“Arman Sangalang spearheads the next generation of Filipino-Americans making headway for equal representation on the stage and airwaves.  His knowledge of the history of the music informs his atmospheric originals and use of modern textures and soundscapes, creating mindful and inviting interaction with his listeners.”

-Jon Irabagon

Chicago tenor saxophonist and composer Arman Sangalang makes an auspicious debut as a bandleader with Quartet on the newly-minted Calligram Records. Backed by the simpatico rhythm section of bassist Matt Ulery, guitarist Dave Miller and drummer Devin Drobka, Sangalang presents a program of sophisticated original compositions and a soulful rendition of “Polka Dots and Moonbeams,” all delivered with maturity and depth that belie his 25 years.

The music on Quartet stems in part from a highly competitive Jazz Links fellowship from the Jazz Institute of Chicago. The award allowed Sangalang to dive deep into composition studies with Ulery, a renowned composer and bandleader in his own right, and offered opportunities to refine the quartet’s collective voice through performances at Make Music Chicago, Epiphany and other Chicago venues. Sangalang further honed his writing and bandleading chops as a participant in the prestigious Jazz Aspen Summer Academy. Ultimately, this all culminated in an inspired set by the quartet on the Von Freeman stage of the 2022 Chicago Jazz Festival, a moment that definitively announced Sangalang’s arrival on the scene to everyone in the packed festival tent. His bandmates, all of whom are influential mentors and experienced veterans of the creative music scene, made it clear that now was time to hit the studio. Recorded in Dave Miller’s intimate Whiskey Point Studio, the result is an album of diverse colors, subtle structures and tightrope interaction.

From the opening notes of “Prelude,” it’s clear that this is not a typical first record from a young saxophonist. Sangalang’s lovely, dark tenor sound folds organically into the rustling texture of Drobka’s delicate drums and cymbals as Miller balances lush supporting chords with incisive commentary. “Prelude took inspiration from Wayne Shorter’s Nefertiti and features the rhythm section,” says Sangalang. “Likewise, September’s Lullaby was written with the intention of showcasing the wide range of textures and soundscapes Matt, Dave and Devin bring to the table.”

The earlier compositions on Quartet owe a debt to Walter Smith III, a teacher and mentor, as well as the music of Smith contemporaries and collaborators Eric Harland and Joel Ross. “I had written these through-composed pieces- Retrograde, Split Levels, and Two Sides- with backgrounds and interludes,” comments Sangalang. Sangalang navigates the twists and turns of “Split Levels” skillfully, never sacrificing lyricism for flash but offering plenty of fire along the way. He seamlessly rejoins the rhythm section for an interlude that launches into a genre-bending guitar outing from Miller before settling into an earthy groove behind Drobka’s driving drum solo.

More recent works reflect Sangalang’s ongoing artistic development as a writer and saxophonist. “Odyssey was initially influenced by a Harish Raghavan composition called “Anjou,” says Sangalang. “It had a triumphant feeling to it that I was trying to emulate, but was later influenced by Matt Ulery's melodic compositional style.” Ulery is featured to excellent effect right out of the gate with an incisive, compositional solo that gives way to a soaring melodic statement from Sangalang reminiscent of the dusky tone and serpentine lines of early Sam Rivers.

Aside from the evident stamp of Smith and Rivers, Sangalang pays direct tribute to Sonny Rollins, name-checking the master on the final track on the album. Fittingly, it’s a swinging affair, the most boppish on the record. The joyful exchanges with Drobka on the melody set the stage for a Newk-inspired solo from Sangalang rife with playful rhythmic feints and the sort of temporal elasticity patented by Rollins.

Sangalang will tour Quartet in the fall, beginning in Chicago with a record release celebration at the storied Hungry Brain in August and a featured set at the Hyde Park Jazz Festival in September. Midwest engagements follow in Madison and South Bend; west coast and east coast dates are in the works. Always seeking new challenges and opportunities for growth, Sangalang has accepted an invitation to participate in the Boysie Living Jazz Residency (Wilmington, DE), where he will write for and collaborate with a cohort of like-minded musicians for two weeks in June culminating in a performance at the Clifford Brown Jazz Festival. Quartet signals Sangalang’s arrival as a new voice on the scene. Walter Smith III agrees wholeheartedly, saying that “with the release of Quartet, Arman makes his case for the attention of the international audience. This is undoubtedly the start of a very promising career.”