"Circles," Matthew Parrish's recording debut as a leader, brings to the fore a serious composer and arranger, a dynamic soloist, and a sensitive accompanist. Joining Matthew are fellow Al Grey-alumnus Vincent Bourgeyx on piano, renowned jazz drummer Steve Hass, and heralded young tenor saxophonist Joel Frahm. Under Matt's direction, the unit delivers eight compositions and three arrangements by Matthew reflecting a range of influences from spirituals to bebop to blues to hip hop (see Matt's update of Miles' "Seven Steps"). Remarkable throughout is the exceptional fullness of Matthew's acoustic sound -- a hallmark of this gifted young bassist's mature, and well-rounded, musical concept.

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Matthew Parrish Bio



For his debut recording as a leader, bassist Matthew Parrish has put together an impressive pastiche of his lineage (Ray Brown to Christian McBride); his studies at Rutgers University (Kenny Barron and Larry Ridley); his varied experience as a sideman (Clark Terry, Sweets Edison, Wynton Marsalis); and above all, his U.S./European tour with Al Grey, from 1997 until the trombonist's death in 2000. Circle[s] is dedicated to Grey.

Now becoming a fixture in the New York/Philly club and studio scenes (he lives in Yardley, Pa., giving him access to both), this CD should solidify Parrish's reputation for composing, arranging and playing anything that swings.

There are eight originals by Parrish, plus three of his arrangements: a hip-hopping makeover of "Seven Steps to Heaven," a Calypsofied version of "Go Tell It On the Mountain," where Parrish carries the melody for the Gospel shouter, and a bonus cut of Duke Ellington's "Flirtibird." The title tune is a jazz-waltz filled with Parrish pedal points used as jumping off points for that wide-sweeping, triplet-laced Ray Brown sound. The obvious tribute, "This One's for Al," captures Grey's well-loved musical sense of humor.

Parrish has near-flawless intonation and when he needs a big tone he can summon it. Ordinarily, he just blends in with pianist Vincent Bourgeyx and drummer Steve Ha[s]s, but Parrish still manages to drive them. As for tenor saxophonist Joel Frahm, his horn is so galvanizing he nearly steals the thunder from Parrish.

-- Harvey Siders, JazzTimes Magazine, April 2002


Jazz fans should try to pick up a copy of Parrish's debut CD as a leader. "Circles" (HiPNOTIC Records) shows that the most often overlooked members of a jazz group (the drummer and bassist) can be among the strongest leaders and composers in the idiom.

Parrish, who had played at Ortlieb's Jazzhaus with Mickey Roker and Shirley Scott in the early '90s, also toured with trombonist Al Grey. He's got legitimate Philly connections.

Like a light wind blowing through the early spring, Parrish's tunes have a fresh unimpeded flow to them but still maintain a depth of rhythm and energy. The 11-track disc includes a funky take on "Seven Steps to Heaven" and a Sonny Rollins-like calypso approach to "Go Tell It on the Mountain," along with originals like the swinging "Bee-Doe-Lot" and the low-down and dirty "This One's for Al." Strong appearances are made by tenor saxophonist Joel Frahm and pianist Vincent Bourgeyx.

-- Al Hunter, Jr., Philadelphia Daily News, March 28, 2002


Without a doubt one of the strongest debuts of 2002, bassist Matthew Parrish’s Circles boasts the formidable talents of tenor saxophonist Joel Frahm, pianist Vincent Bourgeyx, and drummer Steve Hass. Most of the cuts are Parrish originals, save for crafty arrangements of Victor Feldman’s "Seven Steps to Heaven," Duke Ellington's "Flirtibird," and the traditional "Go Tell It on the Mountain." The "Seven Steps" arrangement is especially slick: the three-chord sequence that ends the A section becomes a half-time funk vamp and the bridge accelerates to a breakneck seven. Parrish’s own work veers between elegant, Latin-based tunes ("Twain," "The Trouble With Me," "Sophia") and deep-swinging hardbop, sometimes with tart stop-time punctuation ("This One’s for Al," "Ben"). But ultimately it’s the playing, more than the writing, that puts the zing in this session. Frahm’s tenor work is white-hot, its biting bluesiness tempered by melodic grace and harmonic insight, even at the highest velocities. The record nearly belongs to him, although everyone, it must be said, is a monster soloist. And Parrish’s slinky interaction with Hass might lift you out of your chair on occasion.

-- David R. Adler, All Music Guide, April 2002


. . . Circles represents another important addition to the acoustic contemporary canon. Matthew Parrish is a young double-bassist who displays formidable chops in performance, arrangement, and composition. Circles is his debut recording and is impressive as a first outing. Parrish's own compositions range from the fringe contemporary of "Bee-Doe-Lot" to the bluesy "This One's For Al" to the extended ballad consideration of the title track. He presents a moody ethereal duet with pianist Vincent Bourgeyx.

The standards are explosive. "Seven Steps to Heaven" is perfect Be Bop performed with a digital sensibility. The talented Joel Frahm absolutely burns on tenor. The unlikely spiritual "Go Tell It on the Mountain" shows up effectively with a light Caribbean accent, representing the quiet center of the recording. Ellington's "Flirtbird" rounds out this fine recording as a bonus track, giving everyone ample time to make their respective statements. This disc is filled up with interesting and challenging music. Strongly recommended.

-- C. Michael Bailey, AllAboutJazz.com, May 10, 2002


Publisher's Pick, AllAboutJazz.com, May 2002