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Reviews

"Drummer Garey Williams leads his Seattle-based group Ecstasy In Numbers through ten original tunes in their sophomore recording, The Search. Stylistically, the group might best be described as straight-eighth-note *melodic jazz-fusion* for guitar trio with Chick Corea and Weather Report influences. The tunes are memorable, harmonically interesting, and all three players excel at both soling and musical interaction. The tunes run the gamet from syncopated funk to a waltz, ethereal fusion, down-home, Afro-Cuban and 7/4 Funk. The band- Williams (drums), Rick White (electric bass), Mike Mattingly (guitar)- make frequent use of unison ensemble figures, a jazz-fusion trademark. There is a comfortable feel to their playing, the result of many years of experience and working together. Williams sounds like a combination of Vinnie Colaiuta and Peter Erskine through his careful attention to the orchestration of each section of the tune. His relaxed, flowing style suits the music, yet he is always pushing the other players to new heights."

Percussive Notes

"Introducing the group at a recent jazz festival, KPLU music director, Nick Morrison, said, "I receive dozens of jazz CDs from around the world and this is one of the best debut CD's that I have ever heard. I thought the group was from New York or L.A. and after listening to it I thought, these guys are really good, where are they from? Then I looked on the CD booklet and found, to my surprise, that they are from Bremerton, WA!"

KPLU Music Director

"Ooouuuhhh - what a brilliant progressive/fusion instrumental release! These fantastic three ECSTASY IN NUMBERS are doing their work as well like the best musicians at the TONE CNTRE/SHRAPNEL RECORDS LABEL (for example JING CHI; CAB or HENDERSON,SMITH,WOOTEN). SPELLBOUND has a wide style between Blues, Rock and Jazz-Fusion. The Rhythm and Notes on this record makes an appearance in a solid and impressive sound. By the way, soundfreaks have to notice, that SPELLBOUND is a production at the top of the -High End Scale- . Absolute HIGHLY RECOMMENDED!"

Author: Wolfram E.

"Like fine wine, this tasteful trio will even get better wit hage. Each member has the chops to convince even the most rabid fusion fan that laidback can pack enough "chi" to tear your guts inside out…this is tai chi fusion as it's best!! That's a good thing by the way! Check 'em out ASAP!"

Author: shaolin blues monk

"Diversity Records sampler represents their first entry into the marketplace as it was just released at the Home Entertainment show a few weeks ago. However, although the label itself is new, Paul Weitzel, the owner has had many years of experience in recording techniques as well as the ins and outs of record companies themselves. This sampler contains works from three separate groups, doing three totally different types of music. Ecstasy In Numbers is a group known for performing original instrumental progressive jazz music.

The first track on the album, "Les Vic" is sort of a fun play between all the various instruments in the band. The levels on this live recording are really well set so no one particular instrument takes center stage. I mean this figuratively since the stereo separation that creates the enveloping sound stage also allows instruments to be heard in their various locations during the performance.

What makes this track particularly impressive to me is that throughout the first part of the instrumental performance I felt I had a very good image of the actual recording venue. The acoustical environment was extremely well captured, especially given that this is a CD and it does have some very real limits on the information it can hold and the playback it can afford. However, throughout the track, one can hear the sounds of fans. However, the only thing the sound of fans did was allow me to enjoy the music even more then before, bringing me closer to the actual performance itself.

"Omaha," the next of their performances is found on track four. It is a definite change from the first song in presentation. While the music is definitely well captured, the left hand of the soundstage seems taken over by the sound of the guitar and tends to slightly overwhelm the other instruments during most of the piece. At first I thought that perhaps it was the result of one band member being overzealous, however, the longer I listened to the song, the more I found that it was something more. It appears as though the intent is more to bring attention to the music the guitar is making then to overwhelm the sound of the other instruments in the background. I say this because as the song progresses, the guitar fade back into harmony with the other instruments playing together.

"Naima," found on track seven is again a different sort of composition. Unlike the prior two this one leaves far more to the ambience of the venue to add to its poignant sound. In fact, I found it to be one of the most involving performances of the band on this particular disc. There is a great deal of harmonization between the instruments. One of the best features is the fade out at the end of the track, something the others songs don't seem to do as well.

The last track on the sampler, like the first is performed by Ecstasy In Numbers. "Spellbound," is the most laid tune of the CD. In fact, I felt it allowed for the easiest listening since it had none of the edgy instrumental sounds the other songs contained at times. Perhaps this is because I also felt it had the most dynamic range. This seemed to help in creating the best and most enveloping experience. In fact, even the sounds of the people present during the recording were non-invasive and entirely laid back."

Brett Rudolph - Music Tap

"There is a lesson to be learned by listening to the solid and dynamic performances of this instrumental electric fusion trio. "Ears" is the key word here. Each player listens to and compliments the others in a tasteful and respectful manner. The arrangements sound tightly worked out, but not stiff and predictable. And the tones of each instrument are evenly matched and well-mixed for a rich and full sound.

Garey Williams displays a beautiful touch and emotion in his drumming. He performs with a strong technique and a keen sense of what to play in a studio situation to achieve the correct balance within a jazz/rock trio setting. His drums sound fat, wet, and well recorded. His cymbal work is very expressive, and the mix allows his drums to explode with power and intensity when necessary. The compositions move in and out of various grooves in an interesting and playful manner, but never lose their solid feel. Although each player possesses noteworthy chops, the listening experience is not drawn so much toward their improvisational talents as it is toward the musical interaction within the material's arrangements. There is not a standout track on the disc; they are all outstanding."

Modern Drummer

"It takes about ten seconds...to realize this is a skilled triumvirate. For those lovers of multi-part jazz- rock excursions, Ecstasy in Numbers is worth a spin. Ecstasy's current brand of material is a far cry from jazz standards, however, resembling such vanguard acts as I.O.U., the quintessential late-fusion band of the early 80's. Williams plays with an attentive spark much the way Chad Wackerman did and Mattingly was obviously influenced by Holdsworth. This is no clone band, though, as many of their ideas are characteristically their own... Many of the melodies are syncopated flurries, with mood inducing harmonies and sharply defined sections of the tunes. Tha band [has]...a few tunes that you could whistle on the bus."

Rhythm Magazine

"A very BIG sounding trio featuring Garey Williams(drums), MikeMattingly(guitar), and Dean Schmidt(bass). The instrumental compositions are musically and rhythmically interesting. Best described as "easy to listen to rock fusion" along the lines of Metheny, Steve Khan, Holdsworth, Yellowjackets. The tones of each instrument are well matched and well recorded. Mattingly's guitar controls the focus of the material. The players follow one another with taste and dynamics. One of the tightest bands you will ever find."

FUSE Magazine

"Here we have a trio of guitar, bass, and drums that pulls a lot of sound from just three players. Thanks to quality recording and judicious overdubs. Ecstasy In Numbers provides tasty guitar=oriented fusion a bit on the Holdsworth side of things. Guitarist Mike Mattingly even occasionally reaches for Holdsworth's trademark whines and slides. But Spellbound is not totally derivative. Ecstasy In Numbers charts out its own course. As with any album of this kind, its fate rests on the player's instrumental prowess. These three are very good musicians. The CD starts with the breezy 'Cruisin'. Another track, 'Rush Hour', goes the way of '90s Brand X, rockin' jazz with some sweet breaks. All the music is smoothly played, but light years beyond "smooth jazz." Interesting tempo and mood shifts abound. Unpretentious drumming augments melodic guitar leads and contrapuntal bass lines. Spellbound is a good buy for the fan of guitar-oriented fusion."

Progression Magazine

"Formed in 1986, Washington State-based Ecstasy In Numbers are a trio consisting of Garey Williams on drums, Mike Mattingly on guitar and Dean Schmidt on bass. The three cook up some very tasty jazz-rock that will appeal to fans of Liquid Tension Experiment, Bozzio Levin Stephens and any other jazzy combo that Levin has been involved in. Bass isn't the most dominant instrument here, of course, as each are doing something interesting throughout, making this another one that you can full appreciate in just one sitting, and yet you can help be won over after a single listening. While it might seem the obvious comment to make, you'll be spellbound by Spellbound. Mattingly plays with crisp, clear lines; Schmidt's tone is deep and boomy, very earthy in tone. Williams' percussion is assured and no mere time keeping. Folks that came to mind - Larry Carlton, John Scofield, Craig Chaquico (um, yes, Mattingly does use steel string), Djam Karet, and many others, all at different points. The arrangements and their playing seems effortless from the get go, beginning with "Cruisin'.". Memorable melodies flow throughout the album though, no less on the title track "Spellbound." Each song is a journey that remains fresh and vital, these three guys aren't just playing jazzy figures, they're feeling them.

Taking just some samples from this terrific album, "Rush Hour" is muscular and a bit dangerous - in this rush hour we're not stuck in traffic, were taking an adrenaline and testosterone filled journey up twisting and winding roads or speeding along a flat, dark desert highway. Take your pick of imagery as they're both here. Throaty bass pulses with bravado; lacy guitar figures are anything but delicate, but quite lyrical and expressive... Fat bass lines open "Spy Vs Spy," sounding a lot like those found in the theme music for Seinfeld, though I'm sure there are other parallels to be found. This track is otherwise rather moody, as Mattingly plays some brooding guitar. While most of the tracks are heavier on the jazz than the rock, the rock aspect comes to the fore on tracks such as "I'm Not A Vampire Anymore" which closes the album. "Cruisin'" which kicks things off sounds vaguely familiar (aside from my having reviewed it on the AXcavation compilation. Maybe because there is no way this could be called anything other than "Cruisin'" or other such mobile term, or maybe because Scofield (for example) has gone in similar direction...or rather they to Scofield. One song I did think of was Tears For Fears' "Everybody Wants To Rule The World" This would be the more shimmery, jazzy, wordless version, but both have the same backing rhythm. "Glass Hummingbird" is cheerful, the bass taking the lead...'tis where I though of Levin the most, but on the other hand, there are brief passages where it gets dirty, throaty and dark, and I think of Rush.

The production on this album is terrific, crystal clear. You can hear every drum beat and every cymbal snick, shimmer, and crash, hear every thump of the bass, and hear every singing guitar note. Sure some of the tone colours they use aren't unique, but this so well done and quite engaging and entertaining that it doesn't matter. Highly recommended that you seek this out."

ProgressiveWorld.net

"Why the hell are ECSTASY IN NUMBERS still unknown over here ? The band plays melodic jazz combined with relaxed progressive rock and artrock. Take the tracks Cruisin, Glass Hummingbird, Spellbound and Rush Hour for example ... especially these songs are on a high technical level ... but the songs are still songs because he guys succeed in focussing on silent, jazzy tunes that don't get annoying or too complex. If you like prog jazz or jazz prog ;-) you have to evaluate this album ! 6 points" - Markus Weis.

DURP.com

"Interesting.. very interesting.. An original jazz-metal fusion with a lot of brilliant musical ideas, symphonically-recurring themes and flowing freestyle arrangement. This is a tune you simply must listen to, if only to get a glimpse of what is 'out there'. The song is well executed, and the arrangement is technically sound...The guitar chords, arpisms, and solos are all very imaginative... Now, we have competent, drum, bass and guitar players here...

If you're into fusion, or want to listen to something different for a change, try this!"
-Christos Dimitrakakis

Gods of Music.com

"Ecstasy In Numbers brings us this cd SpellBound, the bands first offering, and it is a strong one. They are a trio performing instrumental fusion. With a standard line-up of Guitars - (Mike Mattingly), Drums -(Garey Williams), and Basses - (Dean Schmidt), they offer a much bigger sound than one could imagine from a trio, and this is due largely on each musicians ability to play in and around the musical basis of each song. Each one of these guys are superbly gifted and well educated players. The songs range from technically disciplined ensemble mechanics that are very rock/fusion laced, to looser free flowing jazz/rock fusion. Each song displays the depth of the bands talents, by creating catchy grooves, or atmospheric textural sections, they provide ample space for adventurous soloing or melody phrasings.

Guitarist, Mike Mattingly, leads the band through the compositions with his multifaceted approach to guitar, he seems to have a vast array of influences he taps to get the desired effect for EIN's many varied sounds, I can pick up everyone from Alex Lifeson(Rush), Scott Henderson(Tribal Tech), Steve Lukather(Toto), Pat Metheny, Allan Holdsworth, etc. in his playing, he has a very prominent sound in this band, and plays the roles as rhythmist and soloist very amicable.

Drummer, Garey Williams, is an energetic and complex player, as a threesome, his polyrhythmic inventions, fills, and disciplined approach to time signatures, gives added dimension to EIN's music. Certain songs demand exacted and difficult cadences, with many odd times, and rapid fire staccato snippets, he delivers these with the mark of a pro, as if he were mechanized.

Bassist, Dean Schmidt, not only holds the backbone of the bands structure solid, he too is offered center stage and shows is virtuoso side as a soloist on a few songs, the color he adds to each song is a personalized voice that coincides perfectly to Mattingly's guitars voicings, he is one of those rare players that can masterfully play outside of the harmonic realm, by fitting somewhat disharmonic tones and countermelody to the existing songs structure.

In conclusion, EIN is a solid band, no filler cuts to bore the listener, and hopefully the band will follow this up with more to come. A must for fans of the following:Tribal Tech, The Code, Network, Fragile."
-mjbrady

Prognosis Web

"Playing in a trio formation is probably one of the toughest things in music. Even more so when the line-up is the pretty standard combination of guitar + bass + drums. Beaten paths, not a lot of variety in the overall sound and clichés are just around the corner. Ecstasy In Numbers seem to bypass all these pitfalls through their musical craftsmanship and strong compositions.

Bass player Dean Schmidt gels well with drummer Garey Williams and together they are solid rhythmic union. With a nice, loose touch Schmidt makes sure the music has a good foundation. Through his flowing playing, with a strong emphasis on his fretless bass he injects the music with that typical and beautiful ringing bass-sound. When given the room to solo his contributions are always tasteful and never over-the-top.

Garey Williams is not only responsible for the formidable drumming on this album but together with guitarplayer Mike Mattingly, is also responsible for all of the compositions. And based upon the credits and the room his drumkit has been given within the overall soundpanorama, he also had a lot of control over the overall production of the album. The quality of this is something I can give a big thumbs-up by the way; the warm, deep and broad sound makes sure that all the subtleties within the interplay between the musicians can be clearly noticed.

But it's the shoulders of guitar player Mike Mattingly that have to bear the brunt of the melodic responsibility of the album. I find it very tough to pinpoint his style to some distinct influence (which is probably only due to my lack of knowledge?). Partly he reminds me a bit of Andy Timmons when he is doing jazzrock but in a song like Spy Vs. Spy his atmospheric playing reminds me an awful lot of the sounds that I hear Allan Holdsworth producing on his "Wardenclyffe Tower" album. And as far as I know Mattingly isn't using any guitarsynth! It's the enormous variety of sounds he seems to get out of his guitar that is Mattingly's greatest asset which he puts to great use.

But all this musical craftsmanship isn't worth a dime when you don't have good compositions. And fortunately the duo Williams / Mattingly provide us with some excellent stuff. Overall these guys just seem to have found a perfect balance within their music. On the one hand the music isn't too rigid but on the other hand there is just enough structure so that you know that all of the solos are actually leading us to some logical conclusion. And that is a big bonus in a field which over the past few years has been flooded by far too many jazzrock-albums which seem to focus more on the enormous amounts of notes one can spill out of their instruments then actually trying to make a relevant musical statement. A good example is Shades which opens in quite a relaxed mood but the intensity level is carefully raised through a series of short solo's by all of the musicians without losing the focus on the strong main theme of the track. Spellbound offers us a nice contrast between a groovy shuffle and a more loosely swinging section.

The extra overdubs that Mattingly has added to several of the tracks is a very tasteful feature. They make sure that the sound of the band won't easily bore you. Taking the first word out of the title of the track Rush Hour gives us a nice reference (at least to us progressive rock lovers) to the particular atmosphere of the main theme of the piece. Nice to hear that Ecstasy In Numbers can handle the slightly heavier stuff as well. It's not that they turn into a heavy rockband in this track because the rest of the piece remains distinctly breezy and groovy.

"Spellbound" is an excellent album for those of you who are into instrumental rock and who are looking for a new challenge to sink our teeth into. The jazzrock / fusion connoisseurs will hopefully know enough when I am saying that this album has captured a special place in my heart."
Christian Bekhuis

www.progwereld.org

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