Elipsis, Michael League, Pedrito Martinez, Antonio Sánchez - Elipsis (2026) [Hi-Res]
![Elipsis, Michael League, Pedrito Martinez, Antonio Sánchez - Elipsis (2026) [Hi-Res]](https://www.dibpic.com/uploads/posts/2026-08/1787636927_u117d6w7oejvc_600.jpg)
BAND/ARTIST: Elipsis, Michael League, Pedrito Martinez, Antonio Sánchez
- Title: Elipsis
- Year Of Release: 2026
- Label: GroundUP Music LLC
- Genre: Jazz
- Quality: mp3 320 kbps / flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 00:32:16
- Total Size: 76 / 202 / 633 mb
- WebSite: Album Preview
Tracklist
01. Obbakoso
02. Caminando
03. Variant
04. Mi Tambor
05. Suuru
06. Congo No Calla
Michael League – key bass, keyboards, ngoni, acoustic guitar, baritone fretless electric guitar, vocals, clavinet, Moroccan darbuka; Antonio Sánchez – drums and percussion programming, mellotron; Pedrito Martínez – congas, percussion, and lead vocals (often layered into choir effects), bata
Michael League’s Elipsis doesn’t feel much like a typical trio record. Built around League, drummer Antonio Sánchez, and percussionist/vocalist Pedrito Martinez, it puts rhythm and voice out front, with electronics sometimes helping drive the motion and other times bending it sideways. You can still hear hints of the groove-minded thinking League brings to Snarky Puppy, but here the ideas feel more packed in, more restless, and a little harder to pin down.
A lot of the album runs on bass and percussion. League lays down thick, repeating lines that keep the music grounded while everything else shifts around them, moving between key bass, baritone guitar, and the ngoni bass. Sánchez and Martinez come at rhythm from different directions, circling each other rather than clicking together. Martinez, a Havana-born conguero steeped in Afro-Cuban chant traditions, often layers his own voice until it starts to sound like a small crowd instead of a single singer.
“Obbakoso” jumps in already in motion, with percussion out front and an upbeat, almost festive charge. Martinez leads, then stacks harmony on top of himself until the vocals start to blur together. Handclaps, congas, drums, and bits of programming keep the surface busy. When the bass finally drops in — loud and thick — the track briefly takes on a rock-like weight before easing back into voice and rhythm.
A lot of Elipsis is densely packed, but it’s recorded clearly enough that you can follow each moving part. On “Caminando,” a chanting choir repeats a short phrase over a deep, driving bass line. The percussion rides high in the mix, full of overlapping patterns, while small electronic flickers skim the edges. Sánchez even plays the Mellotron here — a staple of ’70s rock that Herbie Hancock bent to very different ends.
Some tracks lean harder on synthetic sounds, and “Variant” is the clearest example. It opens with metallic, echoing tones that feel pulled from a sci-fi score, eerie and suspended in midair. A heavy bass follows, then percussion, slowly pulling things back toward something physical. Chanted vocals enter, the groove thickens, and a distinctly Cuban feel starts to take over. The electronics never really leave, but by the end they’re circling the music rather than steering it — and it’s the human voice that carries the most weight.
At times on Elipsis, the processed sounds push right up against the vocals, and that tension shapes “Mi Tambor.” Drums and a repeated chant lay the foundation, anchored by a thick, resonant bass. Martinez sings over the top, his voice occasionally bent or nudged, while a looping keyboard figure and quick pulses keep things moving. Eventually the vocals fall away and the percussion takes over, both players surging together before the track dissolves into a low electronic buzz.
Elipsis takes its name from an ellipsis — three dots pointing forward — and that’s exactly what the music does. This feels like three strong personalities tossing ideas back and forth, sometimes colliding, sometimes clicking. It isn’t fusion in the old Mahavishnu or Weather Report sense, but League’s rhythmic instincts are all over it. If Snarky Puppy runs like a finely tuned machine, Elipsis feels more like a storm — restless, charged, and always in motion.
01. Obbakoso
02. Caminando
03. Variant
04. Mi Tambor
05. Suuru
06. Congo No Calla
Michael League – key bass, keyboards, ngoni, acoustic guitar, baritone fretless electric guitar, vocals, clavinet, Moroccan darbuka; Antonio Sánchez – drums and percussion programming, mellotron; Pedrito Martínez – congas, percussion, and lead vocals (often layered into choir effects), bata
Michael League’s Elipsis doesn’t feel much like a typical trio record. Built around League, drummer Antonio Sánchez, and percussionist/vocalist Pedrito Martinez, it puts rhythm and voice out front, with electronics sometimes helping drive the motion and other times bending it sideways. You can still hear hints of the groove-minded thinking League brings to Snarky Puppy, but here the ideas feel more packed in, more restless, and a little harder to pin down.
A lot of the album runs on bass and percussion. League lays down thick, repeating lines that keep the music grounded while everything else shifts around them, moving between key bass, baritone guitar, and the ngoni bass. Sánchez and Martinez come at rhythm from different directions, circling each other rather than clicking together. Martinez, a Havana-born conguero steeped in Afro-Cuban chant traditions, often layers his own voice until it starts to sound like a small crowd instead of a single singer.
“Obbakoso” jumps in already in motion, with percussion out front and an upbeat, almost festive charge. Martinez leads, then stacks harmony on top of himself until the vocals start to blur together. Handclaps, congas, drums, and bits of programming keep the surface busy. When the bass finally drops in — loud and thick — the track briefly takes on a rock-like weight before easing back into voice and rhythm.
A lot of Elipsis is densely packed, but it’s recorded clearly enough that you can follow each moving part. On “Caminando,” a chanting choir repeats a short phrase over a deep, driving bass line. The percussion rides high in the mix, full of overlapping patterns, while small electronic flickers skim the edges. Sánchez even plays the Mellotron here — a staple of ’70s rock that Herbie Hancock bent to very different ends.
Some tracks lean harder on synthetic sounds, and “Variant” is the clearest example. It opens with metallic, echoing tones that feel pulled from a sci-fi score, eerie and suspended in midair. A heavy bass follows, then percussion, slowly pulling things back toward something physical. Chanted vocals enter, the groove thickens, and a distinctly Cuban feel starts to take over. The electronics never really leave, but by the end they’re circling the music rather than steering it — and it’s the human voice that carries the most weight.
At times on Elipsis, the processed sounds push right up against the vocals, and that tension shapes “Mi Tambor.” Drums and a repeated chant lay the foundation, anchored by a thick, resonant bass. Martinez sings over the top, his voice occasionally bent or nudged, while a looping keyboard figure and quick pulses keep things moving. Eventually the vocals fall away and the percussion takes over, both players surging together before the track dissolves into a low electronic buzz.
Elipsis takes its name from an ellipsis — three dots pointing forward — and that’s exactly what the music does. This feels like three strong personalities tossing ideas back and forth, sometimes colliding, sometimes clicking. It isn’t fusion in the old Mahavishnu or Weather Report sense, but League’s rhythmic instincts are all over it. If Snarky Puppy runs like a finely tuned machine, Elipsis feels more like a storm — restless, charged, and always in motion.
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