Artist Biography by Scott Yanow
Throughout his career, Mat Mathews fought an uphill battle to get the accordion accepted in bop-oriented jazz. He learned to play music during the Nazi occupation, and after the war ended, Mathews was inspired to play jazz when he heard a radio broadcast of Joe Mooney. He worked locally in Holland including most notably with the Millers from 1947-50. After moving to New York in 1952, he put together a quartet that for a time featured (and introduced) the young Herbie Mann on flute and tenor. Mathews' other sidemen included Art Farmer, Julius Watkins, Joe Puma, Oscar Pettiford, Percy Heath and Kenny Clarke. In addition to making records as a leader, Mathews also recorded with Carmen McRae from 1954-55. By the end of the decade he was mostly working as a studio musician, and in 1964 Mathews returned to the Netherlands. His importance to jazz greatly lessened as he has primarily worked in the studios as a player, arranger and producer, but Mathews' performances in the 1950s made a strong case for the accordion in jazz. Mathews recorded as a leader for the Dutch Van Wouw label (four titles in 1944), Brunswick (1953-54), Dawn (1956), Savoy (a 1957 date with four French horn players), Verve (live at Newport in 1957), JJM, Design and, back in the Netherlands, Ariola (1975).
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Biografía del artista por Scott Yanow
A lo largo de su carrera, Mat Mathews luchó en una ardua batalla para lograr que el acordeón fuera aceptado en el jazz orientado a los bop. Aprendió a tocar música durante la ocupación nazi, y después de que terminó la guerra, Mathews se inspiró para tocar jazz cuando escuchó una transmisión de Joe Mooney en la radio. Trabajó a nivel local en Holanda, especialmente entre los molineros de 1947-50. Después de mudarse a Nueva York en 1952, formó un cuarteto que durante un tiempo presentó (y presentó) al joven Herbie Mann en flauta y tenor. Los otros miembros de Mathews incluyeron Art Farmer, Julius Watkins, Joe Puma, Oscar Pettiford, Percy Heath y Kenny Clarke. Además de hacer registros como líder, Mathews también grabó con Carmen McRae de 1954-55. A finales de la década, trabajaba principalmente como músico de estudio, y en 1964 Mathews regresó a los Países Bajos. Su importancia para el jazz disminuyó enormemente, ya que ha trabajado principalmente en los estudios como jugador, arreglista y productor, pero las actuaciones de Mathews en la década de 1950 hicieron un caso fuerte para el acordeón en el jazz. Mathews registrado como líder para el sello holandés Van Wouw (cuatro títulos en 1944), Brunswick (1953-54), Dawn (1956), Savoy (una cita de 1957 con cuatro jugadores de corno francés), Verve (en vivo en Newport en 1957) , JJM, Diseño y, de vuelta en Holanda, Ariola (1975).
Tracklisting:
01. Not So Sleepy
02. Not See How You Are
03. The Puritan
04. As Time Goes By
05. What A Difference A Day Made
06. Summertime
07. Knights At The Castle
08. How Deep Is The Ocean
09. I Only Have Eyes For You
10. Later On
11. Humoresque (Bonus Track)
12. Flamingo (Bonus Track)
Accordion – Mat Mathews
Alto Saxophone – Gigi Gryce
Bass – Oscar Pettiford
Drums – Kenny Clarke
Flute – Herbie Mann
French Horn – Julius Watkins
Guitar – Joe Puma
Piano – Dick Katz
Trumpet – Art Farmer
Alto Saxophone – Gigi Gryce
Bass – Oscar Pettiford
Drums – Kenny Clarke
Flute – Herbie Mann
French Horn – Julius Watkins
Guitar – Joe Puma
Piano – Dick Katz
Trumpet – Art Farmer
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