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The Other Mathews

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Andrew Gilbert

Sunday, January 1, 2006

David K. Mathews

David K. Mathews wears his musical passions on his sleeve. Well, not his sleeve exactly, more like his biceps, back and pecs.

Decked out in a tight, white muscle shirt, Mathews testifies to his wide-ranging keyboard pursuits with his numerous tattoos, starting with the Tower of Power logo on his burly right bicep that commemorates the years he spent playing organ with the great East Bay funk band in the mid-1980s. Just below that is a jaunty image of Fats Waller from his 1930s heyday, ink that served as motivation for Mathews to explore the demanding Harlem stride piano style.

"I really wanted to learn how to play some Fats Waller, so I thought maybe if I got a tattoo of him, I'd have to be able to back it up, and that's what happened," says Mathews, 46, during an interview at an Albany cafe. "I'm really a funk, soul, R&B guy, and I see the tattoos as kind of a rock 'n' roll thing. It's just like one of the guys in Def Leppard."

The aesthetic may be rock, but you'd have to look far and wide for a metal player capable of navigating intricate post-bop lines on the Hammond B3 organ. That's what Mathews will do at Yoshi's on Monday, when he celebrates the release of his excellent album "The Coltrane Connection" (Jesse's Dad Records). Featuring Bay Area saxophone great Mel Martin, the prodigious drummer Deszon X. Claiborne and Barry Finnerty, the first guitarist recruited by Miles Davis, the project focuses on another area of Mathews' investigation, the lithe, harmonically sophisticated jazz organ sound developed in the mid-1960s by Larry Young and Don Patterson. ... [MORE]



David K. Mathews appeared as a surprise guest at the AMRF's 6th Annual Motor City Boogie Woogie & Blues Festival.  -RBH


Artists  Blues  Boogie Woogie  Jazz  Ragtime and Stride  Rhythm and Blues  

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