David Sánchez

David Sánchez's debut album, The Departure (1994), as well as Sketches of Dreams (1995), Obsesión (1998) and Cultural Survival (2008) showed Sánchez merging jazz syntax with the musical dialects of his native Puerto Rico and other Caribbean and Latin America source.

The influences of Puerto Rican folkloric music can be clearly heard on Street Scenes (1996), strains of Bomba and Plena are also evident on Obsesión (1998) and Melaza (2000) both produced by the great saxophonist Branford Marsalis, as well as Travesía (2001), Sánchez's first entirely self-produced 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. This album features orchestrations and arrangements by prolific Argentine composer Carlos Franzetti with the City of Prague Philharmonic. The album showcases compositions by Hector Villa-Lobos, Antonio Carlos Jobim, Alberto Ginastera, Franzetti and Sánchez.

Cultural Survival, David's 2008 debut on Concord Records, earned the artist his sixth GRAMMY® award nomination. Two years later, Sánchez, Stefon Harris and Christian Scott came together for the Ninety Miles Project. The successful album and documentary film were recorded in Havana and featured not only the three bandleaders but also some of Cuba's finest musicians. 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 Pan-African influences to audiences around the globe. His latest album, Carib (2019), features original compositions inspired by melodies and rhythms coming from the Afro Puerto Rican and Haitian tradition. . Two pieces on this recording, Canto and Fernando's Theme, are featured in the soundtrack of the film Windows on The World by Robert Mailer Anderson.

At the same time, he is also a member of the SFJazz Collective, an all-star octet representing the SFJAZZ institution. The Collective is recognized for its stellar musicians, groundbreaking compositions and innovative takes on the music of some of the world's most influential artists.

Sánchez's 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 scholar 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 Sanchez's 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.

In 1988 Sánchez gained a music scholarship at Rutgers University. He articulates, “studying with masters such as Kenny Barron, Ted Dunbar, Larry Ridley among others, was a true blessing”.

He was soon immersed in New York's 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 Gillespie's 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 (Grammy award winner album Nocturne), Roy Hargrove (Grammy award winner 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. After a decade of teaching, he has proven to be a compelling presence with students and is in demand for workshops and master classes in Puerto Rico and beyond. In 2017 he helped form a new program at the San Francisco Conservatory of Music, The RJAM (Roots, Jazz, and American Music).

In addition to his collaboration with the Conservatory of Puerto Rico and The Conservatory of San Francisco, Sánchez has taught master classes in Brazil, at the Peabody Conservatory, Manhattan School of Music, Indiana University's School of Music, Stanford University, University of Memphis, Emory University Berklee Global Institute and completed a year-long residency at Georgia State University. Such work, he says, “gives me great satisfaction. At the same time, it's challenge, because part of my responsibility is to provide the student with guidance by sharing my experiences, but also understanding that it's their own journey. In the process, as instructors, we also learn.”

Photo credit : Siebe van Ineveld