Andre Matos - Quare
ARTIST........: Andre Matos
TITLE.........: Quare
LABEL.........: Inner Circle Music
URL...........: http://www.andrematosmusic.com
GENRE.........: Jazz
QUALITY:......: 166 kbps avg/ 44100Hz / Joint Stereo
RIP DATE......: 2011-04-06
RELEASE DATE..: 2010-03-02
Tracklist:
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01. Lucky Star 5:12
02. Interlude 1 1:01
03. Harlem Days 6:29
04. Quare 6:02
05. Hanguing with Zuco 7:25
06. Interlude 2 0:41
07. Voice Intro 2:51
08. Seven 5:49
09. Joy and Hope 0:55
10. Exile 5:04
11. Hope and Joy 6:58
12. Canto de Tejo 2:57
13. Interlude 3 1:02
14. Final Spin 6:37
15. Vigia 4:04
16. Ending 0:59
Total 64:06
Release Notes:
The distance between modern post-bop sounds and free jazz suffused with
high-tech experimentalism narrows significantly on the new CD Quare from AndrΘ
Matos, a brilliant young guitarist and Portuguese native now living in the
United States. Released on Greg OsbyÆs Inner Circle Music, Quare is MatosÆs
third album as a leader, and it features his spectral playing in various musical
settings with accompaniment from some of the top young jazz artists on the scene
today.
Matos possesses a strikingly mature musical vision for an artist still in his
late twenties. His first release, 2005Æs Pequenos Mundos (Small Worlds),
showcases a more languid guitar style that stands atop the arrangements, but
with his second album, Rosa-Shock, Matos began taking a more integrated approach
in terms of balancing his instrumental voice with that of his bandmates. Key to
MatosÆs development in this regard has been a steady association with pianist
Leo Genovese (known also for his work with Argentine singer Sofia Rei
Koutsovits) and bassist Thomas Morgan, as well with budding vocal star Sara
Serpa, also from Portugalùand the guitarist..s partner in many musical settings.
Adding drummer Ted Poor to the rhythm section and bringing in Noah Preminger on
tenor saxophone for several cuts on Quare undeniably enhanced the musicality and
adventurousness of the recording, a sign that Matos thinks compositionally and
seeks the right atmosphere for his ideas.
Quare (the word translates from Latin to ôwhyö in several contexts, Matos says)
leads off with ôLucky Star,ö an original that emphasizes the close musical
relationship between Matos and Genovese, as the two musicians take turns on the
sturdy melody while subtly supporting each otherÆs improvisations. This strategy
succeeds elsewhere on Quare, with Matos jumping along with the rhythm section on
ôHanguing with Zucoö and then employing tasteful guitar effects on the ballad
ôVigia.ö Often, MatosÆs guitar tone is reminiscent of Pat Martino and John
Abercrombie but will readily mix in elements of blues and rock stylistically
into his playing and writing, as heard in tracks like ôHarlem Days,ö ôHope and
Joyö and ôFinal Spin,ö respectively. As an improviser, Matos is more of a
colorist, imbuing songs with harmonic inflections that benefit a songÆs totality
instead of merely spotlighting his skills or flash.
Both Matos and Serpa shine on the title track of Quare and another cut later on
the album, ôSeven,ö with guitar tiptoeing around wordless vocals that drift and
sway around the melodies. Serpa, who has been featured recently in a band led by
visionary alto sax player Greg Osby, gives an enchanting solo turn on a nearly
three minute long voice intro to ôSeven,ö that helps pace the proceedings. Also
shaking the menu up some are three experimental mash-ups that will recall
Bitches Brew, and a modal exercise called ôExileö that puts the spotlight on
Preminger. All of the compositions are written by Matos, with one exception:
ôCanto do Tejo,ö which comes from the pen of Carlos Paredes, master of the
Portuguese 12-string guitar. Matos gives the song an exquisite reading here, its
sweet and delicate melody perfectly rendered in a simple duo setting.
Born in Lisbon, Matos originally wanted to play the drums as a child but ended
up picking up his fatherÆs guitar instead. His parents listened to a variety of
music, and Matos notes that an early exposure to Brazilian music had a big
influence on him. He also played wooden flute, which, he says, nurtured an
interest in improvisation. In his teens, Matos enjoyed the guitar playing of
George Harrison, Angus Young, Muddy Waters, Jimmy Page, Slash and Kurt Cobain,
then later on opened his ears to Wes Montgomery and Jim Hall, ôthe latter being
one of my main inspirations to play jazz guitar,ö he says.
By 17 he was studying and playing guitar seriously with the idea of pursuing a
musical career. After a year at the prestigious Luis Villas-Boas School of the
Hot Club de Portugal , Matos came to the United States to study at the Berklee
College of Music, then continued his musical education at the New England
Conservatory.
Young jazz artists are usually counseled to stay focused on a certain style of
playing to strengthen their instrumental voice, but Matos cannot resist moving
between straight-ahead compositions and more avant-garde, experimental sounds.
ôItÆs a reflection of the way I hear music, and my influences,ö he says, adding,
ôI think it is also symptomatic of the rapidity in which I feel change and need
to always do something else. I want to use my strengths and weaknesses to find
places that challenge me more.ö
Dividing his time between the United States and Portugal, it makes sense that
many of MatosÆs compositions have a journeying sense to their overall sound.
ôTraveling definitely influences my music,ö Matos admits. ôWhen IÆm in New York,
I have a constant feeling of being away from Lisbon and my hometown, Sintra.
That sad, longing feelingùsaudades, of courseùis part of the Portuguese culture
and very well expressed in fado music. So, to some extent, most of my music
reflects images or experiences that IÆve had either in Portugal or in the United
Sates, where IÆve lived since 2000. Not too long ago, I traveled west and
visited the Grand Canyon. The trip was incredibly inspiringùsomething to be used
on the next album!ö
http://www.myspace.com/andrematos