Primary Instrument: Guitar
Guitarist and composer Matthew Charles Heulitt wields an uncanny ability to bridge the worlds of jazz, contemporary pop, and original music into a tapestry of soulful music. His lines on the guitar draw a constant sense of unfolding and searching that go well beyond the idioms of jazz improvisation.
After graduating high school from the Interlochen Arts Academy high school in northern Michigan, Matthew went on to further his improvisational indulgences at Depaul University, Wayne State University, and finally at the University of Miami in Florida completing a bachelors degree in studio music and jazz guitar. Beyond college, Matthew studied privately with fringe-jazz guitarist Wayne Krantz who encouraged in his studies a sense of technical prowess and harmonic originality. In 1997 Matthew relocated to the San Francisco Bay Area and in that time has become one of the most sought after and prolific session guitarist in the area. In 2000 he began working with acclaimed funk drummer Zigaboo Modeliste of The Meters and continues to play in Zigaboo’s New Aahkesstra. In 2005 Matthew toured the US and Europe with The Salvador Santana Band opening for Carlos Santana, Rusted Root and The Los Lonely Boys. Changing gears completely, Matthew toured for 2 more years with South African folk singer Vusi Mahlasela around the world. In 2008 Matthew began a working relationship with drummer/producer Narada Michael Walden (Jeff Beck, Mahavishnu Orchestra, Weather Report) in his band and in the studio. As a band leader, “Room To Run” was released in 2009 as his first self-produced modern jazz recording.
“An amazing new Guitarist with a vast musical vision destined to be a success.” --Zigaboo Modeliste
“Matthew’s guitar playing is versatile, heartfelt and soulful. His passion for music is tangible…” --Vusi Mahlasela
“Heulitt’s music and voice has its own identity, one that is refreshingly beyond the usual stance of progressive jazz rock.” --Mark F. Turner Allaboutjazz.com
“For sure, Heulitt can ring a great solo, but has the knack of doing so in a gradual and subtle manner not unlike Bill Frisell, probing and teasing the notes from his strings.” --Ian Patterson allaboutjazz.com
