Sasha Matson - Fillmore Street/Little Woodstar

Sasha Matson — Fillmore Street/Little Woodstar

180-gram vinyl

Mastered by Matthew Lutthans at The Mastering Lab

Pressed at Quality Record Pressings

Co-produced by Joe Harley (Blue Note Records) and John Atkinson (Stereophile)

A walloping one-two punch of works for jazz and studio orchestras!

"Few musicians are as interested as I am in the recording and reproduction of their music. I like to hear the sausage get made. ... In the case of Fillmore Street/Little Woodstar, I decided on a two-piece set consisting of one old composition and one new one. These two works live in two different musical ballparks. Fillmore Street, on side 1 of the LP, is scored for a jazz orchestra. It tells musical stories about three locations in California. The older work on the album, Little Woodstar, which I composed while in grad school, leans classical. ... There can be a lot of changes to keep up with in my music, recalling Zappa's collage-like technique. On the new album, you can hear this rapid deployment highlighted in the third movement of Fillmore Street, "Mar Vista," as jazz improvised solos coexist with through-composed scoring. This is not background music. In his liner notes, coproducer Joe Harley states: 'As always, Sasha Matson takes you on a journey.'" — Sasha Matson, "My New Album!" Stereophile, April 22, 2025

"The two works on Sasha Matson's latest album are inspired by places and animals: 'Filmore Street,' a three-movement suite evoking places in California of personal significance to him; and 'Little Woodstar,' named after a hummingbird on the list of threatened animals compiled by the International Union for Nature. Both pieces are scored for richly varied chamber and jazz orchestras of 16 instruments; on 'Little Woodstar' Matson adds a group of five voices that intone the names (listed on an insert) of many endangered species, to ruminative, haunting effect. Matson's eclectic influences draw from the spheres of classical, jazz, pop, and rock, yet the effect is never pastiche, rather fused into a sound and style all his own. The album was produced by Joe Harley and John Atkinson, and the sonics, multi-miked and beautifully mixed, have superb dynamic range and transparency that serve music which delights, excites, and moves in equal measure. 'Woodstar' is especially poignant: dedicated to the memory of Amy Shulman Kent, dear friend, lovely human being, extraordinarly gifted harpist who was slated to play on this album until she was taken from us much too soon (Peter Kent, her husband, is the violinist here). Enthusiastically recommended." — Music = 5/5; Sonics = 5/5 — Paul Seydor, The Absolute Sound

"Each of Sasha Matson's last three albums has represented a fresh departure, likewise this new one. If you've a taste for music that is highly original without being idiosyncratic, contemporary without being merely trendy, learned yet not in the least academic, serious even when it's light and amusing, and entertaining in the very best sense of the word, I urge you to investigate this album." — Music = 10/11; Sound = 10/11 — Paul Seydor, TrackingAngle.com. To read the full review click here.

Take a foundation of classical composition, add a whole lot of jazz influence, and sprinkle in some Bob Dylan and Grateful Dead and you'll get Fillmore Street/Little Woodstar, a walloping one-two punch of works for jazz and studio orchestras by composer Sasha Matson.

Notes On Fillmore Street

Fillmore Street is a recently composed instrumental composition scored for a jazz orchestra of 16 players. In three movements, the programmatic titles refer to three locations in California that have meant much to Matson throughout the years. "In the early 1980s we lived at 2411 Fillmore Street in San Francisco, and the first movement, 'Fillmore Street,' refers to that time.

"At 4:53 I quote from several musical works that were in my ears then — including the sound of a disco hi-hat. 'Sonora Pass' refers to the highway that traverses the Sierra Nevada mountains north of Yosemite, one of the most beautiful and varied landscapes in the world. The third movement, titled 'Mar Vista,' recalls the neighborhood we lived in, south of Santa Monica and east of Venice, in the great City and County of Los Angeles."

"Recording again in New York, with the greatest jazz musicians — a high point for any composer — Sear Sound — at this time — was the longest-running studio in Manhattan. One plus was being able to use studio founder Walter Sear's original 1968 Moog Model IIIC modular synthesizer, one of the first made. Walter Sear and Robert Moog were friends and business associates."

Notes on Little Woodstar

"Little Woodstar was composed in the mid-1990s, while I was studying at UCLA. I scored it for a vocal quintet and large orchestra, and now have re-orchestrated for a smaller studio orchestra of 16 players and five singers. It is a pleasure to hear it well-recorded and beautifully performed by the best musicians in Los Angeles. The term "studio orchestra" was often used when I first lived in Los Angeles, to refer to groups of about 20 to 30 players utilized for film and television scoring. I like the intimacy of one-on-a-part groupings. We recorded the ensemble in Los Angeles, in the superb large Studio 1 at East/West Studios in Hollywood. Vocals were recorded at Sear Sound in New York.

"Established in 1964, The International Union for Nature (IUCN) Red List of Threatened Animals has evolved to become the world's most comprehensive source on the global conservation status of animal, fungi, and plant species. Little Woodstar is the common vernacular name for one species of hummingbird, among more than 150,000 species currently assessed for the Red List. Struck by the poetic beauty of the names, a selection of 47 of them became the text for this work. The texts are used by permission.

Credits:

Fillmore Street
Recorded May and April 2024 at Sear Sound in New York, NY
Session Engineer & Mixing James Farber
Moog Programming Owen Mulholland

Little Woodstar
Orchestra recorded October 2023 at East/West Studios in Hollywood CA
Vocals recorded January 2024 at Sear Sound in New York, NY
Session Engineers Steve Genewick, Chris Allen
Mixing Chris Allen
Producers: John Atkinson, Joe Harley
Vinyl Mastering: Matt Lutthans
Digital Mastering: John Atkinson
Contracting Peter Kent, Aubrey Johnson, Andy Farber
Cover Photography Anthony Lujan, Mark Miller
Graphic Design Ian Lascell

In Memory of Amy Shulman Kent

Producer's Notes:

"Sasha Matson and I go back many years, back to the early 1990s when I first became aware of his music. Matson has always been tough to pigeonhole. He gets pegged as a classical composer/arranger and he is, indeed, that. (The man studied with John Adams among several other notables.) But, coming of age in Berkeley CA as he did, he also has a keen appreciation of the San Francisco music scene, especially the Grateful Dead. Stir in equal parts Bob Dylan and many jazz influences, and the word eclectic doesn't fully capture his musical essence. You can hear this from the first project we worked on together, I5/Steel Chords, and you can hear it nowwith this release of Fillmore Street/Little Woodstar. On October 21, 2023, Matson gathered a group of Los Angeles' finest musicians in Hollywood's legendary East/West Studio 1 (In prior incarnations, this studio was known variously as Cello,OceanWay, and Western). Joining us in the control room was engineer Steve Genewick, whose credits are vast and who worked alongside engineering legend Al Schmidt for over 20 years.Our mission was to record the instrumental tracks for Matson's two-part piece, Little Woodstar. Ihad heard synth versions of this music prior to the session, but it was truly a thrill to hear these marvelous compositions come to vibrant life with world-class musicians. It was even a largerthrill to hear the fully realized final version with vocalists added in the later sessions in New York City.As always, Matson takes you on a journey... a voyage full of beauty, heartbreak, and promise. Immerse yourselves." — Joe Harley (Co-Producer Joe Harley has had a long career in music, producing for a variety of labels over the last 30+ years. Currently, Harley is Director of Catalog and A&R Marketing for Blue Note Records, in addition to managing Blue Note's Tone Poet reissue series.

"Having produced three albums of Matson's music — Cooperstown, Tight Lines, and Molto Molto — I have long been impressed by his ability to compose musically complex works that are nevertheless emotionally communicative. It was a pleasure, therefore, to be asked to co-produce his latest album. It was an even greater pleasure to be able to work with a talented young vocal quintet led by soprano Aubrey Johnson and some of New York's greatest jazz musicians, including Andy Farber on winds, Adam Birnbaum on piano, Melissa Slocum on bass, and Alvester Garnett on drums. Add to that the opportunity to work with legendary engineers Chris Allen and James Farber in the hallowed hall of Manhattan's Sear Sound Studio, and you will understand why I spent the three days of sessions wearing a large smile." — John Atkinson (Co-Producer John Atkinson has been Editor and now Technical Editor for Stereophile magazine since 1986. A musician, primarily on bass guitar, a sound recordist, and an audiophile, Atkinson has produced, engineered, mastered, or played instruments, on more than 40 commercially released LPs and CDs since 1972, including Matson's Cooperstown, Tight Lines, and Molto Molto recordings.

 

Side A

1. Fillmore Street

2. Sonora Pass

3. Mar Vista

Side B

1. Little Woodstar I

2. Little Woodstar II

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