Sara Serpa & André Matos - Night Birds

September 26, 2023

Label: Robalo Music, 2023

Personnel - Sara Serpa: voice; André Matos: electric and acoustic guitars, bass, percussion (#11); Dov Manski: piano, synth; Sofia Jernberg: voice (#5,7,9); Okkyung Lee: cello (#3,8,10); João Pereira: drums (#2,3,4,5,6,7,10); Lourenço: voice (#4,10).

The Portuguese duo of Sara Serpa and André Matos, a boundary-pushing singer and guitarist based in New York, respectively, renew and expand their terrific sound in Night Birds, a new body of work soaked in poetic lucidity and modern world observations. Serpa recently made a notable contribution to bassist Linda May Han Oh’s The Glass Hours with distinction, while Matos released an entrancing duo recording with saxophonist Jeremy Udden in addition to his regular solo work. This is their third outing, one that offers 12 sonic sculptures carved out with their ever-deepening compositional chops.

The opener, “From a Distance”, showcases Serpa’s soaring voice along with a granular, droning, nearly misty texture created by keyboardist Dov Manski and Matos’ spacious bass notes and guitar playing, before lurching into “Carlos”, a graceful waltzing dance with a catchy melody. Voice and guitar harmonize beautifully in this quiet musical setting imbued with a newfound looseness.

Special guest musicians are featured on specific tracks. The Swedish-Ethiopian singer Sofia Jernberg appears where experimental and avant-garde realities reign - “Underwater”, for example, brings a mix of mystery and enchantment, not only as a consequence of the emotional vocalization but also through chiming sounds, curiously eccentric murmurs, understated percussion, and measured electronic frequencies. “Degrowth”, which is also strengthen by South Korean cellist Okkyung Lee, led me to contemplate a slow procession toward some magical forest, cautioning us about the dangers of consumerism and general alienation through expertly crafted intervals. Yet, Serpa and Jernberg’s lines flow together in synchronicity.

But there are more delightful surprises. The short-lived “Melting Ice” - with piano, bass, cello and a weighted amount of toms and cymbals - evokes that cloistered mood reminiscent of certain abstract paintings; “Family” is a wonderfully melodious and richly rhythmic piece bordering on avant-folk, which includes electric and acoustic guitars and the sweet vocal timbre of Lourenço (Serpa and Matos’ son) amidst multiple vocal layers; the refined Cocteau Twins-esque “Counting” falls into the indie rock realm with the help of drummer João Pereira’s adaptable rhythm; “Bergman’s Island” has Matos playing the acoustic guitar with the poignancy of fado, creating art-glazed cinematic atmospherics; and Béla Bartók’s “Bagatelle, Op.6: Lento” concludes the album on a tranquil yet intriguing note.

The successful duo probes a variety of stylistic approaches, textures, and shapes with nuance, creativity, and freshness. The more time we spend with this album, the more we appreciate its forward-looking perspective.

Favorite Tracks:
04 - Family ► 06 - Counting ► 08 - Degrowth

André Matos / Jeremy Udden - Wandering Souls

April 4, 2023

Label: Robalo, 2023
Personnel - André Matos: electric guitar; Jeremy Udden: alto saxophone.

Hailing from the same broadminded jazz generation, Portuguese guitarist André Matos and American saxophonist Jeremy Udden got together in Brooklyn for an intimate duo recording soaked in modern ambient stylization.

The atmospheric beauty of “As Far as Eyes Can See” sets the mood for the album, Wandering Souls, which consists of five improvised pieces. Unpretentious saxophone chanting is set against Matos’ droning escapisms made of aqueous and rippling guitar effects. Space is a must here, and clarity increases as the impressionistic sonic painting sharpens its edges through lyrical contemplation.

“The Rings of Saturn” is both ruminative and explorative in its infectious minimalist loops, whereas “Ceremonial” is not just what the title suggests; it’s also mysterious. The album’s chapters are kept light and cool with impeccable timing and sensitivity.

“Stoichiometry” implies a chemical reaction between two musicians who have known each other for years but never recorded together. Udden brings confidence and relaxation to his narrative prose; Matos dives into soundscapes that range from swooshing tremolos to atmospheric washes to textural meditations. The album concludes with “The Mind Wanders”, the shortest track on the record at two and a half minutes, and the most harmonically transparent.

This duo is encouraged to uphold their wanders of the soul.

Favorite Tracks:
01 - As Far as Eyes Can See ► 02 - The Rings of Saturn ► 05 - The Mind Wanders

Andre Matos - On the Shortness of Life Vol. I-IV

June 13, 2021

Label: Self released, 2021

Personnel - Andre Matos: guitar, effects w/ Guests - João Lencastre: drums; Andre Carvalho: double bass; Dov Manski: synth; Sara Serpa: vocals; Gonçalo Marques: trumpet; Noah Preminger: tenor sax; Demian Cabaud: double bass; Richard Sears: piano; Jose Soares: alto sax; Leo Genovese: piano; Nathan Blehar: tenor sax; Julian Shore: piano; Aaron Krusiki: bass clarinet.

After finishing his solo tetralogy with Casa (Robalo, 2021), the Portuguese guitarist/composer Andre Matos, who is based in New York since 2008, creates another four volumes, this time consisting mostly of short duo tracks that explore diverse perspectives of texture and space. Recorded last April, On the Shortness of Life has the guitarist working on top (and around) improvised segments sent by colleagues of long standing, guiding us across vast planes of music whose essence can be folk-like, experimental, avant-garde or ambient, and, in certain cases, a combination of some of these elements. All of this is delivered with a sensitive awareness of the frequencies of the two instruments involved and where they each fit.

The resolute direction taken by the pianist Richard Sears on “Sunrise” is shrouded by the beautiful soundscapes of Matos. This pair is responsible for a more mysterious collage of sounds on the concluding “Sunset”.

Two other pianists were called to participate in the experiment, namely Leo Genovese and Julian Shore on the warped “Quieter Pursuits” and the wistful “Dentro de Água”, respectively. Both titles evoke sounds of nature whether through cinematic effects, white noise or bubbly complementary ornaments. They usually follow quiet yet intriguing routes.

“Invested in Something” denotes hopeful guitar drippings that agglomerate around a long, crying note delivered by trumpeter Gonçalo Marques who unfolds it patiently without losing a bit of that tormenting beseech.

The nimble keyboardist Dov Manski deliberately embraces dark pitches on “Do Além”, with the tension being appeased by smooth layers of electric guitar. In turn, the tenor saxophonist Noah Preminger infuses both sheer melody and momentary outside playing on “Walking Around”, emphasizing the Americana influence in its concluding melodic part. The guitar comping is phenomenal.

“Vindima” is struck by muscular distortion and a folk-tinged slide guitar, which turned up as a consequence of the apt underpinning offered by the Portuguese drummer João Lencastre. The latter brings out his commanding touch of cymbals and toms on “Mucifal”, where Matos oozes a lustrous sound. Yet, the space between them gets strongly rooted in the American sound on “Colares”.

While finding the right feel for each track, Matos shows how subtly brilliant and spaciously melodic his guitar playing can be. “Smalls” and “Antidote”, both with saxophonist Nathan Blehar, and “Flowers” with bassist André Carvalho, convey a wise tranquility, whereas the vocalist Sara Serpa pushes things a bit more into the edgier side on three tracks. With “Remembrance”, it’s the circular breathing of Aaron Krusiki on bass clarinet that motivates a wonderful, in-depth guitar processing.

This is a lucid improvisatory work by a guitarist with a strong identity who decided to donate all sales of the record to the International Rescue Committee.

Favorite Tracks:
15 - Invested in Something ► 18 - Mucifal ► 19 - Walking Around

Flash Reviews - Jeff Swanson / Andre Matos / Roberto Magris

April 19, 2020

JEFF SWANSON & CASE-FITTER - FATHOMS (Bace Records, 2020)

Personnel - Jeff Swanson: guitar, OP-1; Greg Ward: alto saxophone; Dustin Laurenzi: tenor saxophone; Paul Bedal: keyboards; Matt Ulery: electric bass; Greg Arty: drums, percussion.

Chicago-based guitarist/composer Jeff Swanson reunites his Case-fitter group and releases his second album of originals. The material consists of 10 disciplined, eclectic tracks delivered with a strong sense of texture. The opener, “Gaussian”, is built in conformity with an iterative idea as a theme, just like “Tre”. They showcase the bandleader in a fine guitar solo and Ulery’s authority on the lower registers, respectively. “The Accutron”, a guitar-driven 3/4 ballad, has Swanson throwing in some eligible bluesy lines, while “Fyra” is an ostinato-drenched collage that veers into psychedelic territory. The multi-dimensional impression of Arty’s drumming is noticeable on “Elisha”, a piece that starts as a reflection but then blooms with a deft combination of snare, hi-hat and bass drum. The pieces on the album were shaped in quartet, excluding four tracks where saxophonists Greg Ward and Dustin Laurenzi add extra color: the unruffled, odd-metered “Roads”, the danceable “Replicants”, the happily electronic “Farvel”, and the indie-meets-classic rock “Let The Children Play”. [B]

ANDRE MATOS - EARTH RESCUE (Robalo Music, 2020)

Personnel - Andre Mastos: guitar, bass.

Portuguese guitarist Andre Matos continues his solo work with another album, Earth Rescue, the successor to Muquina (2016) and Nome de Guerra (2017). The sea of calm he dives into is meant to be slowly absorbed and comes reflected on “Castelo dos Mouros”, the poignant and spacious opener; “Future Memories”, which is bathed in polished textural washes; “Borboletas”, where the harmonics make me think of the wings of a butterfly at rest in opposition to the chordal movement; and the title track, a contemplative look at the Earth’s urgency to breathe and flourish again. “Carlos” is busier yet equally methodical, displaying a thick round bass in support of the guitar. If “Planalto” leans on the folk genre, “1984” is all pretty prairies and ranches, shaping up as a country song suitable for a film score. Matos adds some ambiguity to “Climbing”, but the album, as a rule, embraces breezy symmetry and easygoing melodicism. I felt some of the pieces could be extended. Politicians are invited to take a listen and, hopefully, inspired by the music, help rescuing the Earth, considering it a primary concern of the present times. [B]

ROBERTO MAGRIS - SUITE! (JMood Records, 2020)

Personnel - Mark Coilby: tenor saxophone; Eric Jacobson: trumpet; Roberto Magris: pino; Eric Hochberg: bass; Greg Artry: drums; PJ Aubree Collins: vocals.

Italian pianist Roberto Magris releases Suite!, a double album comprising originals, known jazz standards, and curious interpretations of pop and rock songs. The album opens with a great rendition of King Crimson’s “In The Wake of the Poseidon”, here propelled with a contagious rhythm and jazzified with a warm touch. Another cover that surprised me favorably was John Lennon’s “Imagine”, rendered solo with openness of heart and catchy sweeps on the higher registers. When performing solo, Magris attains deeper spiritual dimension, and titles such as “(End of a) Summertime”, a fascinating reading of Gershwin’s famous tune; “Never Let Me Go” and the self-penned modal prayer “Love Creation” charm with soulfulness. This work comes stocked with stylistic diversity, and if both “Chicago Nights” and “The Island of Nowhere” are hard bop-inflected tunes in the line of Lee Morgan and Hank Mobley, then Jerry Martini’s “One With the Sun” and “Sunset Breeze”, whose intense bossa groove brings Joe Henderson to mind, come infused with crossover flavors as they intertwine and merge distinct lexicons. “Suite!” finds a confident 3/4 stride, and everyone should meditate upon the wise words in “A Message for a World to Come”. [B]

André Matos - Múquina

April 18, 2017

Label/Year: Robalo Music, 2017

Lineup - André Matos: guitar.

Portuguese guitarist André Matos has been a regular presence on the ‘scene’ since he moved to New York in 2006 after graduating from the New England Conservatory.
He thenceforth had the chance to record/perform with illustrious musicians such as Tony Malaby, Thomas Morgan, Leo Genovese, Jacob Sacks, Billy Mintz, Noah Preminger, Colin Stranahan, and Masa Kamaguchi, just to name a few.

After last year’s All the Dreams recorded in duo with his wife, the vocalist and composer Sara Serpa, he’s back with an intimate solo album entitled Múquina, released on the Portuguese label Robalo Music.

With an enveloping sound modulated by gorgeous effects, Matos begins the harmonious journey with the title track whose soft textures and pacific sound waves are comforting and moving.
“Força da Natureza” is made of the same nature but more verbalized, showcasing the sturdy technique of the guitarist.

My favorite track, “Malé”, is a hypnotic piece that flourishes with transcendent beauty, intriguing surroundings, and a bit of sadness. The emotion rises with the ascendant harmonic movements of the incisive finale.
Five of the fourteen tracks last less than two minutes, working as interludes. “MA” is one of the strongest, feeling like a lullaby whose passionate lyricism carries pronounced folk influences. The low-pitched drones of “Baixo Alentejo” are joined by sharp melodic contours, creating uncanny vibes that feel no less cinematic than the loose “European Film Scene”. Disruptive silences widen the space and deepen the scenario.

While “Horizontais” feels like a minimalistic exploration, “Cavalos Selvagens”, an old tune that actually gallops in its start, gets a more cerebral and less experimental approach than at other times.

The homogeneous Múquina glitters with lush, slow-motion soundscapes. The airy, meditative moods take us to a lenitive universe that opposes to the tense times living in the present world. Once there, you’ll find glimpses of Bill Frisell and Terje Rypdal, as well as pure reflections of Matos’ peace of mind.

Favorite Tracks:
01 – Múquina ► 04 – Malé ► 06 – Baixo Alentejo