Telling Her Stories In the Time of Pandemic

 

Photo: Kimberley M. Wang

It's been over a decade since pianist and composer Marta Sánchez came to the United States from her native Spain. In her hometown of Madrid, Ms. Sánchez had not only studied classical piano but also filmmaking.   She received a Fulbright Scholarship in 2011 to study at New York University, earning a Master's Degree in jazz piano performance.  Around the same time, she organized a quintet featuring two saxophonists (one being Cuban-born tenor saxophonist Román Filiú whom she had met when he was studying in Madrid––in fact, they moved to the US around the same time), bass, and drums.  Over the course of four years (2015-2019), her quintet recorded three albums for the Spanish-based Fresh Sound New Talent label, garnering a slew of excellent reviews and performances through the Americas and overseas.  Then the pandemic hit. In the midst of the international emergency, Ms. Sánchez's mother passed away.  Then in 2021, the pianist received a second grant from the MacDowell Colony (her first came in 2017) and was able to spend time to compose and begin to workshop new material.  

The results of her productive use of the "down" time can be heard on "SAAM (Spanish American Art Museum)", the fourth album by Ms. Sánchez's Quintet and her first for Whirlwind Recordings.  With the exception of Filiú (who is heard on this recording on tenor saxophone, unlike the previous three where he played alto sax), this is a new group. The rhythm section includes bassist Rahsaan Carter and drummer Allen Mednard while the alto seat is filled by Alex LoRe. Mednard replaces Daniel Dor and one can hear the difference from the get-go. Dor is really a painter on the drum kit, with a artistic touch on the cymbals while Mednard pushes more, responding to soloists with more power.  Carter is not only a fine foundational player but he also has an excellent ear for counterpoint. The composer has consistently showed a fondness for writing melody lines for two saxophonists that are melodic with counterpoint, the two instrumentalists conversing in song.

Photo: YouTube

The music shines throughout the nine-song (all originals) program.  The shifting rhythms, with influences from Spain and Black American Music, set up a dynamic tension with the melodies that show aspects of 19th and 20th Century classical music (especially, to this listener's ears, Albéniz and Rodrigo) with tinges of flamenco and other contemporary influences. Yet, pieces such as the title track and "The Eternal Stillness" stand out for their inventiveness (Mednard's "hip hop" drums really shines on the latter tune). "December 11th" (the date that Ms. Sánchez's mother died) has a theme that is probing and a piano solo that that blends emotion and introspection with the desire to move beyond tragedy.  

The one exception to the Quintet tracks is "Marivi", a lovely ballad dedicated to the pianist's mother.  LoRe and Filiú sit out and we hear the the piano, bass, and drums plus the voice and guitar of Camila Meza, trumpeter Ambrose Akinmusire, and the subtle synth work of Charlotte Greve.  The blend of the clear tones and articulation of Ms. Meza with Akinmusire's cool, subtle, sound plus the foundational piano chords  and gentle support of Carter and Mednard paints a picture with shades of love, longing, and regret for the physical separation.

"SAAM (Spanish American Art Museum)" is alive with singable melodies and active rhythms.  Filiú's move to tenor continues his saxophone mastery; he takes many melodic chances in his solos and it's exciting to hear where he goes (case in point, "If You Could Create It"). LoRe's alto playing continues to impress. One can hear the influence of classical saxophone when he plays in the higher ranges of the alto. noticeable on "The Hard Balance" and the afore-mentioned "The Eternal Stillness".  Carter's solo on that track stands out for his power, his melodic ear, and for his interactions with Mednard.

Photo: Antonio Porcar

Ms. Sánchez plays with purpose throughout. Her work beneath the soloists gives them a strong foundation plus it frees Carter and Mednard to push, to pull, to prod, and, at times, to dance.  There are moments this writer hears Andrew Hill in her supportive playing, in her chordal choices.  Her solos throughout sparkle even in introspection––"If You Could Create It" has both a dancing feel and an introspective side and the pianists moves easily over the bass and drums.  Listen to how she sets up the opening track "The Unconquered Vulnerable Areas", moving from the rippling figures into a bass line that she shares with Carter and then into her chordal support of the soloists.  She never intrudes but she does guide.  

Considering she started out quite strong with her first Quintet album in 2015, Marta Sánchez has continued to grow as a composer, arranger, and pianist.  Her music and the excellent muisicians who help create it make you sit up and pay attention.  Spend time with "SAAM (Spanish American Art Museum)" and, chances are very good, you will return time and again to savor its rich colors, vibrant and emotional melodies, and its rhythmic delights.  

For more information, go to www.martasanchezmusic.com. To hear some of the selections and to purchase the album, go to https://martasanchez-whirlwind.bandcamp.com/album/saam-spanish-american-art-museum.

Here's the opening track: