Matrix -

Matrix was an American nine-piece jazz-rock ensemble formed by pianist and composer John Harmon. They released a 1976 private-press debut, followed by the 1978/79 Warner albums Wizard and Tale of the Whale and the 1981 indie title Harvest. In 2000, they reunited for concert activity and cut the 2002 disc Proud Flesh.

Members: Larry Darling (trumpet, flugel horn, Moog, percussion, vocals), Kurt Dietrich (trombone, synthesizer, vocals), Mike Hale (trumpet, flugel horn, congas, percussion, vocals), John Harmon (piano, electric piano, synthesizer, percussion), John Kirchberger (tenor saxophone, soprano saxophone, flute, alto flute, percussion), Brad McDougall (bass trombone, valve trombone, percussion, vocals), Mike Murphy (drums, percussion), Jeff Pietrangelo (trumpet, flugel horn, percussion), Randy Tico (bass), Tom Washatka (saxophone)

For the earlier Milwaukee Matrix, click here.

Background

Matrix formed in 1974 in Appleton, Wisconsin, when pianist–composer John Harmon and trombonist–composer Fred Sturm assembled a jazz nonet.

Harmon learned piano from his mother and absorbed jazz through his father’s record collection. He studied music at Lawrence University and joined the inaugural class at the Lenox School of Jazz, where Oscar Peterson taught piano. Harmon worked in New York clubs after Army service and later led a trio on a USO tour through American and European cities. Lawrence brought him back to Appleton in 1970 to lead the university jazz studies program.

Sturm entered Lawrence in 1969 and switched from trumpet to trombone. He organized the student jazz ensemble and completed a Bachelor of Music degree at Lawrence. Trombonist Kurt Dietrich studied with Harmon, Marge Irvin, and Derald DeYoung. The Lawrence brass cohort placed Dietrich and Sturm alongside trumpeters Jeff Pietrangelo and Mike Hale in a student quartet. Saxophonist Michael Bard studied at the University of Illinois and Lawrence University before he joined the Appleton ensemble.

Early Activity

Matrix debuted on May 31, 1974, at the Riverview Lounge on the Lawrence campus. The group followed with dates at J. W. Puddy and the Embassy Motor Lodge before club runs in Mankato, Oshkosh, Racine, and Marquette. Harmon and Sturm wrote original scores, while the group used pop arrangements for nightclub work.

Matrix joined the Milwaukee Symphony for a Pops concert in Milwaukee the following April. The band played Summerfest in July and opened for Weather Report at the Riverside Theater in August. By early 1976, Matrix worked clubs, colleges, schools, and private engagements across the upper Midwest.

Gary Miller replaced original drummer Tony Wagner before the first album sessions. The first recorded lineup comprised bassist Randal Fird, drummer Gary Miller, reedist Michael Bard (soprano and tenor saxophones, flute), keyboardist John Harmon (piano, Moog), trombonist Kurt Dietrich, bass–valve trombonist Fred Sturm, and trumpeters Larry Darling, Mike Hale, and Jeff Pietrangelo (trumpet, flugelhorn).

Matrix IX

Matrix released their debut album in 1976 through Ultra Nova. In 1977, the album reappeared with alternate cover art on RCA Victor.

Matrix IX contains seven originals. Harmon wrote four pieces; Sturm contributed “Earth and the Overlords” and “The Last Generation,” while Darling added “Blue Snow.” Four horn players receive singing credits; Darling and Harmon also use Moog synthesizer.

“Earth and the Overlords” bounds through off-kilter syncopation and abrupt ensemble turns. “Catalpa Complex” pivots from dense brass charts into a synthesizer solo over exposed bass and percussion, then admits choral syllables before the close. “Blue Snow” drifts through spare cinematic lines and widely spaced phrases. “Dark Riders” circles through a ritualized ensemble pattern and stark recurring figures.

“Clea” glides from contemplative soprano lines and gentle electric-piano phrases through wordless chants to sonorous trumpet and a hymn-like close. “Geese” flits through a brief mathematical weave of isolated horn calls. “The Last Generation” veers across deliberately awkward transitions, conflicting ensemble blocks, and a stark futuristic passage.

A1. “Earth and the Overlords” (3:34) – Sturm
A2. “Catalpa Complex” (6:28) – Harmon
A3. “Blue Snow” (3:01) – Darling
A4. “Dark Riders” (5:51) – Harmon

B1. “Clea” (6:01) – Harmon
B2. “Geese” (1:36) – Harmon
B3. “The Last Generation” (6:22) – Sturm

Sessions occurred in May 1976 at Vern Castle Studios in Lake Geneva, with producer Warren Kime, a Chicago trumpeter-arranger whose earlier Command catalog included Brass Impact, Explosive Brass Impact, and Goin’ Someplace!. Andy Waterman engineered the album before further Lake Geneva work on Sweetbottom (Angels of the Deep) and Sunblind Lion (Above & Beyond).

RCA art director Acy R. Lehman directed a sleeve with cover art by Steve Conley, photography by Nick Sangiamo, and literary supervision by Marc Palmer Kram. Lehman and Sangiamo also shared credit on the 1979 Fingers sleeve.

Wizard

Matrix released their second album, Wizard, in October 1978 on Warner Bros.

Wizard contains seven programmatic originals. Former trombonist Fred Sturm contributed “Spring”; Harmon wrote the remaining six pieces. Literary references connect “Mountolive” to Lawrence Durrell and “Wizard” to J.R.R. Tolkien. “Smile at the Foot of the Ladder” draws on Henry Miller. Bassist Randy Tico and drummer Mike Murphy join the revised nine-piece lineup. Reedist John Kirchberger and bass trombonist Brad McDougall complete the personnel changes.

“King Weasel Stomp” races through shifting ensemble densities, a brief synthesizer solo, sparse electric-piano break, and boisterous trumpet ascent. “Spring” swells from delicate phrases into full-ensemble sweeps through abrupt dynamic turns. “Mountolive” trudges from funeral-procession tread into bright ensemble expansion and an extended drum solo. “Come September” lingers over a dark lullaby figure and solitary bass-trombone lead.

“Wizard” unfurls from a seamless entrance into choral passages, unusual electronic effects, and full-ensemble cinematic peaks. “Smile at the Foot of the Ladder” marches from muted brass and martial snare accents through flute-led choral passages to a reprise of opening tread. “Brown Boy” cruises through sleek ensemble lines, a supple fretless passage, and a jovial closing flourish.

A1. “King Weasel Stomp” (6:22)
A2. “Spring” (8:25) – Sturm
A3. “Mountolive” (5:14)
A4. “Come September” (2:54)

B1. “Wizard” (10:55)
B2. “Smile at the Foot of the Ladder” (5:02)
B3. “Brown Boy” (7:21)

Sessions spanned August 21–30, 1978, at Shade Tree Studios in Lake Geneva, where Matrix co-produced Wizard with John Simon, the producer behind Leonard Cohen (Songs of Leonard Cohen), Big Brother & The Holding Company (Cheap Thrills), and the Band (Music from Big Pink).

Wizard appeared in a sleeve by Patrick Soo Hoo/Designers, with photography by Harry Liles and calligraphy by Bruce Bishop. The package carried a dedication to trumpeter Bud Brisbois.

Tale of the Whale

Matrix released their third album, Tale of the Whale, in August 1979 on Warner Bros.

Tale of the Whale retains the nine-piece lineup from Wizard. Mike Hale wrote the ten-minute title piece; Harmon supplied five companion works. The title track highlights Kirchberger and Tico, while “Galadriel” gives solo space to Hale and Harmon.

“The Fly” sprints through rapid interwoven replies, electric-trumpet flashes, and muscular tenor phrases. “Tale of the Whale” submerges through chiming keyboards, cymbal swells, whale-like fretless bass calls, and a mid-course ensemble crest. “Homage” arcs from low trombone lyricism over sparse support to a full-brass crest and gentle descent.

“Galadriel” floats from an exposed fretless lead through flute and flugelhorn exchanges to muscular ensemble passages and an unhurried interlude. “Nessim” creeps through a repetitive low figure, hand percussion, chiming accents, and sustained wordless chants. “Narouz” hurtles from a fast 6/8 figure and choral opening through a measured electric-piano interlude to full-ensemble return.

A1. “The Fly” (4:04)
A2. “Tale of the Whale” (10:35) – Hale
A3. “Homage” (3:38)

B1. “Galadriel” (7:04)
B2. “Nessim” (4:57)
B3. “Narouz” (7:40)

Sessions occurred in April 1979 at Shade Tree Studios, with Simon and Matrix again in production roles. Waterman returned as co-engineer with Peter “Herb” Butler, the senior sound engineer in the Matrix touring organization.

Patrick Soo Hoo/Designers returned for the sleeve, which combines an illustration by artist-designer Mamoru Shimokochi with photography by Greg Zajack.

Matrix closed the regular touring schedule after a November 1979 band meeting at Charlotte’s Web in Rockford, Illinois.

Harvest

Pablo Today released Matrix’s fourth album, Harvest, in 1981 from sessions completed the previous June.

Harvest presents six pieces through an eight-member lineup. Darling and Dietrich add synthesizers beside Harmon, while McDougall introduces euphonium to the brass range. The title suite joins “Prayer of Thanksgiving” to “Feast,” then closes with “Celebration Dance.” “Balthazar” occupies nearly twelve minutes at the album close.

A1. “El Tigre” (7:46)
A2. “Pony” (4:40)
A3. “Harvest: Prayer of Thanksgiving / Feast / Celebration Dance” (7:16)

B1. “Blue Black” (1:48)
B2. “Maestro” (7:32)
B3. “Balthazar” (11:57)

Matrix recorded Harvest in June 1980 at Shade Tree Studios in Lake Geneva, where the band convened to close out their initial run after their retirement from touring.

Reunions

Matrix regrouped in July 1992 for concerts in Oshkosh and Milwaukee. Neenah Jazz Festival presented another reunion in September 2000, which led to new sessions at Lawrence University.

Proud Flesh

Matrix released their fifth album, Proud Flesh, in September 2002 on Summit Records.

Proud Flesh reunites the nine-member Warner-era lineup and adds saxophonist Tom Washatka. The album contains eleven tracks, including a four-part title suite dedicated to Miles Davis. Guests include guitarist Tom Theabo and percussionists Dane Richeson, John Seydewitz, and Kevin Winard. Darling and Harmon wrote most of the program; Murphy co-wrote “Festival City” with Daryl Stuermer, while Tico contributed “Kokopelli.”

1. “No, Seriously” (4:12) – Darling
2. “Reunion Dues” (5:14) – Harmon
3. “Festival City” (6:04) – Murphy, Stuermer
4. “Fast Face” (4:04) – Darling
5. “Kokopelli” (4:50) – Tico
6. “Padre Island Sunrise” (9:59) – Harmon
7. “Proud Flesh: Never Look Back” (2:25) – Harmon
8. “Proud Flesh: The Street” (6:10) – Harmon
9. “Proud Flesh: My Selfish Heart” (5:39) – Harmon
10. “Proud Flesh: Later” (8:32) – Harmon
11. “Branches” (4:22) – Darling

Sessions extended from June 2001 through April 2002 between Lawrence University in Appleton and Beagle Studios in Santa Barbara. Trumpeter and synthesizer player Larry Darling co-produced with the group and co-engineered with Peter Butler, who returned from Tale of the Whale.

Further reunion concerts followed at Northern Aire Jazz Festival in June 2002 and at Green Lake and Menasha seven years later under Wisconsin festival bookings.

Discography: