Andre Matos: Fantasies Realized

By Published: | 8,754 views
There is no doubt that André Matos has chops to burn. Placed firmly in the tradition of John Abercrombie
John Abercrombie
John Abercrombie
b.1944
guitar
and Pat Martino
Pat Martino
Pat Martino
b.1944
guitar
, with a bit of Sonny Sharrock
Sonny Sharrock
Sonny Sharrock
1940 - 1994
guitar, electric
at moments, a lot of Berklee (College of Music) influence is readily apparent, but with a bit of headiness that also reflects the guitarist's time at the New England Conservatory. Quare (2010), released on saxophonist Greg Osby
Greg Osby
Greg Osby
b.1960
saxophone
's record Inner Circle Music label, serves as a nice introduction to Matos' compositional skills as well as his instrumental talent, and finds him in good company, receiving strong support from a sympathetic and versatile group.

Matos allows his interest in more experimental sounds to take the forefront in the three "Interludes." "Harlem Days" has some lovely Fender Rhodes and screaming guitar, and is a straight up soul-rocker that works. The title track introduces the voice of Sara Serpa

Sara Serpa
Sara Serpa
b.1979
vocalist
, adding an interesting new color and texture that blends nicely, mixing eerily with Matos' guitar, providing a touch of dissonance and dreaminess. The one composition not penned by Matos is the absolutely gorgeous ballad, "Canto do Tejo," while the guitarist's "Exile" is a modal workout. "Final Spin" is a romp, showcasing drummer Ted Poor
Ted Poor
Ted Poor

drums
and pianist Leo Genovese
Leo Genovese
Leo Genovese

piano
, both of who do yeomen duty on the record, contributing tastefully, supporting and buoying Matos.

All About Jazz: Berklee vs NEC? You attended both; can you elaborate on the different experiences and strengths of each? What you took from each?

André Matos: Those were both very important experiences. At Berklee, I was a beginner. I learned some from the classes, but most of all from meeting and playing with people (some were experienced musicians) from all over the world. The two-year period in between both schools was also a very important time for me, being in Portugal and being busy playing and teaching for the first time.

NEC was a more serious thing (it was a masters), opened my musical vision and gave me a lot of different perspectives, I have to highlight my lessons with Danilo Perez

Danilo Perez
Danilo Perez
b.1966
piano
and George Garzone
George Garzone
George Garzone
b.1950
sax, tenor
, which influenced me a lot. I was exposed to a vaster array of musical styles in the jazz tradition and also dived into the contemporary composers scene a little bit.

AAJ: What sort of music did you listen to/play while growing up? What did you listen to/transcribe once you started formal training?

AM: I listened to The Beatles

The Beatles
The Beatles

band/orchestra
, AC/DC, Nirvana, Creedence Clearwater Revival, Milton Nascimento
Milton Nascimento
Milton Nascimento
b.1942
guitar
, Antonio Carlos Jobim
Antonio Carlos Jobim
Antonio Carlos Jobim
1927 - 1994
piano
, John Denver, Lou Reed, Dave Brubeck
Dave Brubeck
Dave Brubeck
1920 - 2012
piano
, Magico (ECM, 1980 (by Egberto Gismonti
Egberto Gismonti
Egberto Gismonti
b.1947
guitar, acoustic
, Charlie Haden
Charlie Haden
Charlie Haden
1937 - 2014
bass, acoustic
and Jan Garbarek
Jan Garbarek
Jan Garbarek
b.1947
sax, tenor
) and Eric Clapton
Eric Clapton
Eric Clapton
b.1945
guitar
; around 13 years old I only played the blues, listening to Muddy Waters
Muddy Waters
Muddy Waters
1915 - 1983
guitar
, John Lee Hooker
John Lee Hooker
John Lee Hooker
1917 - 2001
guitar
and others.

In formal training (from 16 on), I listened to Charlie Parker

Charlie Parker
Charlie Parker
1920 - 1955
sax, alto
, Charles Mingus
Charles Mingus
Charles Mingus
1922 - 1979
bass, acoustic
, John Coltrane
John Coltrane
John Coltrane
1926 - 1967
saxophone
, Wes Montgomery
Wes Montgomery
Wes Montgomery
1925 - 1968
guitar
and Jim Hall
Jim Hall
Jim Hall
1930 - 2013
guitar
; later, all groups by Keith Jarrett
Keith Jarrett
Keith Jarrett
b.1945
piano
and Paul Motian
Paul Motian
Paul Motian
1931 - 2011
drums
; even later, all Paul Bley
Paul Bley
Paul Bley
b.1932
piano
, Bill Frisell
Bill Frisell
Bill Frisell
b.1951
guitar
, John Scofield
John Scofield
John Scofield
b.1951
guitar
, Kurt Rosenwinkel
Kurt Rosenwinkel
Kurt Rosenwinkel
b.1970
guitar
, Ben Monder
Ben Monder
Ben Monder
b.1962
guitar
and George Garzone´s The Fringe. As my ears keep opening, I keep searching for more out things but also more in, if you know what I mean.

AAJ: Can you tell me your five favorite guitar players? Records? Composers?

AM: Five fave guitarists is really hard, right now what comes to mind is: Jim Hall, Derek Bailey

Derek Bailey
Derek Bailey
1932 - 2005
guitar
, Angus Young, Lightning Hopkins, Carlos Paredes.

Records as of now: Neil Young´s Harvest (Reprise, 1972); Jim Hall, Jim Hall Live! (A&M, 1975); Robert Pete Williams´ Free Again (Prestige, 1961); Paul BleySolo Piano (Steeplechase, 1988); The Beatles' Rubber Soul (Capitol, 1965).

Composers: Carla Bley

Carla Bley
Carla Bley
b.1938
piano
, Arnold Schoenberg, Messiaen, Guillermo Klein.

AAJ: The interludes on the record are beautiful, brief moments sprinkled in, a bit different, showcasing your interest in alternate sounds. What did those mean to you, what were you trying to convey?

AM: Those sounds were already conceivable in my head, originally I didn´t intended to do something like that on this session, but they had this Martin acoustic [guitar]in the studio. I picked it up and Leo [Genovese] found this crazy keyboard, the Optigan, Noah [Preminger] was still around, the other guys had left by then, so I just said, let´s play some moments. We recorded for 40 minutes nonstop, but those tracks were already like that, they felt like tunes in a way, each one with a slightly different vibe. It was just a matter of fitting the pieces, it became clear to me when we stopped that those would be interludes.

AAJ: What do you think of the jazz scene in the US at the moment? You are on Greg Osby's label, how has that experience been?

AM: it´s exciting to be in New York in this moment of my life/career, although I don´t know if I want to stay around for many more years. It´s an incredible opportunity to realize all your musical fantasies. You can do anything here, and for whatever you want to do you have the best musicians available, to play, to listen to, to learn.


comments powered by Disqus
Sponsor: Summit Records | BUY NOW

Enter it twice.
To the weekly jazz events calendar

Enter the numbers in the graphic
Enter the code in this picture

Log in

One moment, you will be redirected shortly.

or search site with Google