ECSTASY IN NUMBERS

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Washington, USA

Available CDs

Warranties and Disclaimers

"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. - David Layton, 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." - Stephanie Sollow, ProgressiveWorld.net

"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

"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

"Ecstasy In Numbers is a band that hails from the Washington state area. The group members include Garey Williams, Drums, Mike Mattingly, Guitar and Dean Schmidt, Bass. All compositions are written by Mike and Gary combined. The bands origin began in 1986 originally intended as a recording project for Garey, it soon developed into a unique exploratory collaboration between Mike and Garey culminating with the material on the CD between 1986 and 1991. The pair performed with several bassist until the group reformed with a new bassist, Dean Schmidt, and recorded and performed Spellbound. The lineup changed again with new bassist Rick White replacing Dean Schmidt.

Ecstasy In Numbers is a collaboration of three very talented musicians that have put together a fascinating project called Spellbound. Although the music is not exactly progressive rock, it is still compelling and interesting to listen to. In terms of music, it is experimental / instrumental jazz rock.

Personally, I found the release musically interesting but not overly challenging or engaging. The music itself develops sounds capes that are atmospheric with a jazzy feel, focusing on the listeners musical ear.

Ecstasy In Numbers equals three very talented musicians jamming on ten very cool tracks. The production is well balanced and the mix is excellent. A good release for those that love instrumental Jazz rock." - George Roldan, Prog4You.com

"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