Home » Jazz Articles » Take Five With... » Take Five With Matthew Sheens

Take Five With Matthew Sheens

View Slideshow

By AAJ Staff
March 6, 2013
View read count

Meet Matthew Sheens:

Born in Bowral, Australia. Lived in Sydney, Melbourne, Adelaide before leaving for the US at 22 to complete my Masters at the New England Conservatory in Boston.

Was the first Australian to win a Downbeat Magazine award (Best Soloist in 2009/2011), and has performed across Australia, USA, New Zealand, Japan, The Netherlands, at the Jazz Hoeilaart International Jazz Festival in Belgium, Montreux International Jazz Festival in Switzerland, Europafest in Romania, and at the International Panama Jazz festival in Panama City. In 2011 Matthew moved to New York City where he is currently engaged in a number of projects as a pianist and composer.

Released first CD as a leader in 2012, Every Eight Seconds.

Instrument(s):

Piano.

Teachers and/or influences?

I studied with Fred Hersch, Jason Moran and Jerry Bergonzi during my time at NEC. I've also studied briefly with Frank Kimbrough, Aaron Goldberg, Hector Martignon and Phil Markowitz.

I knew I wanted to be a musician when...

I was given a glockenspiel for my third Christmas. Then demanded a piano.

Your sound and approach to music:

Studying with Fred Hersch and Jason Moran really reformed the way I approach playing the piano. in a nutshell, I approach playing in a more "holistic" way, concerning myself with the overall effect of what I'm playing rather than becoming obsessed with each note.

How would you describe the state of jazz today?

I feel I spend half my life commuting on the NYC subway so I think a lot about this, and my description/ opinion changes every week. Despite the fact that nothing really sells and it can be a real uphill battle to make a living as a creative musician, there is really so much diversity within the genre today, and so much of it is very exciting, has unpredictable influences, and is inspired in a unique way. One thing stays the same in my mind: I just really don't like the word "Jazz," but then again the "Impressionists" and "Minimalists" hated the terms they were given, too.

PREVIOUS / NEXT

Places
< Previous

Uppity
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.