Pianist Marta Sanchez Brings Her Elegant, Lustrous Tunefulness to the West Village
Lustrous atmosphere and elegant glimmer at the top of the keys introduces the opening track on pianist Marta Sanchez’s latest album, Danza Imposible, streaming at Bandcamp. Is it impossible to dance to? Not necessarily. Does the music itself dance? A fair amount. What’s very, very possible about it is that you can hum along. Sanchez is a strong tunesmith and doesn’t fall for postbop cliches. She has a thing for syncopated Philip Glass-like variations on a central, circular hook; a sense of angst lurks in the background throughout many of the numbers here. She’s leading her quintet this Nov 22 at Cornelia St. Cafe, with sets at 8 and 9:30 PM; cover is $10 + a $10 minimum.
Copa De Luz (Bolt of Light), the opening song, rides Sanchez’s catchy, confident clusters as drummer Daniel Dor adds similarly flashes of color, the two-sax frontline of Jerome Sabbagh and Roman Filiu providing wafting harmonies. The Glass-ine phrase and variations that open the album’s title track make way for an unexpectedly lush, lingering interlude, Sabbagh’s airy lines over spacious piano chords; then they pick up the pace with lively solos from Filiu and the bandleader. A little later on, the band revisit a similar dynamic in Nebulosa, but more spaciously and minimally, pensively fluttering horns juxtaposed with enigmatically sparkling piano.
Uneasily twinkling minimalism pervades Scillar, a gloomy tone poem, Sanchez’s moody ripples finally congealing back against the horns’ tense close harmonies. As its title suggests, El Girasol (Sunflower) alludes to a brisk, carefree stroll, Filiu kicking in an expansive, sailing solo before Sanchez goes cascading. She returns to circling variations with Board, shifting subtly from a low-key clave toward funk and back as bassist Rick Rosato maintains a low-key pulse, Dor having fun as he edges toward a second-line groove.
Flesh mashes up kinetic, Monk-like phrasing and neoromantic majesty echoed by Dor’s subtly crescendoing toms and cymbals; Rosato’s spare solo appears out of nowhere. The sarcastically titled final number, Junk Food morphs from spare and pensive to a funky triplet groove. Purposeful and vivid music played with intense focus.