In the liner notes of Obsésion, David Sánchez calls his fourth Columbia Jazz album as a leader the most important recording of his career. "It is a retelling of who I am and it is always easier to tell a story as an insider," writes the young Puerto Rican saxophonist. "This recording is born out of my most intimate experiences with life and music." Produced by Sánchez and Branford Marsalis, Obsésion is a sizzling hot and coolly lush collection of Latin American classics with a focus on songs from the saxophonist's homeland as well as Cuba and Brazil. "It's an idea I've always wanted to pursue," says Sánchez. "There are plenty of albums of jazz standards, so why not record a CD of Latin standards? I decided to do it my own way, experimenting with arrangements by Carlos Fransetti and coming up with a different sound." On several tracks, Sánchez augments his quintet (pianist Edsel Gomez, bassist John Benitez, drummer Adam Cruz and percussionist Pernell Saturnino) with a chamber orchestra of strings and woodwinds. Half the tunes on Obsésion were written by Puerto Rican composers Rafael Hernández, Bobby Capó and Pedro Flores, who contributed to the Golden Age of Latin American music in the '40s and '50s. Sánchez grew up listening to their songs, including "Capullito de alheli," "Soñando con Puerto Rico" and the title number, which were instilled in him by his parents (whom he describes as "patriots and lovers of good music"). But Sánchez also notes that his home was full of all kinds of Latin American music. "My house was a repertoire of influences," he explains, pointing out that his brother studied and played Puerto Rican folkloric styles while his sister listened to jazz and Brazilian music. "Each of its rooms vibrated with notes of a different beat." What are his favorites tracks on Obsésion? He cites two special numbers. One is "Lamento Borincano." "I grew up with that tune. It's like the second anthem of Puerto Rico. Everybody knows it in Latin America." The other is "Omorro nao tem vez." "That comes from the Brazilian world. I didn't hear this song until I was older. It's by Antonio Carlos Jobim, a genius of 20th century music. He's one of my favorite composers." One of the most innovative and exciting young jazz talents, Sánchez got his start playing as a sideman in the bands of Eddie Palmieri, Paquito D'Rivera and Claudio Roditi. He stepped into the spotlight as a featured member of Dizzy Gillespie's United Nation Orchestra before launching his solo career. The fiery and funky saxophonist made his recording debut on Columbia Jazz with The Departure, followed by Sketches of Dreams and Street Scenes. Even though his music is steeped in the polyrhythmic hot-chili beauty of Latin jazz, Sánchez says that he listens to a variety of musical styles. What's been spinning in his CD player lately? "It's unpredictable because it changes every day," he says, then makes a go at recalling what he's been digging these days. "I've been checking out lots of world music from places like Spain, Cuba and Brazil. I've also been listening to Sonny Rollins, Dexter Gordon and Coleman Hawkins. Plus, I've been enjoying The Real McCoy CD by McCoy Tyner. I like acid jazz, especially the Brand New Heavies first record and the Groove Collective's mix of funk, R&B and hip hop. I love funk, guys like Marvin Gaye and James Brown. I get my inspiration from different sources. I'm open to a range of styles. That's how I increase my vocabulary on the saxophone." David Sánchez Site
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