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Matthew Sheens: Untranslatable
ByThis isn't jazz with strings either, for Sheens' sophisticated string arrangements for two violins, viola, cello and double bass add a visceral edgein addition to lush buoyancyto these engaging contemporary compositions.
The riffing strings that announce the title track, alternate between urgent motif and warm, sustained lines. Drummer Kenneth Salters and bassist Linda May Han Oh inject rhythmic elasticity, laying the path for Sheens dancing, right-handed solo. Teasingly brief, this episodic miniature -bold and lyrical -hints at more engaging narratives to come. Strings and piano trio also combine to graceful effect on the melodically striking 'Adriana's Song,' with Salter's poppish beat conveying mainstream accessibility.
As on his debut release Sheens employs vocalist Sara Serpa, who brings her wordless, horn-like lines to a handful of tunes. On the atmospheric vocal/piano duet 'L'Arlesienne (The Girl from Arles)' Serpa's crystalline melodies soar and gently glide like a Kenny Wheeler score. On 'Wabi Sabi' singer Michael Mayo joins Serpa in flowing unison, with guitarist Mike Moreno and Sheens intermittently boosting the chorus. It's a delightful, cinematic tune that marries the romanticism of Burt Bacharach and the dynamism of Pat Metheny.
The hugely influential Boston guitarist's DNA also colors 'Dépaysement'; Serpa, Moreno and Sheens weave cheery overlapping lines over Rogerio Boccato's shuffling percussion before the guitarist carves out an elegant solo, with Sheens immediately following suit. In the end, however, it's Serpa's wonderfully lilting melody that sticks in the memory. In tandem with Sheens, the Portuguese singer also seduces on 'Alfonsina y el Mar' -Ariel Ramírez/Félix Luna's heart-rending ode to Argentinian poet Alfonsina Stori, who committed suicide in 1938.
Two brief piano/Rhodes interludes serve as palette cleansers, but in just one and two minutes respectively Sheens weaves a little minimalist magic, with damped piano strings and judicious use of effects evoking the artistry of German prepared piano maestro Hauschka. Strings underpin the joyously dramatic 'Madrugada,' a vaguely Latin-tinged, percussion-driven orchestration that features an extended rally between Sheens and Oh, plus another finely crafted intervention from Moreno.
Sheen's 'Translate from My Heart' and the classic 'Old Devil Moon' both feature the stylish Mayo. The pianist's inventive arrangement on the original provides a bold frame for Mayo that contrasts with the spare, piano-cum-vocal setting of the Burton Lane/E.Y. Hamburg jazz standard.
Sheens has really hit his stride on Untranslatable, a consistently satisfying effort that purveys melody and adventure at the same time. The signposts indicate that Sheens could push off from here in any number of directions, towards contemporary classical music or experimental solo piano; jazz, in the second decade of the twenty first century, seems increasingly able to accommodate it all. Whichever path or paths Sheens chooses to go down it'll be a journey well worth following.
This article was first published at Australianjazz.net
Track Listing
Untranslatable; Adriana’s Song; L'Arlesienne (The Girl From Arles); Wabi Sabi; Translate From My Heart; Interlude #1 Untranslatable; Depaysement; Alfonsina Y El Mar; Interlude #2 Adriana's Song; Madrugada; Old Devil Moon.
Personnel
Matthew Sheens
pianoMatthew Sheen: piano, Rhodes; Sara Serpa: vocals; Michael Mayo: vocals; Mike Moreno: guitar; Linda Oh: bass; Kenneth Salters: drums; Rogerio Boccato: percussion; Stefani Collins: violin; Francesca Dardani: violin; Yumi Oshima: viola; Hiro Matsuo: cello; Yanni Burton: double bass.
Album information
Title: Untranslatable | Year Released: 2014 | Record Label: Abc Music