Trumpeter Michael Sarian és un veterà d'una miríada d'escenes de jazz icòniques, des del Kennedy Center fins al Blue Note, fins al Montreux Jazz Festival. És un compositor i improvisador establert que té diversos llançaments a 577Records, enregistraments amb Olec Mün en piano i discos de cafè, i amb el seu propi quartet en orelles i ulls i Shifting Paradigm Records. Exerceix sobre les seves pròpies orals "SARIAN", fetes a França per Atelier Donat. I és en demanda i indigfatable com a sideman, jugant en escenes d'estadi amb grups pop domèstics.

En el seu últim, Esquina, el músic nascut a Toronto, criat a Buenos Aires i amb seu a Nova York, dirigeix el seu quartet a través de més de cinquanta-cinc minuts d'exploració de jazz que encantarà als fans del període elèctric de Miles Davis i de l'ETA IVtet de Jeff Parker.

What’s particularly remarkable –– apart from the remarkable music itself –– is that Sarian is working here with the same musicians he has worked with on his previous three releases. Those records were more or less works of chamber jazz, mostly acoustic, brimming with beautiful and clear melodies, and drawing comparisons to artists like ECM veteran Kenny Wheeler. Esquina, however, is an intentional and daringly sharp turn into pulsating jazz fusion, marked by wild, Jon Hassell-esque processed trumpet, synthesizers and electric organs and pianos, and galloping rhythms that would not be out of place on Agharta or On the Corner.

Born of Sarian’s need to challenge himself and his collaborators, the music that comprises Esquina was recorded with little to no rehearsals and follows graphic scores which were formed out of drawings and sketches that Sarian made during downtime while on a four-month stadium tour as a pop band sideman. In no small sense, then, Esquina can be thought of as a kind of shadow work. Whether deliberately, intuitively, or somewhere in between, Sarian responded to these months of mainstream pop music and a rigid tour schedule with experimentation, adventure, and play. And to no small extent, he responded to the stability he had himself built through playing with Nathan Ellman-Bell, Marty Kenney, and Santiago Leibson. Sarian could have of course simply assembled a different band, designed specifically to deliver the kind of aesthetic that he had in mind. But in coaxing a reinvention out of this established crew, he imbues Esquina with a sense of profound but playful challenge, and builds on the near-telepathy that these players share.

As an artist, Michael Sarian is anything but stationary. He’s on the move, spiritedly drawing and following his own path. And Esquina is a corner turned.

Of the track, Sarian states: "I grew up hearing Portishead's Glory Box – I was a kid when it was released, and then it became a part of pop culture fabric, appearing all over TV and movies, and it always stuck with me. The mix of soulful vocals and trip-hop beats felt unique. While working on Esquina, I realized the track could fit really well within the more improvised, loosely structured experimental sound I was developing. The emotional vibe and atmospheric quality of the original seemed like something I could reinterpret in a fresh way. It felt like a perfect opportunity to rework a song that had been with me for so long, while taking it in a new direction."