The story of the Matt Wates Sextet spans three decades and around a dozen recordings, and it’s a story which speaks as much to the enduring popularity of Hard Bop as to Wates’ considerable gifts as a composer and arranger. The sheer quality of the soloists to have passed through the group’s ranks is not to be sniffed at either, and one of the brightest was the late Steve Main, who tragically died in February 2021 aged just 49. Main can be heard on Talia’s Song (2011) and Yemanja (2015), and to understand just how deeply respected he was amongst his peers I’d urge readers to scroll back to LJN’s posthumous tribute (link below).
Ballad For Steve is of course dedicated to Main, and save for the newly minted title-track all of the material consists of pieces he regularly performed with the group. The unenviable task of filling Main’s shoes falls to Andy Panayi (tenor sax), though it would be hard to imagine a more perfect stand-in. Sharing Main’s passion for the advanced harmonic language of Coltrane, Panayi is like Main a consummate ‘doubler’ on a variety of instruments and a first call musician for several big bands. Rounding out the top-drawer ensemble are Martin Shaw (trumpet and flugelhorn), Leon Greening (piano), Malcolm Creese (bass), Matt Home (drums) and, last but not least, leader Matt Wates (alto saxophone).
While the sounds of the classic Blue Note, Pacific Jazz and Prestige years are very much in evidence throughout, it would be wrong to dismiss the sextet as revivalists. Belonging instead to a living tradition, Wates captures the spirit of the era from his own particular vantage point. All but one of the pieces are Wates’ originals (the one exception being “What Good Is Spring?”, which was written by his brother), and each player receives ample space to express their individuality.
Panayi is first to solo on the bright opener “Coasting”, his typically robust statement moving across the full range of the horn. The swaggering Shaw takes a brilliantly inventive solo on “Gin And Bitters”, and it’s Greening who catches the ear as he digs into the shuffling backbeat of “Heatwave”. The attractive waltz-time theme of “Hill Street” is a launchpad for Wates, his intelligently paced solo drawing on both the cool West Coast stylings of Bud Shank and Art Pepper and the earthier inflections of Julian “Cannonball” Adderley.
Elsewhere “On The Up” nods to the soul jazz of Silver and Morgan, Panayi probing at the outer harmonic limits before Greening’s cascading solo. Wates glides imperiously over the lilting grooves of “Shadow Play”, and the arresting “In Other Words” hints at the expansive post-bop with which Blue Note became synonymous in the mid ‘60s. The closing “Mojito” dances to a supple Latin beat, and it would be remiss not to mention the poignant title-track. Squeezing out every last drop of emotion, Wates’ raw ballad leaves absolutely no doubts as to the depths of admiration he holds for his erstwhile bandmate and friend.
One Response
I am so happy that Steve Main, a brilliant saxophone player has been afforded this well deserved tribute. The first time I heard him (with the fabulous and under-rated Matt Wates Sextet – Matt himself an exceptional alto player and first class composer, (not just “tunes” based on “Rhythm” ) I told him his playing reminded me of Teo Macero, who made few records, but was a unique voice on tenor, before abandoning full time playing to become a record producer. It was meant as a warm compliment, of course. Even being Miles producer seemed an unfair exchange. I don’t think Steve was very impressed by my comparison, and perhaps he was right. Steve was a brilliant player in his own right, he gave 100% of himself each time he played, and I only wish he had become better known to a wider audience. His death at such an early age shocked me, in the same way Joe Harriott’s did many years earlier., because both were young and under-appreciated players amongst the jazz public It is entirely appropriate that Matt Wates has provided this tribute because Steve was such an integral part of Matt’s band, full of life and enthusiasm, and bursting with ideas, and to be taken so young was a reminder of how cruel life can be,. I will certainly be buying this disc post haste, and I hope everyone who enjoyed his playing especially in Matt’ sextet, which included, when I saw it some years ago, Leon Greening, the ever inventive pianist and Steve Fishwick, one of our very best brassmen, depping for Martin Shaw, will go and buy it and remember what a talent Steve was, and, like me, regret his life was so short. It is only January but this will be one of the very best British jazz issues in 2024.