Moving With the Times

 

I have been impressed with the music and the saxophone playing of Alex LoRe since 2014 when his debut album, "Dream House", was issued on Greg Osby's Inner Circle Music label. When Allen Mednard replaced Colin Stranahan at the drum set for 2019's "Karol" (issued on Challenge Records), the quartet (also featuring pianist Glenn Zaleski and bassist Desmond White) became known as Alex LoRe & Weirdear.  The alto saxophonist and composer, originally from Tarpon Springs, Florida, graduated from the New England Conservatory and earned a Master's Degree from the Manhattan School of Music.  Currently, he's a member of pianist Maria Sanchez's Quintet and has played with Lucas Pino's No Net Nonet. LoRe has also authored two instruction books, the latest being  "The Goldberg Variations for Saxophone Duets, Trios, & Quartets".  During the Pandemic, he upload numerous videos of how he was working on playing JS Bach that are fascinating to watch and listen to.

One can hear a classical influence on several pieces that appear on "Evening Will Find Itself", LoRe's fourth album as a leader and his first for Whirlwind Recordings. Pieces such as "Underground and Back" plus "Silent Ship" feature melody lines that have solid structure and melodic flow. The former track has a formality that loosens as the soloists (bass, piano, and alto sax) push the piece out. Great bow work from bassist Desmond White.  The 10-song program features the same band as "Karol" and they work together like a fine-oiled machine (without ever sounding uninspired). "Stripes" opens the album with an opening melody over the rubato rhythm section. The piece opens for an exciting alto sax solo and a splendid turn from Zaleski.  White and Mednard really push the music forward without disappearing into chaos.  The following track, "Face Unseen" is softer, moving on the gentle brush work and counterpoint of the bass.  Note how LoRe's alto moves easily into the higher register of his horn where. at times, it sounds like a soprano sax. 

"Green" pays tribute to one of the saxophonist's most important teachers, Bunky Green.  Here, the rampaging rhythms push LoRe to display not only his technical prowess but the genuine lyricism that his teacher possessed throughout his career. Mednard's interactions with both the saxophonist and Zaleski during their solos is a delight (do watch the video below to see how the drummer responds in the studio).  

There are three shorter (under three minutes) that carry the title "Radiance".  They make up half of the final six tracks. Despite their relative brevity, each one contains a complete statement and improvisations.  "I" stands out for the piano/sax interactions while "II" features Zaleski pushing the proceedings, an introductory solo from Mednard, and then LoRe enters by playing his own take with variations on the piano theme.  "III" closes the album; slower, the saxophone theme is a variation on "I" and "II" that drops away for a bass solo over a funky drum pattern.  The piano reenters to comp through the end of the bass solo that leads to LoRe's restatement of the theme.  

The music on "Evening Will Find Itself" doesn't just jump right out at you but beckons the listener to enter the proceedings and surrender to the sounds.  Alex LoRe sounds fully in control and his original material is the richest of his still-growing career.  The musicians of Weirdear shine brightly as partners––not just a back-up group–– in this endeavor.  It will be interesting to hear how these songs expand and develop as the quartet tours this year. In the meantime, take a close, deep, listen as the rewards are plentiful.

For more information, go to https://alexlore.com/.  To hear more and purchase the album, go to  https://alexlore-whirlwind.bandcamp.com/album/evening-will-find-itself. 

Here's a taste of "Fauxlosophy":

Watch Weirdear in the studio:

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: