Preverbal is a new installment in the immense, frequently compromised, sometimes rich, undeniably tortured 50-year history of fusion. More to the point, it is one of the most successful installments in recent memory.
Like many, perhaps most, jazz musicians under 40, Matthew Stevens started in music playing rock. In his youth, his home was Toronto but his epicenter was Seattle. He loved Nirvana and Soundgarden. He eventually became the guitarist in high-profile jazz bands (Christian Scott, NEXT Collective, Esperanza Spalding). For his second album as a leader he revisits his origins. The rock in Stevens’ jazz-rock fusion is manifest in the head-banging beats of “Reservoir,” the basic pop-song line of “Picture Window” and the guitar death-vamp on “Undertow.” Rock, above all, is an attitude. Stevens’ complex intellectual jazz improvisations occur within loud, belligerent, visceral raunch. The juxtaposition of two attitudes toward art is exciting. (Wasn’t that what fusion was supposed to be?)