一出場，從調音開始到整個結束，就一直覺得他們四人看起來很疲累~奏出的樂音都似乎還未清醒 ~ 雖然途中有一度很努力要炒熱氣氛 ~ 但總覺得台下的大家似乎「似懂非懂」。

Jazz樂風格非常多元化~即便如當天偏沙發爵士的風格，也應該會有讓人昏醉或會不自覺想跟著搖擺的fu ~ 但全感受不到 ~

每一位演奏者在單獨solo時，照道理，其他人是為配稱角色，但當晚卻不見那麼一回事，混在一起相當吵雜、很不協和 ~ 以致於很難聽出solo該樂音的精彩跟技巧。 

所以我直覺不是曲目關係，而是他們四人之間與樂音的和協出了問題。~ 阿 ~

■ < 以下摘自相關網頁>

2次葛萊美最佳拉丁爵士演奏獎肯定 
當代爵士樂壇公認融合拉丁爵士與Post Bop演奏風格的次中音薩克斯風大師 

次中音薩克斯風手大衛‧山契斯被譽為當今爵士樂壇新一代拉丁薩克斯風巨擘。他出生波多黎各，曾獲九次葛萊美獎提名，更是1997年與2005年葛萊美最佳拉丁爵士演奏獎與拉丁葛萊美獎得主。成長深受加勒比海音樂風影響，取得美國羅格斯大學獎學金赴美開始與紐約爵士樂界接觸，與Eddie Palmieri、Hilton Ruiz等大師合作讓他受到爵士巨匠Dizzy Gillespie的注目，成為Gillespie的學生，並經常與Gillespie同台。 

與諸多前輩大師同台經驗讓山契斯的演奏風格集各大名家之大成，演出上融合了濃厚拉丁色彩與Post Bop風格。《紐約客》雜誌曾讚譽：「山契斯的音樂呈現強烈又複雜的節奏，但和聲進行卻帶有現代爵士樂一貫的細膩優雅。」八月抵台將以「The David Sanchez Group」四重奏形式為台灣樂迷獻上複雜又細緻的現代爵士風采，將會是一場觀眾巧遇拉丁爵士的即興邀約。 

演出者：薩克斯風/大衛‧山契斯David Sanchez,saxophone、貝斯/ 里卡多‧羅德利列茲 RicardoRodriguez, bass、鼓/亨利‧柯爾HenryCole, drum、鋼琴/愛德華‧賽門EdwardSimon, piano 

■

DavidSanchez (b.9/3/68), a native of Hato Rey, Puerto Rico, was enchanted by Afro-Cuban danza and othertraditional Latin music at the age of eight; so, he picked up the conga. Later,after hearing records by Miles Davis, John Coltrane, and Billie Holiday, heturned to jazz and the tenor saxophone at 12.

Afterhigh school Sanchez moved to New York toattend Rutgers University, where he studied with TedDunbar, John Purcell, and Kenny Barron. He soon began freelancing in New York with the city'stop Latin players, including Paquito D'Rivera and Claudio Roditi, soon joiningDizzy Gillespie's United Nations Orchestra.

Sincethen he has recorded with Slide Hampton, Kenny Drew Jr., and Danilo Perez; he'salso led his own sessions for Columbia,featuring his fusion of Afro-Cuban and bebop influences.

■

Latin Grammy Award winner David Sánchez isbeing hailed as “the most profound young tenor saxophonist working today. In areview, world- renown jazz critic Howard Reich saluted the young bandleadersaying, “Technically, tonally and creatively, he seems to have it all. Hissound is never less than plush, his pitch is unerring, his rapid-fire playingis ravishing in its combination of speed, accuracy and utter evenness of tone.”Such is the acclaim and respect that Sánchez has engendered from critics, musiclovers and fellow artists throughout the world as he continues to

push the frontiers of mainstream jazz toincorporate a compelling and rich array of Latin and Afro-Caribbean influences,while remaining true to the tenets of the jazz genre.

Born in Guaynabo,Puerto Rico, Sánchez began playing percussionand drums at age 8 before migrating to tenor saxophone four years later. Whilea student at the prestigious La Escuela Libre de Música in San Juan, he also took up soprano and altosaxophones as well as flute and clarinet. The bomba and plena rhythms of Puerto Rico, along with Cuban and Brazilian traditions,were among the biggest influences on Sánchez's early taste in music. SonnyRollins, Dexter Gordon and John Coltrane had the greatest impact on hisplaying. “I'm just talking about tenor, now. Charlie Parker is a major influence,of course, and many, many others.”

In 1986 Sánchez enrolled at the Universidad dePuerto Rico in Rio Pedras, but the pull of New York was irresistible. By 1988 he hadauditioned for and won a music scholarship at RutgersUniversity in New Jersey. With such close proximity to New York City, Sánchezquickly became a member of its swirling jazz scene. He gigged with piano giantEddie Palmieri and trumpeter Claudio Roditi who, along with master saxophonistPaquito D'Rivera, brought Sánchez to the attention of Jazz legend DizzyGillespie. In 1991, Gillespie invited the young saxophonist to join his “Livethe Future” tour with Miriam Makeba.

The Departure, his 1995 debut for Columbia, gained criticalkudos as did the disc's successors Sketches of Dreams, and Street Scenes.Meanwhile, David had begun touring with various jazz greats such as KennyBarron, Roy Haynes and legendary drummer Elvin Jones, recording with Barron andHaynes respectively. When he returned to the studio for his next project, theresults were sterling. Produced by Branford Marsalis, Obsesión would garner thesaxophonist his first Grammy nomination. He would follow that album with theGrammy-nominated (and Latin Grammy-nominated) Melaza. In 2001, Sánchez appearedon high- profile recordings with bassist Charlie Haden (Nocturne) andtrombonist Steve Turre (TNT [Trombone-N-Tenor]) before issuing another Grammy-nominated release on Columbia, Travesa, which also garnered rave reviews fromjazz cognoscenti.

Sánchez’ most recent recording for Columbia,Coral, earned the saxophonist his fourth Grammy nomination and won a LatinGrammy after being voted “Best Instrumental Album” of 2005 by the Latin Academyof Recording Arts and Sciences. Coral is the most ambitious manifestation todate of his continuing expansion of the frontiers of mainstream jazz toincorporate Afro-Latin influences. In the project, recorded in Prague,Czech Republic, and placinghis jazz sextet against the backdrop of the City of Prague Philharmonic Orchestra, he exploresobscure works composed by giants of the Latin American classical genre: AntonioCarlos Jobim, Alberto Ginastera and Heitor Villa-Lobos. In addition, hejuxtaposes classical structure with jazz improvisation in two of his originaltunes as well as in a composition by Carlos Franzetti (arranger and conductorfor all tracks on the album).

The expression of the jazz sensibility againstthe backdrop of a classical structure, the hallmark of the Coral project, hasrecently led David to explore other pairings of the jazz and classicaltraditions. Most recently, David has collaborated with the Alexander StringQuartet in performances of the Focus suite, composed by Eddie Sauter andrecorded by Stan Getz over forty years ago, and considered by some to be Getz’masterpiece recording. In the two ensembles’ 2004 debut performance of the workin San Francisco,the wildly enthusiastic audience response spawned a collaboration between thetwo groups which continues to thrill concertgoers whenever it is experienced.

Whether with Gillespie, Palmieri, Haden and hisother jazz mentors, or under his own name, Sánchez has continued to tourextensively, bringing his mix of mainstream jazz with Afro-Latin influences todelighted audiences throughout the globe. In 2003 he partnered with pianistGonzalo Rubalcaba for a world tour, which took the two artists to France, Spain,Italy, Slovenia, Russia,Germany, Portugal, Holland,Denmark, South Korea, Hong Kong and Australia before Sánchez took his own band toperform at the Newport Festival at Madarao, Japan. Laterthat year, he led his sextet in a triumphal tour through Spain, followed by a week of performances by hisquartet in Athens, Greeceand Fort-de- France, Martinique. In 2004 Davidcollaborated with Dee Dee Bridgewater on the “Latin Landscapes” world tour.And, performance highlights in 2005 included an extensive U.S. tour with Pat Metheny, as well as touringwith his own jazz quartet and trio throughout the U.S.,Brazil, Canada and Europe,extending up to the present.

A prolific composer, David composes and arrangesfor a number of ensemble configurations•instrumental and with vocals--includingsextet, quartet, trio and duo (saxophone and piano). In recognition of hisprodigious talents, he has recently been named a 2005 grant recipient ofChamber Music America’s“New Works: Creation and Presentation Program”, in which he has beencommissioned to compose and present a multi-movement work for jazz sextet. Thehighly selective and prestigious program is made possible through thegenerosity of the Doris Duke Charitable Foundation.

David has also proven to be a compellingpresence with student musicians and continues to be in demand for workshops andmaster classes throughout the world. In recent years, his academic pursuitshave included visiting professorships at the Peabody Conservatory, theConservatory of Puerto Rico and at IndianaUniversity’s School of Music.He has also been a featured artist for Marsalis Jams, a program of thenon-profit Music Education Initiative, which takes working jazz ensembles tocolleges and universities in the United States for mini-residenciesto enhance capability and lend insights to student musicians and to build jazzaudiences in general. During the 2005-2006 academic year, David was theArtist-in-Residence at the School of Music at Georgia State University.

Sánchez strives for an “organic” approach toplaying, writing, arranging, teaching and recording, and the positive resultsare amply demonstrated in his recordings. “When you're young, you feel you haveto prove yourself. But as you develop and the years go by, you begin to let themusic come to you. You don't chase something like that. I've been learning,year after year, how not to chase that muse, and to let it come to me.Sometimes it's there; sometimes it's not. Of course, you work every year tomake that process more and more of a constant.”

。