Helen Sherrah-Davies' original works are trans-stylistic, jazz-infected, with a vibrant electric and acoustic mix, full of unexpected tone colors and sonorities. Her musical landscapes focus on storytelling, bathing the listener in prisms of sound. Darol Anger, acclaimed fiddler, has described Helen's music as "so strong, it approaches the status of a new sentient being.... Even in the most thorny, complex episodes, we are moved to care, laugh and rejoice, washed by waves of melodic love." "We are the stuff of stars," writes Helen in her notes to the StarStuff CD. Tapping into what she terms "cosmic rhythm," she aims for big-hearted expression and bold narratives, impelling listeners to imagine "standing on top of some great universal mountain observing the newly formed celestial landscape." Drawing on the improvisational freedom of jazz while incorporating rhythmic and formal devices from Bulgarian, Middle Eastern and other traditions, Helen follows a path of "eclectic inspiration, disparate sonic influences and the realm of the Imagination." On StarStuff, her uncommonly rich tenor notes on five-string violin mesh beautifully with Maeve Gilchrist's harp, Bryan Baker's incendiary guitar, the multilayered percussion of Jamey Haddad and Keita Ogawa and more. Helen's pieces are inspired in turn by the harmonic genius of Wayne Shorter ("Bling") and the plight of indigenous peoples ("Ever-Returning Light"); the eerie, otherworldly cries of wolves ("Pathfinder") and the spiritual legacies of Thomas à Becket and Hildegard of Bingen ("Becket's Bones"). "Music should be about communication," says Helen. "On StarStuff there are lots of different voices but hopefully a unified spirit."