Maria Manousaki – Behind Closed Doors

PKmusik

Greek violinist and composer Maria Manousaki has many strings to her bow, if you will pardon the pun; not only as a renowned violinist but a composer of songs that join the dots between world and jazz styles, and also as organiser of the the Cretan World Music Festival, which curates international artists who share her goals.

Perhaps because of other commitments, Behind Closed Doors is only her third album since 2014 and although coming from a place of loss and sorrow, still manages to sound uplifting and vivacious. The core quartet of violin, piano, bass and percussion is augmented across the seven tracks by vibes, trumpet, lute, oud and the resonant voice of Stratis Skarakis to ensure a varied and satisfying journey.

Opener “Anapolo” starts with a smooth drums and vibes introduction, with the sinuous violin a low-key flutter against the circular piano. There is definitely a melancholy in Maria’s playing, but this album is part of her way of dealing with the loss of her father; so there is heart-ache, but there is a sweetness to the tone which and a sunny disposition to the backing which prevents anything from becoming mawkish. The piano concurs with the violin, but flits from note to note, raising the atmosphere as the bass and drums create irresistible momentum.

There are points where the violin and piano play against one another and likewise also complete each others’ sentences like old friends, with the piano often luxuriating in hypnotic circles. There is something in the sound of the quartet that echoes the bleached whitewash and closed shutters of harbourside cottages with the lonely call of Andreas Polyzogopolous‘s trumpet lifted on the updrafts of the title track.

The use of the repetitive piano motifs is hypnotic and they do highlight the melancholy of the violin. The rhythm section is particularly judicious in its support, but with plenty of opportunities to stretch their legs; there is a lovely bass and oud duet on “Introversion” that seems to reflect the warmth of the Mediterranean heart.

Although most of the songs are Maria’s, they do tackle a couple of covers with a delightful take on The Cure‘s “Love Song”, Maria alternately bowing and plucking the central melody and turning it into something even more resigned. The funky bass and jazzy piano groove of “Dragonfly” shows the other side of the coin, with an unusual tapping rhythm and curious tempo. It is soundtrack-like in its scope with a flurry of ideas, reflecting a lost love hoping to be recaptured. It is the jazziest so far; a sunny scurry that dries the tears with a sense of hopefulness.

Towards the end, the slow sultry cover of Nikos Xylouris‘s “Poni Tis Panayias”, with its generous support of whirling violin and deep bass throbs, dances into closer “Departed”. Here, the violin is almost muted, with Kyriakos Stavrianoudakis‘s lute the more emotive part of the duet. There is a touch of abstraction in the breakdown here and a sense of unsettled inevitability at journey’s end, as if there is more still to be discovered and explained.

For now though, Behind Closed Doors is a delightfully varied and emotional discovery that hints at their geography, but doesn’t allow itself to be confined to that. Ever stretching and unfurling, Maria Manousaki’s vision is personal yet welcoming. This is well recommended.

-Mr Olivetti-