Cultural Survival
David Sanchez
Concord Picante
We often base our analysis of musical genres upon differences, but truly aware musicians in the post-modern world focus upon similarities between styles. These musicians understand the defining factors of several different styles and they find ways to insert them in contrasting genres. Their musical focus broadens from the simple performance of one genre and evolves into a search for new connection points between styles. The resulting music never sounds exactly like any one particular style; it avoids blatant dips into a defined genre, preferring a careful mixture between several different approaches. This runs the risk of a watered down musical mush, but artists with strong backgrounds in these genres never lack authenticity in their music. Instead, they insert essential musical elements regularly, successfully exposing influential genres. Implication becomes an important factor in their music, and they understand the necessary licks or rhythmic variations to define styles. Saxophonist David Sanchez mixes elements of straight ahead jazz, Cuban, Puerto Rican, and African musics into a unique blend on Cultural Survival, a definitive statement of Sanchez’s refined musical concept.

Emphasizing Elements of Latin Music
Several songs feature elements of Latin music prominently, although the mixture never dominates the aesthetics of the music. Drummer Adam Cruz compliments bassist Ben Street’s sparse vamp with a quasi-Cuban feel to open “Adoración,” leading into Sanchez’s rich melody. Sanchez eases into his improvisation, building into a frenzy of quick runs and tense sequenced phrases. After a strong solo by guitarist Lage Lund, Sanchez leaps into a montuno-like figure that serves as the foundation for Cruz’s explosive statement. Percussionist Pernell Saturnino’s cajon finds a balance against Cruz’s swing influenced rhythm on “Manto Azul,” leading into a lush melody from Lund and Sanchez. Pianist Danilo Pérez takes a highly interactive comping approach behind Lund’s improvisation, intertwining melodies and shifting harmonies behind the guitarist. As Sanchez launches into a ferocious solo, the combination of Pérez’s conversational style and Cruz’s rhythmic interplay sends Sanchez soaring into an intense statement. An explosive unison lick gives way to Street and Lund’s powerful vamp on “Ay Bendito,” setting the stage for a harmonized melody between Sanchez and Lund. Sanchez winds twisting lines around the groove, focusing his improvisation on a balance of melody and rhythmic invention. Lund takes a more melodic approach, developing his phrases into long and fluid ideas. Sanchez brings elements of Latin styles into the forefront of each song without blatantly relying upon standard conventions, which opens the music to interesting improvisational freedoms.

An Even Balance Between Styles
Many pieces provide a more even balance between traditional jazz, modern musical concepts, and Latin influences, expanding the reach of Sanchez’s concept. Sanchez revisits one standard, the ballad “Monk’s Mood,” which he treats with an enthusiastic reverence. His interpretation of the melody reflects both an honest study of Monk and thoughtful alterations that gleam with audible personality. Sanchez approaches his solo with a laid-back gentleness, countering sudden runs with dynamic shape and careful phrasing. The group recalls John Coltrane’s late work with a freeform accompaniment behind Sanchez’s tribute to New Orleans residents, “The Forgotten Ones.” Sanchez leads the improvisatory context with a beautiful melody that contains both strength and tenderness, expressed fully by Sanchez’s sax. His improvisation continues to inspire the band, but Sanchez stays with the song’s overriding theme and creates a poignant yet understated solo. Sanchez and Pérez engage in a casual interplay over the funky foundation on “Cultural Survival,” leading into a melody full of interesting rhythmic twists. Pérez assertively develops his statement with long lines, evolving harmonic variations, and rhythmic displacements. Sanchez plays off Pérez’s energy, jumping quickly into an aggressive melodicism that yields a powerful reaction from the rhythm section. These songs emphasize a diversity of musical ideas that combine successfully to support inspiring improvisations and creative explorations.

A Centerpiece Composition
The extended composition “La Leyenda del Cañaveral” serves as the album’s centerpiece and it strongly showcases Sanchez’s complex mixture of several musical traditions. African rhythms and a vocal open the piece, leading directly into a calm vamp from bassist Hans Glawischnig. Sanchez, Lund, and pianist Robert Rodriguez develop a series of intertwining lines that build into a more defined phrase over a bomba rhythm. The rhythm section feel evolves into a move complex variation for Lund’s solo. Rodriguez and drummer Henry Cole drive Lund into a wild intensity until the rhythm section drops to near silence for Sanchez’s improvisation. Spacious ideas stretch into longer lines on Sanchez’s sax, eventually becoming fast runs, dissonant melodies, and complex rhythms. The rhythm section follows Sanchez’s every move, pounding intense accompaniment into a unison line by Sanchez and Lund. Another sudden dynamic shift begins Rodriguez’s solo, and he uses the change to build his statement. As the rhythm section joins him, Rodriguez attacks his space with the unyielding passion of contemporary jazz. Cole takes a brief improvisation, ending the chain of solos with an aggressive statement that serves as a massive climax. Sanchez and Lund explore a quick series of variations on the melody that leads back into the original sound of African percussion and song. The piece represents Sanchez’s music well; the mix of defined compositions, Latin and African elements, and extensive jazz improvisation create a unique sound that stays firmly attached to Sanchez’s work.

Focusing Upon Sanchez’s Musical Concept
Sanchez successfully melds the aesthetics of Latin music, African rhythms, and modern jazz into an intriguing blend on Cultural Survival, employing his strong musicianship and several distinct musical strategies. The use of guitar immediately breaks a connection to traditional Latin Jazz with the elimination of standard montunos and comping rhythms. With this new aesthetic established, Sanchez can bring pianists into the group and they approach the music differently. Both Pérez and Rodriguez avoid traditional jazz or Latin roles and find their voices within Sanchez’s music. Much of the stylistic blending occurs through the interplay between drums and bass; they reference different styles freely. Yet each player approaches the music smartly; the drums may swing and while the bass is laying down a syncopated line, but they always maintain a strong connection. The albums’ musicians completely support Sanchez’s concept, which allows him a great deal of freedom. He explores fearlessly, creates melodies passionately, and pushes his band to new creative heights. The clear display of Sanchez’s vision becomes the album’s sole purpose and it overrides the necessity for a clearly defined genre. Sanchez instead finds the similarities between genres and successfully blends them into a new style, guaranteeing a satisfying musical experience on Cultural Survival, full of personal voice and deeply rooted meaning.

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