin’” (I assume you get the inherent implication!) which finds Will blowin’ some mad blues riffs, even finding a way to insert Duke’s quote of “It Don’t Mean A Thing” while the cascade of boppish lines rain down—meanwhile, alto sax master Bobby Watson was sent as a true Jazz Messenger (‘77 to ‘81) to celebrate Will’s most recent jazz party.

“Corner Pocket,” an obvious nod to his Basie boss, which prominently promotes his mastery of the Freddie Green comping style, for which Will is literally the absolute bestsuited in the world today; “Can’t Help It,” which, is, unfortunately, so well-timed in light of the recent dimming of our brightest pop star, M.J.; and “Mikayla’s Song,” a beautiful chord-melody laid down over a bed of funk in honor of his daughter.

Then there’s “Up and At It,” which best displays Will’s deftness and dexterity in the hard bop tradition. But just dig the chattery talk that drummer Kenny Phelps is laying down! His graceful presence is fully felt not only here, but throughout the entire album.

Of course, you gotta have some blues, baby…and so Will’s licks on  “The Grease” gets us all well-lubricated, yes? And, sure,

Will pays his respect to the great tradition of Miles with the sophisticated, yet cool jazz approach to the changes of “Old Milestones,” where Bobby Watson glides through like a summer breeze.

The legendary Hammond organ king Mel Rhynes makes his contribution to the collection with  “Soul Changes,” and just listening to the gargle of that gargantuan instrument on the opening track reminds us all of the greatness that he lent to Wes for so many years.

Finally, “Where There’s A Will” is one of five Matthews original contributions, with such swing that allows no one to ignore the direct descent in the line of greats—Wes, Kenny, Grant, and George. And, of course, that’s the only way.

So what now?….Well, now there’s a Will.

Wayne “Dr. G.” Goins, Director of Jazz, Kansas State University
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