Mat Mathews 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).
Label: Fresh Sound Records – FSR-563
Format:
Vinyl, LP, Album, Reissue
Country: Spain
Released: 1987
Genre: Jazz
Style: Cool Jazz
A1 Not So Sleepy
Written-By – Mathews*
6:30
A2 Now See How You Are
Written-By – Pettiford*, Harris*
2:03
A3 The Puritan
Written-By – Mat Mathews
3:33
A4 As Time Goes By
Written-By – Hupfield*
3:30
A5 What A Difference A Day Made
Written-By – Grever*, Adams*
3:10
B1 Summertime
Written-By – Heyward*, Gershwin*
2:20
B2 Knights At The Castle
Written-By – Katz*
5:30
B3 How Deep Is The Ocean
Written-By – Berlin*
2:10
B4 I Only Have Eyes For You
Written-By – Dubin*, Warren*
3:17
B5 Later On
Written-By – Mathews*
2:20
Licensed From – San Juan Music Group
Manufactured By – Discos CBS, S.A., Madrid
Distributed By – Fresh Sound Records
Record Company – Seeco Records, Inc.
Accordion – Mat Mathews
Alto Saxophone – Gigi Gryce
Bass – Oscar Pettiford
Cover, Design – Fran Scott
Drums – Kenny Clarke
Engineer – David Hancock
Flute, Alto Flute, Tenor Saxophone – Herbie Mann
French Horn – Julius Watkins
Guitar – Joe Puma
Liner Notes – Nat Shapiro
Photography By – Hank Parker*
Piano – Dick Katz
Producer – Chuck Darwin
Trumpet – Art Farmer
Licensed from San Juan Music for Biograph (R) Records (P) & (C) 1987
Reissue produced by Fresh Sound Records
Orig. released on Dawn DLP-1104 (also on frontcover, spine, rearcover and center label)
Original manufactured by Seeco Records, Inc.
Title vaiations:
- Front cover: The Modern Art Of Jazz
- Spine & rear cover: The Modern Art Of Jazz (Vol.2)
Matrix / Runout (LP Side A): FSR - 563 A O
Matrix / Runout (LP Side B): FSR - 563 B O
Depósito Legal (Center Label A): M-11479-1987
Other (Center Label A / B): Permiso N° 7053
GOLDMINE GRADING
MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.
NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.
VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.
VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.
GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.
POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.