It is common for composers to title their work Opus and number them in sequence according to their creation. But the title of jazz violinist Andrei Matorin’s debut work, Opus, marks a great work and a most profound labor of love. The eight-song album is a complex blend of romantic jazz balladry, be-bop, and some very remarkable touches that are pure Matorin.
Andrei Matorin came to the US from Brazil when he was five years old and almost immediately started his classical violin education. That eventually led him to studies in Italy and Switzerland, and most surprisingly into jazz where he continued to excel. He was the first violinist to complete the Jazz Certificate Program of New England Conservatory’s Preparatory School in Boston (and did so in half of the time most students did with departmental honors). When the Berklee College of Music came courting him, he plunged headlong into his studies, earning a degree in Jazz Composition and Performance. Today, he teaches private lessons and performs in a number of small combos in the Boston and New York area, something he has been doings since he was 15.
With his technical background and the freedom of jazz composition and improv, he has crafted a deliciously inviting jazz album. In order to bring out the strengths of his work, Matorin brought in three equally adept musicians to help him present these eight songs. Israeli-born Dan Pugach, also a Berklee grad, handles drums with inventiveness and delicate touch, and Luques Curtis shows his bass chops here. Curtis, who originally had a background in piano and percussion, switched to bass and never looked back. His skills enhanced Brian Lynch’s Grammy winning CD Simpatico. Then there is Takeshi Ohbayashi who has been playing classical piano since was two. Like many young performers, though, he was lured by another instrument. In his case it was the trumpet when he was 12.
At the heart of Opus, however, is Matorin’s violin that sometimes sweeps the listener away to other realms as in “One Last Song.” Here Ohbayashi’s piano is a pleasant undertone, carrying its own distinct melody while Matorin soars above it in its own dreamy, moody way. Sometimes it weeps and then growls in a counterpoint statement as in “Coming Home.” And sometimes it almost drops into gypsy violin as in “Trancoso.”
Though Andrei Matorin composed and produced the album, it is not self-indulgent. All eight tracks are complex works that were not created solely to showcase Matorin’s violin. He has crafted every piece and every track to produce the effect he wanted, allowing each of his fellow musicians to shine.
For example, “Hymn No. 1” is a tight brisk piece, allowing all of the players to bring their skills to the front. Curtis’ bass runs are a lively backdrop to Ohbayashi’s intricate piano. All the while, Pugach’s delicate drum work keeps the whole musical train on the track while he adds embellishments that aren’t based on ego or upstaging. Pugach knows his instrument and elicits nuances from it that some drummers, given the opportunity for solo work as in this cut, would have just beat the hell out of his skins. Instead, Pugach coaxes variety from his drumkit. There is also a sweet conversation between Matorin and Pugach that is a delight.
The last track, “Sunday Blues,” is a tip of the hat to vintage blues and jazz. Here two masters let their best chops out as they explore the melody lines Matorin has set forth. Curtis’ bass is intricate and proves that an upright bass can be a solo instrument, and Matorin’s bluesy violin is just sexy.
Andrei Matorin’s Opus is a masterwork that jazz enthusiasts will enjoy for its intricacies. And for jazz listeners, it will be a CD that will be in their permanent playlists. Very highly recommended.
Review by Janie Franz
