Orquestra Jazz de Matosinhos: Boreal

Portugal's Orquestra Jazz de Matosinhos and Spanish saxophonist Perico Sambeat are no strangers. The two first collaborated on a concert back in 2007. Then they joined forces in 2021 to explore Ornette Coleman's work. Now, continuing to develop their relationship, they bring Iberian ideals and modernity to the fore on Boreal.

Sambeat is in the spotlight throughout this magical set—he composed and arranged all eight pieces on the program, acts as musical director, is a primary soloist and serves as the album's co-producer. His identity is stamped all over Boreal. But this is no lopsided partnership. The marquee-level reedist and this noted ensemble actually work with great balance and clear, mutual respect.

"Circe" sets the scene with staggered, dovetailing entrances. Tension is rarely met with release as the music moves forward. There's a natural vibrancy at play, with a tight, driving feel from the ensemble, a strong solo from Sambeat and a Kurt Rosenwinkel-esque guitar stand from André Fernandes. A relatively smooth segue connects that first flight to "Ciudad Del Paraíso," which opens on rubato grandeur before finding its bounding stride beneath pianist Miguel Meirinhos' fingers. Trumpeter Ricardo Formosa and Sambeat each probe and find the flow, the former cleanly passing the soloist's baton to the latter, and drummer Diogo Alexandre gets a little room for muscling with musicality.

"Mãe D'Água" enters with light, muted intrigue, but that's quickly replaced with bass-buoyed calm and quiet elegance. Sambeat's lulling soprano coasts atop sensitive ensemble work, Fernandes and saxophonist Mário Santos each present in their own gentle ways, and Meirinhos epitomizes sophisticated tranquility in his standalone outro. Then comes "Limbo," where an addictive feel leans more toward the dance than uncertainty. Trumpeter Javier Pereiro shows incredible pacing and development, completely covering the entire patient-to-sly and cool-to-hot spectrum(s); Sambeat sears with his horn, maintaining and heightening the intensity; Alexandre delivers the goods in developing vamp territory; and guest Alba Morena adds to the textural splendors with her soaring, Luciana Souza-like wordless vocals.

"Ample" opens the second half of the program with complex colors and orchestral ambitions, introducing something completely different. Following the intro, Alexandre's scampering signals the need for stealth movement from all corners. But it's not just tiptoeing and shadow play. Cylinders fire on occasion, too, bringing a welcome and unexpected freshness with(in) the action. The largely swinging "Snow Hope," with more from Meirinhos plus Sambeat's most notable soloing on the album, proves easier to track, playing out with clearer passion and purpose. "Estigia (para Bernardo y Toni)" leans toward woolgathering, giving saxophonist José Pedro Coelho a chance to step forward along with the oft-featured guest star and the band's pianist. And last but not least is the title track, coasting along in seven and featuring Fernandes, Sambeat and free-to-stretch bassist Demian Cabaud.

Orquestra Jazz de Matosinhos has made an art out of joint ventures, with stunning recording collaborations with Rosenwinkel, Lee Konitz, Chris Cheek, Rebecca Martin and Larry Grenadier, and various others. And Perico Sambeat has nearly perfected the act of integration, moving seamlessly and powerfully into numerous different settings. So is it any wonder that these two sync and sound amazing together?