We Got It by Matt Ray

Other notable originals include the teasingly bluesy "Fish Night," which expands the group to a quintet and features a tremendous solo by Pelt; a soulful 3/4 trio tune called "Not Long Now"; a rhythm changes, bebop quintet tune in B called "the Great Paper Chase"; and a beautiful straight-eighths composition entitled "Vista," which , after showing off Ray's impressive quintet writing and featuring a masterful solo by John Ellis, closes the album with a rock/gospel vamp.

Notable covers include the Stevie Wonder tune "Happier Than the Morning Sun," which has become Matt Ray's most requested piece. Greg Hutchinson's brushes groove on this tune is still the envy of many a jazz drummer. Wayne Shorter's El Gaucho is wide open both rhythmically and harmonically, and the trio really has some exhilarating moments during Wayne's great composition. There is a Miles Davis tune, "Sippin' at Bells," a gorgeous Strayhorn/Ellington ballad "the Star Crossed Lovers," and a through-composed trio arrangement of Thelonious Monk's "Think of One."

All told, this is a timeless work of music, and a great introduction to the mind and artistry of Matt Ray. Few pianists today have as accessible an approach as Ray, and the mix of trio and quintet tunes keeps the listener engaged throughout the ten pieces. The album is a commercial success as well, reaching as high as #12 on the jazz radio airplay charts. This is a must-own for any fan of piano-based jazz.

REVIEWS:

(Three Stars) "Smart men make smart moves. Smart musicians make smart music. Matt Ray is one such musician.

Split down the middle between original compositions and covers, Matt Ray's We Got It! moves like a time traveling machine, bouncing back and forth betwixt modern day musicianship and past musical greatness.

Strikingly, Ray's own pieces don't vary much from those of the late greats, and if one wasn't familiar with the classic tunes he would be duped into believing that Ray had written the timeless gems himself. Maybe its the sequencing...whatever the case the man flows, seemingly allowing his piano to play itself, to forge its own way as he and his band members react to what the instrument delivers. Even when transforming Stevie Wonder's 'Happier than the Morning Sun' into a jazz jewel he opts to let the song mutate itself, riding shotgun as it weaves its way through the avenues of sound. And his excellent phrasing and conscientious use of time are thoroughly matched by his attention to melody.

We Got It! That they do. And from the sound of things Matt Ray and his band plan on keeping it. Show 'em some love and pick up their new CD." -- D.J.M., Rapport Magazine

"Pianist/composer Matt Ray, who's been heard accompanying formidable saxophonist Mike Lee, makes an auspicious debut as a leader with We Got It! a savvy, swinging set of originals and standards. Ray is backed by bassist Rodney Whitaker and drummer Gregory Hutchinson on most tracks, with trumpeter Jeremy Pelt and tenor saxophonist John Ellis joining in on several others. In a trio setting, Ray glowingly explores the heartbreaking changes of the Duke Ellington-Billy Strayhorn melody 'The Star-Crossed Lovers,' and intrepidly traces the bop-era Miles Davis theme 'Sippin' At Bells,' his solo a restless pastiche of well-wrought phrases. Trio version of Ray's own compositions include the playfully surging, delightfully sonorous 'Not Long Now,' and the funky soul-jazz of 'We Got It!,' which -- with the prominent bass work of Whitaker -- recalls the perfect, compact grooves of Ray Brown (whom Hutchinson has often accompanied). Augmented by the horns, Ray leads the quintet through the elegantly-sculpted, teasingly funky melody of 'Fish Night,' as well as the smoothly propulsive, sweetly ascendant 'Vista.' A pianist still in his 20s, Matt Ray has made abundantly clear on this premier recording that whatever 'it' is, it's something he's Got." -- Drew Wheeler, CDNOW Senior Editor, Jazz

"...a promising debut album that unveils a wonderfully understated piano player...his excellent piano playing takes front and center as he flows from track to track effortlessly." -- Bradley Torreano, All Music Guide

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