Match Point by Ron McClure: A Post-Bop Knockout That Hits Hard
Alright, let’s get real for a sec. Ron McClure’s Match Point isn’t just another jazz album—it’s a damn statement. Released in 2002 under SteepleChase (Denmark), this record doesn’t mess around. It’s raw, unfiltered post-bop with teeth. And yeah, it bites back. With McClure on bass, Jed Levy tearing up the tenor sax, Bob Devos shredding guitar like he’s got something to prove, and Jeff Brillinger keeping the drums tight as hell, this crew came to play. No fluff here—just pure grit.
Now, I gotta talk about two tracks that stuck with me because they’re still ringing in my ears days later. First off, “Cellular Expansion.” Holy crap, this tune is wild. It starts off all moody and brooding, like you’re walking through fog at midnight. Then BOOM—the band flips the script. McClure lays down these thick basslines that feel like they’re crawling up your spine while Levy goes full beast mode on the sax. By the time Devos jumps in with his guitar solo, you’re not just listening anymore—you’re living it. This track feels alive, man. Like it could explode at any second. And when it ends? You’re left breathless, wondering what the hell just hit you.
Then there’s “West Side Blues,” which slaps hard but in a totally different way. If “Cellular Expansion” is chaos wrapped in fire, this one’s smooth confidence dipped in whiskey. The groove is so nasty it should come with a warning label. McClure’s basslines are buttery smooth, locking in perfectly with Brillinger’s steady drumming. But it’s Levy’s sax work that steals the show here—he plays like he knows exactly how good he is without ever crossing into cocky territory. It’s cool, collected, and effortlessly badass. You can practically see the smoke-filled club where this was recorded. Damn near cinematic.
The rest of the album holds its own too, don’t get me wrong. Tracks like “Shorter Story” and “Moonray” bring their A-game, blending complex arrangements with soulful improvisation. Even the liner notes by McClure himself add a personal touch, making you feel like you’re part of the journey. Producer Nils Winther clearly knew what he was doing, letting the musicians breathe while capturing every nuance. Kudos to engineer Tom Redesco and photographer Nils Winther for making sure everything sounds and looks sharp as hell.
But here’s the kicker—the whole thing feels timeless. Yeah, it came out in 2002, but it doesn’t sound dated at all. Maybe it’s the chemistry between the players or the fact that they weren’t trying to reinvent the wheel—they just wanted to make great music. And holy hell, did they succeed.
So, what’s the takeaway? Jazz snobs will eat this up, no doubt, but even casual listeners who dig solid grooves and killer solos should give Match Point a spin. Honestly, if this album doesn’t make you wanna grab an instrument and start jamming—or at least nod your head like crazy—you might need to check your pulse.
Final thought? Life’s short. Listen to more albums like this before robots take over and start making music for us. Peace.
