Label: Fresh Sound New Talent, 2019

Personnel - Marta Sánchez: piano; Chris Cheek: tenor saxophone; Roman Filiu: alto saxophone; Rick Rosato: bass; Daniel Dor: drums.

Spanish pianist/composer Marta Sanchez has been an instigator of modern jazz. Her flexibility allows her to indulge in slick lines and gleaming surfaces with the same facility as when she shuttles between charming postbop and savory avant-garde. Sanchez’s fourth album as a leader is called El Rayo de Luz and follows an analogous framework to Danza Impossible, her excellent previous release. Both are inspired by New York City, where the pianist is based in, and feature the same group of ambitious talents with the exception of saxophonist Jerome Sabbagh, who gave his place to the versatile Chris Cheek. The latter offers an array of contrasting voices to his frontline associate, the altoist Roman Filiu, while the rhythm team, harmonically sealed by the bandleader, relies on the bonded underpinnings of bassist Rick Rosato and drummer Daniel Dor.

The first two tracks, “Cascadas” and “Parmesano”, are extremely appealing. The former centers on the cascading contrapuntal work between piano and the bonded saxes, promoting an ephemeral Spanish hunch that feels good. Cheek and Sanchez are generators of virtuosic rhythmic ideas in their respective solos. “Parmesano”, featuring sax cries at the outset, copes with relentless pedals, bright tom and cymbal colors, and some exoticism in the way the bass moves. All this is streamlined into a coherent form. A peak is attained when Cheek unleashes a witty solo, having Filiu increasing the sultry Eastern spell that was captured in the meantime. The two reed players are also very active on the closing piece, “Unchanged”, with the tenorist focusing on a post-bop dissertation full of small wonders, and giving the best sequence to the delicately tart tones applied by the altoist.

These melodically independent musicians also draw on collective tightness to succeed. This is the case of the darkly hued “Dead Flowers”, whose polyrhythmic approach and groove don't eradicate its inherent cinematic quality, and “El Cambio”, whose irrigation channel firstly built on an uncanny piano ostinato, time-keeping drumming, and sparse bass actions with a propensity to funk, also transports the theme’s parallel lines. One could only marvel to hear the remarkably expressive in-and-out improvisation from Filiu.

The compositions reflect Sanchez’s musical personality, and if “I Will Miss You” adds some bolero colorant to the rhythm, then “Nenufar” stands out from the tune selection as an enigmatic musing ballad, featuring the pianist at her best.

Structurally unambiguous, this work sounds unconventional and explorative without muddling. The title cut, a sui generis dance that flows with two simultaneous time signatures attests what I’ve just said in a wordless, elegant-sounding manner. In her quest for excellence, Ms. Sanchez has a lot to give to the scene.

Favorite Tracks:
02 - Parmesano ► 04 - El Cambio ► 08 - Unchanged