Sonata Negra/ Lachy Torriente

Black Sonata is an EP of three tracks, with a duration of twenty-one minutes, only seven of which are not entirely instrumental. This work is the debut of Lachy Torriente, trumpeter, composer and arranger born on the Isle of Youth and who for some time now has been collaborating -both in the studio and live- with artists such as Tobías Alfonso y Los Monos Lácteos, Misifuz, Boomerang, Abel Lescay, Lose My Name, Milton McDonald, among other artists of the Havana alternative scene. After some time lending his instrument to other projects, he decided to enter the studio to make music that reflects his own ideas.

The first time I listened to Lachy Torriente was on grxllosby Abel Lescay. I remember that this name that I did not know caught my attention, and after listening to his interventions I wanted to know a little more. After following his trail and having seen him play with more than one project of the contemporary alternative scene, I can say that his seems to me one of the most interesting works of 2023.

As I said at the beginning, Black Sonata is almost entirely instrumental. The exception is the single (and second track in the track list) Vida. King of Benin and Júbilo are the other two tracks that make up the EP. Although Lachy's instrument is the trumpet and it is from which he conceives the music, this does not limit him; his work is not perceived as music made specifically for this instrument, it does not even seem to be the protagonist (not at all times, at least).

Each piece has a different energy; in tune with its title, the concept that the artist seems to be looking for refers to the structure of the classical sonata form, which is usually composed of three contrasting movements. In this case Lachy uses fast, slow and fast tempos.

Each song transits through several moments and blocks, enabling twenty-one minutes of mental space to exist in that limbo where one forgets that one is listening, while the mind wanders. At least in my experience, I've noticed myself more than once inhabiting a state where I've been in a state where I've quasi meditative as I listen, and imagining scenes to which those seconds of music could complement.

The work was entirely recorded live, with all the instruments at the same time, since part of the search consisted in reaching those sounds through organic interaction, which can only be obtained by playing together, simultaneously.

The first track of the EP is King of Benin, a piece with rhythm changes that plays with attention and tension in equal parts. Once the listener gets into the channel, the music arrives with tremendous violence and incites to dance, as if he were in a mosh pit. It contains the astral energy of jazz with a slight suggestion to the movement. The miscellaneous percussions give a mystical touch to the textures of the theme, the piano lays the foundation and the trumpet leads the discourse without shouting over the others. The rhythm section is solid from beginning to end, oscillating between violence and subtlety.

The second track is Vidaa half-instrumental, half-poem piece performed by Zo Brinviyer, a Spanish playwright and writer, that explores the spoken word mixed with jazz. And this is the best synthesis of what it is. Vidaa recording where both concepts intertwine to give rise to a unique piece. The text is a letter that traces the relationship between Spain and Cuba, seeking justice and trying to heal historical wounds. A poem from one region to another that speaks of the pain denied by pride and of the love that unites those of us who inhabit either of the two lands. From Vida I am left with phrases like "I come from a country that denies the pain of yours", or "I want to see everything, because I know that there were others/ others resisting, waiting, fighting, loving before us/ but we believe that we are the first, that we were never expelled, that there is nothing to conquer and everything is yet to be discovered".

Júbilo is the "toque a degüello", it is the mambí bugle calling to combat to the shout of "Al Machete", an epic ride at sunset that closes the EP with a joyful and ascending tone, emphasized by the colors and the way in which the theme is harmonized. Around the 30th second of the song appears a musical moment that will be repeated (the mambí throat-slashing), which synthesizes the mood that the song provokes and that causes me special joy every time I listen to it.

As for the sound, it is an album that has no complications or innovations in production, but sought to respect the art and essence of live recording. Everything was recorded live and uncut, the same day in four hours of studio session, which results in a bridge to that mental strip where for seconds you forget what it is to be and just hear/feel/exist. Twenty-one minutes guided by Lachy's trumpet, in charge of the composition and arrangements, and the well-articulated cast of young musicians whose name I hope to get tired of hearing: For Black Sonata Ángel Toirac on piano; Samuel Sandoval, on bass (and double bass in Vida); Fabio Abreu, on drums; Iran Farias, on drums; Fabio Abreu, on drums; Iran Farias, on drums. The youngeron percussions and miscellaneous, and Zo Brinviyer as the author of the text and voice interpreter in Vida. The recording, mixing and mastering was done at República Records. The cover is also a beauty and was done by visual artist Jorge Rodriguez (@theratos1.0 on Instagram).

In summary, Black Sonata will not change your conceptions of what music can be, but it may change the way you think about it. moodIt's a sum of colors and textures that take you on a synaesthetic journey that I invite you to listen to with headphones and eyes closed. A sum of colors and textures that take you on a synaesthetic journey that I invite you to listen to with headphones and your eyes closed.

The international EP is available on the main streaming platforms.