Photo by Titus Ogilvie Laing
"The Joyce Theater has rarely felt as electric"
Siobhan Burke, The New York Times. Review: Music From The Sole Brings a Party to the Joyce (January 2024).
An unforced crowd-pleaser, original and true to itself... Fall for Dance at its finest.
Sandoval, who is from Brazil and works in New York City, describes Music from the Sole as exploring “tap dance’s Afro-diasporic roots and lineage to a wide range of Black dance and music,” citing jazz, samba, house and passinho (Brazilian funk). In “I Didn’t Come to Stay,” these influences seamlessly intertwine, showing the artists’ easy command of their wide palette.
This sense of togetherness and collective joy extended throughout the work.
Siobhan Burke, The New York Times - Review: Fall for Dance (September 2022)
"A marvelous feast of rhythm, both visual and aural."
Susanna Sloat, Dance Tabs (November 2021)
In [...] Music from the Sole, the musical element [...] is just as important as the dancing. The group’s six dancers, whose bodies also provide percussion, are in a constant give-and-take with musicians on piano, sax, and bass. The feeling is that of being at a family reunion, in which every family member has something to say.
Marina Harss, The New Yorker
[Partido] made musical sense, switching between an accumulating polyrhythmic groove and a contrastive section of light, quick mystery. Mr. Sandoval and his five dancers shared a loose athletic grace.
Brian Seibert, The New York Times
...rigorous and exciting...
Apollinaire Scherr, The Financial Times
I do remember the beauty of Leonardo Sandoval’s tap solo, accompanied by Gregory Richardson on double bass. The two entered a friendly conversation, their voices replaced by tapping feet, claps, snaps and pizzicato strings. It was bliss.
Marina Harss, Dance Tabs
Leonardo Sandoval, accompanied by the bassist Greg Richardson, used his body as an instrument, contrasting soft taps of his feet with gentle slaps on his thighs and chest as he made his way to a wooden platform on the stage. His footwork was hushed — an articulate, musical whisper — as he somehow managed to convey the idea that he was gliding just above his feet.
Gia Kourlas, The New York Times
Siobhan Burke, The New York Times. Review: Music From The Sole Brings a Party to the Joyce (January 2024).
An unforced crowd-pleaser, original and true to itself... Fall for Dance at its finest.
Sandoval, who is from Brazil and works in New York City, describes Music from the Sole as exploring “tap dance’s Afro-diasporic roots and lineage to a wide range of Black dance and music,” citing jazz, samba, house and passinho (Brazilian funk). In “I Didn’t Come to Stay,” these influences seamlessly intertwine, showing the artists’ easy command of their wide palette.
This sense of togetherness and collective joy extended throughout the work.
Siobhan Burke, The New York Times - Review: Fall for Dance (September 2022)
"A marvelous feast of rhythm, both visual and aural."
Susanna Sloat, Dance Tabs (November 2021)
In [...] Music from the Sole, the musical element [...] is just as important as the dancing. The group’s six dancers, whose bodies also provide percussion, are in a constant give-and-take with musicians on piano, sax, and bass. The feeling is that of being at a family reunion, in which every family member has something to say.
Marina Harss, The New Yorker
[Partido] made musical sense, switching between an accumulating polyrhythmic groove and a contrastive section of light, quick mystery. Mr. Sandoval and his five dancers shared a loose athletic grace.
Brian Seibert, The New York Times
...rigorous and exciting...
Apollinaire Scherr, The Financial Times
I do remember the beauty of Leonardo Sandoval’s tap solo, accompanied by Gregory Richardson on double bass. The two entered a friendly conversation, their voices replaced by tapping feet, claps, snaps and pizzicato strings. It was bliss.
Marina Harss, Dance Tabs
Leonardo Sandoval, accompanied by the bassist Greg Richardson, used his body as an instrument, contrasting soft taps of his feet with gentle slaps on his thighs and chest as he made his way to a wooden platform on the stage. His footwork was hushed — an articulate, musical whisper — as he somehow managed to convey the idea that he was gliding just above his feet.
Gia Kourlas, The New York Times