André Carvalho: Lost In Translation

Bassist André Carvalho conceived this album around the concept of "untranslatable words"—words for concepts that have no equivalent outside of their native language. He has used this idea to create a cycle of amorphous composition, realized here by a trio of bass, guitar and saxophone with the occasional addition of trumpet. The words come from languages such as Dutch, Urdu, Japanese and Sanskrit and can describe states of mind, grand philosophical concepts or something as mundane as a mark left on the skin. The music derived from this is mainly dreamy and free-floating, with the instrumental balance and focus shifting from track to track. On "Kalpa" André Matos' careful harp-like guitar strumming is underscored by the sighing union of José Soares' saxophone and the leader's bass. On "Mangata," things change around with arco bass and strummed guitar rumbling together against Soares' flutters and breaths. Matos' guitar is usually as gentle and resonant as an amplified Ralph Towner but he gets a heavier, twangier sound on the gentle melody of "Alcheringa" which matches up nicely with Soares' yearning cry.

"Uitwaaien" is a Dutch word which the album jacket describes as meaning "To go out for a walk or to the countryside on a windy way to clear one's mind." That is represented by a mix of slow, interweaving guitar and bass progression and sighing saxophone which carries traces of Wayne Shorter's more contemplative work. "Boketto" is a Japanese word which means "The act of gazing vacantly into space without thinking." That becomes a solo turn for Carvalho as he groans out alternating high and low bass sounds with his bow. The addition of João Almeida's trumpet on three tracks brings more depth to the overall sound. His up and down unison lines with Soares' sax form the core of "Karelu," which gets louder and harder when Matos' guitar comes in and swirls around the horns. Similarly "Resferber" begins with flinty, metallic guitar fragments which open up into a languid melody which is then echoed and amplified with orchestral force by the two horns .

This music has a mesmerizing, contemplative feel. Its improvisations and blends of sounds have a gentle sense of familiarity. Traces of the quieter side of the ECM catalogue and the band Oregon can be heard, but this project has its own unique and mysterious beauty.

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