There is no doubt that André Matos has chops to burn. Placed firmly in the tradition of John Abercrombie John Abercrombie
b.1944
guitar and Pat Martino Pat Martino
b.1944
guitar , with a bit of 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
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
b.1979
vocal , 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

drums and pianist 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
b.1966
piano and 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

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

In formal training (from 16 on), I listened to Charlie Parker Charlie Parker
1920 - 1955
sax, alto , Charles Mingus Charles Mingus
1922 - 1979
bass, acoustic , John Coltrane John Coltrane
1926 - 1967
saxophone , Wes Montgomery Wes Montgomery
1925 - 1968
guitar and Jim Hall Jim Hall
b.1930
guitar ; later, all groups by Keith Jarrett Keith Jarrett
b.1945
piano and Paul Motian Paul Motian
1931 - 2011
drums ; even later, all Paul Bley Paul Bley
b.1932
piano , Bill Frisell Bill Frisell
b.1951
guitar , John Scofield John Scofield
b.1951
guitar , Kurt Rosenwinkel Kurt Rosenwinkel
b.1970
guitar , Ben Monder Ben Monder

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

piano .

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.

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