And here, he was really using very well the sense of space. He can play any genre, instruments like crazy this guy can go so many directions. He’s one of these musicians who can do anything. But you’ve got me on the saxophone player. Walter Booker? That makes sense, because he played sometimes with Fort Apache, and the feel he put in there shows he knows how to play the bolero. The bass player could be Andy Gonzalez or… I don’t think it’s Benitez, though. Sometimes he has a tendency to play a little more, more notey, but now I’m not so sure. It’s just the sound, but then when he plays, I’m like, “That sounds a little different.” Maybe it’s because I’ve heard Mario so many times playing songs at a pace that is not this it’s not a bolero or anything. At the very beginning, he did something with the phrasing and his sound that made me think of Mario, but now, after I’ve heard the blowing… There’s something in the sound that reminds me a bit of Mario. Ah, that makes sense! He reminded me of him because he’s him! I was going to say it’s Mario Rivera playing tenor. The piano player reminded me of Hilton Ruiz. The bass player has a very good sense of playing Latin music by the way he’s playing a bolero. I’ve never heard the record before, but I think I have a sense of who’s playing. That’s a beautiful song, “La Puerta Cesaro(?).” The first time I heard that song was by Elis Regina actually. Mario Rivera, “La Puerta” (#3) (from EL COMMANDANTE, Groovin’ High, 1993) (Rivera, tenor saxophone Hilton Ruiz, piano Walter Booker, bass Ignacio Berroa, drums Alexis Diaz, congas) (3 stars) Patitucci has great awareness of how to put the Afro-Caribbean vibe and Latin in there, but at the same time he makes it sound open. Of course now that makes sense - Antonio Sanchez is playing drums, Patitucci is playing bass. You know how there’s percussionists and there’s congueros, and I was going to say this guy sounds like he’s a percussionist, but at the same time, the people playing know how to keep the feel. But I was going to say that it sounds like he plays a bunch of different genres, so it’s not strictly a Latin guy. I was going to say something about the percussionist, and I didn’t have time. I knew something about the ideas he was playing. Steve Wilson? Whoo! He was killing! I haven’t heard him play flute in a long time. I cannot tell you who the flute player is. I’d be lying if I told you I know which record it is. At the beginning I think I heard some kalimba. I like hearing him in this type of context. So when he plays a phrase, I know when it’s him. He plays certain kind of intervals with a certain attitude, and he has a certain phrasing that’s very clean. Because he plays certain ideas, certain intervals in a certain way that you say, “This is Mike.” With a certain attitude. A lot of people try to copy Mike, but when it’s Mike playing, 98% of the time I’m always right that it’s him. But to me, right now, he’s sounding like Mike. I’m sure in other contexts, maybe he sounds a little more like him. If it’s not Mike, with all due respect… It just reminds me of Mike playing. The saxophone player sounds a lot like Mike. But I’m convinced that he plays other woodwinds - saxophone, clarinet, other stuff. Logically, the way he’s playing tells me this guy plays some other stuff. I might be wrong, but that’s how it sounds to me. In a way, I think he’s maybe not strictly a flute player, and he plays other instruments, like woodwinds. He doesn’t play like how many flute players conventionally would play. It’s really interesting, and I love what the flute player was playing at the beginning. ![]() But until he starts playing, the blowing, I’m not going to… It definitely sounds like Mike. The saxophone player definitely has a Mike Brecker. Michael Brecker, “Timbuktu” (from WIDE ANGLES, Verve, 2003) (Brecker, tenor saxophone, arrangement Gil Goldstein, orchestration Steve Wilson, flute John Patitucci, bass Antonio Sanchez, drums Daniel Sadownick, percussion) (4-1/2 stars) A day late for tenor saxophonist David Sanchez’ 48th birthday, I’m posting the complete proceedings of a Blindfold Test that we did in 2003 and a WKCR interview in July 2008 on the occasion of his Concord CD, Cultural Survival, that later ran on the much-missed web ‘zine .ĭavid Sanchez Blindfold Test (12-1-2003):ġ.
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