Albert Sanz ha publicado discos significativos para la escena del jazz, y "Mediterraníes" es tal vez su disco más cercano y entrañable, y lo hace en esta ocasión especial acompañado al bajo y la guitarra por Munir Hossn,que ha trabajado con Joe Zawinul, Alex Acuña, Gilberto Gil , Javier Ruibal y Jerry González, y es uno de los más excitantes exponentes de la nueva generación de músicos brasileños,y por Sergio Martínez a la percusión, quien ha colaborado con músicos tan diversos como Diego el Cigala, Paul Simon, Danilo Perez o el ballet nacional de España.
Over the years, the young pianist Albert Sanz (Valencia, 1978) has become one of the leading jazz stronger in our country. Because of his age has toured with musicians such as Kurt Rosenwinkel, Chris Cheek and Joe Lovano, and is a regular contributor to artists like Jordi Rossy or Perico Sambeat. After his decisive role in one of the great successes of recent Spanish jazz (in the imagination with Silvia Perez Cruz & Javier Colina Trio), Albert Sanz takes a step forward and presents an ambitious new album. A project that makes him one of the great jazz musicians of Spanish who, increasingly, is also recognized beyond our borders.
Catalan folk singer Sílvia Pérez Cruz and the Javier Colina Trío (Colina on bass, Albert Sanz on piano, and Marc Miralta on the drums), plus guest saxophonist Perico Sambeat, revisit the Cuban songbook in the gorgeous En la Imaginación. Four years in the making, this genuine labor of love reimagines classics of the bolero, filin, and son, such as "Debí Llorar" and "Ella y Yo" in a jazz trio-and-voice setting.
Cristóbal Galán was born in Madrid (Spain) around 1625; nothing is known about his musical education or the early stages of his career. Between 1653 and 1664 he acted as "maestro de capilla" in various churches. From 1664 to 1667 he was director of the choir at Segovia Cathedral, and then he was appointed director of music at the convent of the Descalzas Reales. The queen regent wanted him to become director of music at the royal chapel, but this met strong resistance. It was only in 1680 that he obtained this position. It didn't bring him much luck, as he felt that he wasn't appreciated enough. Payments were also often delayed, mainly because of the bad economic state of Spain in the last decades of the 17th century. Not only Galán, but all musicians suffered from this situation.