“Making a record can be bittersweet for me – it’s just the snapshot of one day”. Amen to the words of Angelica Sanchez – here in the company of bassist Michael Formanek and drummer Tyshawn Sorey – for numerous jazz luminaries assume even the crumbles of an unconvincing shift at the office as credible materials for publication, thus increasing of several tads the yawning averages of our day.
In Float The Edge, Sanchez attempts to bring out the subtleties of prevalence by throwing oblique lights on improvisational ideas that do not seem to be inflamed by radical tendencies. In essence, these tracks comprise chains of rather untroubled remarks – occasionally similar to symmetric soliloquies – spiced by a mixture of impulse and (palatable) dissonance. As a superb performer Sanchez easily escapes from the pains of ordinariness in virtue of the lyrical traits of her pianism, attributing order and integrity to phrases that might appear less logical to idle-minded lovers of contrapuntal comfort. In “What The Birds Tell Me” – a favorite of mine, not only for the common influence of those creatures on our respective approaches to different instruments – she leaves ample spaces for Formanek and Sorey to underscore and caress her chords with healthy restraint.
Not necessarily the sum of talented musicians warrants a momentous statement. On the contrary, in jazz the trio format is dangerous under many aspects, unless one belongs to the category of “swinging yes men” populating the clubs and nodding in approval – glass in hand – to whatever unexciting formula they’re presented with. This album, while not really unforgettable, is informed by excellent technical qualities substantiating an unquestionable joint consciousness. It surely deserves to be listened to with attentiveness.