David Sanchez

Combine that with Sánchezs deep-seated knowledge of both Jazz and Latin music,

and the traditions that mold them, and the results are extraordinary.

In a review, world-renown jazz writer and critic Howard Reich saluted the

bandleader saying, "Sánchezs prowess on saxophone is matched by the intellectual

depth of his concept and compositions". Reich has also noted “Technically, tonally and

creatively, he seems to have it all. Recordings such as "The Departure" (1994),

"Sketches of Dreams" (1995), "Obsesion" (1998) and "Cultural Survival" (2008)

showed Sánchez merging jazz syntax with the musical dialects of his native Puerto Rico

and other Caribbean and Latin American sources.”

The influences of Puerto Rican folkloric music can be clearly heard on "Street

Scenes" (1996), his debut album on Sony/Columbia. Strains of Bomba and Plena are

also evident on "Obsesion" (1998) and "Melaza" (2000) both produced by the great

saxophonist Branford Marsalis, as well as "Travesía" (2001), Sánchezs first entirely selfproduced

recording.

It was another recording, “Coral, " that would earn David his fifth GRAMMY®

award nomination and his first Latin Grammy Award for Best Instrumental Album in

2005. “Coral” features orchestrations and arrangements by prolific Argentine composer

Carlos Franzetti wit h the City of Prague Philharmonic. The album showcases

compositions by Villa-Lobos, Jobim, Ginastera, Francetti and Sánchez. All Music.com

observes "Sánchez is poised to take his place among the great jazz musicians that

continue to offer important personal and musical insights to their audiences". "Coral"

is a necessity for any jazz or classical record collection".

"Cultural Survival", Davids 2008 debut on Concord Records, earned the artist

his sixth GRAMMY® award nomination. Mr. Sanchez was also the recipient of Chamber

Music Americas (CMA) New Jazz Works grant. The prestigious commission was for the

creation of "La Leyenda Del Cañaveral," an extended composition insp

That critically acclaimed endeavor was followed by 2011s "Ninety Miles

Project." Sánchez joined forces with Stefon Harris and Christian Scott for the successful

album and documentary film. Both were recorded in Havana and featured not only the

three bandleaders but also some of Cubas finest musicians. Jazz Times music writer

Michael J. West noted, "The saxophonist is the real star: He’s exquisite on “The

Forgotten Ones,” a ballad duet with Harris, and provides romance on “This Too” and

dark intrigue on the album’s one new tune, “Paradise Found.” The project would later

become The Ninety Miles Band, where Harris and Sánchez would further develop their

unique musical partnership.

Sánchez continues to tour the world as a bandleader, bringing his mix of

mainstream jazz with Afro-Latin influences to audiences around the globe. At the same

time, he is also a member of The SFJazz Collective, an all-star octet representing the

SFJazz organization.

The Collective, has been one of the most prolific ensembles of the last decade.

Its known for its stellar musicians, groundbreaking compositions and innovative takes on

the music of some of the worlds most influential artists.

Sánchezs unique musical sensibility can be traced to his home, Puerto Rico,

where he began playing percussion and drums at age 8. He migrated to tenor saxophone

a few years later. While a student at the prestigious La Escuela Libre de Música in San

Juan, he took up the flute, clarinet as well as soprano saxophone with teachers Angel

Marrero and Leslie López. The Bomba and Plena rhythms of his homeland, along with

Cuban, Caribbean and Brazilian traditions, were among the biggest influence on

Sanchezs early taste in music. But soon jazz masters such as Sonny Rollins, Dexter

Gordon and John Coltrane would command his ear and his imagination. "Charlie Parker,

Lester Young, Wayne Shorter and Joe Henderson all have been also major influences. Of

course, and many, many others."

In 1988 Sánchez auditioned for and won a music scholarship at Rutgers University. He says, "Having the opportunity to studied with masters such as Kenny Barron, Ted Dunbar, Larry Ridley among others, was a true blessing". He was soon immersed in New Yorks swirling Jazz scene and was quickly recruited to tour with piano giant and mentor Eddie Palmieri. He also performed with Hilton Ruiz and Claudio Roditi who brought Sánchez to the attention of Jazz legend Dizzy Gillespie. In 1991, Gillespie invited the young saxophonist to join his "Live the Future" tour with Miriam Makeba. Later having the opportunity to be a part of Gillespies recording, "Live At The Blue Note."

Sánchez has also performed and recorded with Jazz Master and mentor, Kenny Barron (album "The Spirit Song"), Roy Haynes (album "Praise"), Charlie Haden (album "Nocturne"), Roy Hargrove (Album "Crisol"), Pat Metheny, Lalo Schiffrin, Danilo Perez, Tom Harrell, Gonzalo Rubalcaba, Kenny Werner, and had the opportunity to perform with the legendary drummer Elvin Jones.

David Sánchez is also "Maestro Sánchez" to students at the Conservatorio de Música de Puerto Rico. In a decade of teaching, he has proven to be a compelling presence with student musicians and is in demand for workshops and master classes in Puerto Rico and beyond. Sánchezs passion for teaching and sharing his art with up and coming musicians is palpable. " It gives me such tremendous joy. I see so much talent out there. I am very optimistic and I look forward to the future of music.”

In addition to his position as Artist in Residence at the Music Conservatory of Puerto Rico, Sánchez has taught master classes in Brazil, at the Peabody Conservatory, Manhattan School of Music, Indiana Universitys School of Music, Stanford University, University of Memphis, Emory University and completed a year-long residency at Georgia State University. Such work, he says, "gives me great satisfaction. At the same time, its a real challenge, and you end up learning so much yourself. You give, but you receive too."

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