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Marco Sanguinetti: 8

Mehdi El Mouden By

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From Buenos Aires, pianist and composer Marco Sanguinetti digs art from numerous sources to create a feeling which is unique. Quite inspired, Sanguinetti along with his Pibe A group did a remake in 2010 of Radiohead's album Kid A, retorted in 2012 with a remake of Pink Floyd's The Dark Side of the Moon, and was behind several compositions for dance works.

Sanguinetti's original work includes Improvisiones (MDR 2005), Los procesos de Franz (Acqua records 2011) El otro (Acqua records 2011), and 8 (Acqua records 2013). El otro is a good landmark of Sanguinetti's jazz identity, one which is remarkably impressionistic and quite reminiscent of the Esbjorn Svensson's music. The fourth album 8 reinforces his character as a remarkably inventive jazz pianist with a sensitivity to weaving stories and reminding the listener that music can be a potent force for stimulating imagery.

Without solos, action-packed, and visceral in style 8, is a hypnotic voyage that awakens all senses. To add drama, the songs are mixed with everyday sounds and recorded with finesse to glide smoothly through. The album is made in vinyl format and according to Sanguinetti represents a "visual and audio project," and thus each song has a corresponding illustration made by Laura Varsky.

The opening piece "Cuchillo" sets the tone of a dramatic refined sound where Sanguinetti demonstrates his ability to focus on ostinatos to increase emotional overtones in contrast with ascending piano work and increasing frenzy. Whereas "Ruedas" accelerando involves an immediate impression of total immersion, "Camino" the third song absorbs the upsurge and foreshadows a concluding feeling. As such, the high tide-low tide structure makes the charm of the album.

The fourth song "No lo Sabemos" is a graceful mellow song that captures the mood of the album. The harmonic prowess of Sanguinetti is to keep drums, bass, and piano sailing at the same wave length with the same emotional power. John Cage's voice, discernible at the end of the song, states the vision of the album: 'music—it's one of the arts. It's a way of paying attention.'

"La Ventana" embodies simplicity of composition. Sanguinetti displays his delicate touch on the piano to wandering aimlessly with singer Victoria Zotalis' enamouring voice. Ease and comfort are echoed in sparkling piano notes till they fade in Leila Cherro's cello hissing work.

"Navigator" regenerates tripping lyricism and resumes elevation of sounds. The overdriven sound is quickly undermined by "San Telmo" where drama reaches its heights. Ostinato gloomy piano notes are scorched by soaring cello and ascending piano work does not reach the usual epiphany. The whole mood is redolent of Erik Satie's music.

"Claramente" uncasts spellbinding sounds through a simple melodic vocabulary ending the album on a happy note.

8 represents a pensive outside jazz which redefines the numerous ways of paying attention to sound. With urban soundscape, dramatic rendering, significant structure, and a delicate touch, this album pushes forth toward a new jazz genre.

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