“Migration” is an album where one of today’s most well-known drummers debuts as leader: Antonio Sanchez. To release it is CAM Jazz - a label which is constantly aiming towards new goals and, thanks to this musician, it can boast its entrance into the same orbit as two contemporary jazz stars such as Chick Corea and Pat Metheny. The pianist and the guitarist - in whose group Antonio Sanchez has been playing for years - are in fact guests on “Migration”, which is then fully completed with contributions by Scott Colley, one of the most appreciated and sought-after double-bass players today, and by Chris Potter and David Sanchez, two of the best sax plays now on the scene.
After listening again and again, “Migration” reveals all of its artistic depth: it is jazz at a highly energetic level, but at the same time rich with expressive overtones, in which Antonio Sanchez’s imaginative and very dynamic drumming plays a crucial propulsive role, but without ever exceeding himself in the limelight. In this sense, the drummer shows real quality as a leader, capable as is to guide his band members along personal, multicoloured, trajectory sounds and to extract the very best from them. The heart of the album, recorded in New York in January of 2007, is represented by four tracks performed in quartet (Did You Get It?, Challenge Within, Greddy Silent, written by Sanchez, and Inner Urge by Joe Henderson), where the two sax players, both on tenors, dominate the scene by alternating themselves beneath the spotlight, and providing a place for scorching, spectacular exchanges of bars (Potter is heard on the left channel and Sanchez on the right). In Sand, Pat Metheny’s guitar is added to the base nucleus, in an arioso and lyrical composition that he wrote expressly for this recording, which carves out a solo built with knowledgeable architectural sense. Ballade, another theme by Sanchez, is reserved for trio with Potter, who proves himself a first-rate soloist even on soprano. Also performed in trio is the opening track of the CD, One For Antonio, a homage to the drummer written by Chick Corea who, for the occasion, offers his most convincing demonstration in recent years. The finale is instead entrusted to Sanchez and Metheny in a face-to-face while performing the famous notes of Solar by Miles Davis: the best way to conclude an album that from the beginning to the end doesn’t show any slack in taste nor decrease in tension.
Born in Mexico City on November 1, 1971, Antonio Sanchez discovered the drums when he was only five years old. After having taken private lessons, he began to join different music scenes, from rock to jazz, to Latin music. After completing his studies at the National Conservatory in his city, where he studied classical piano, and at Berklee College of Music and New England Conservatory in Boston, the drummer then gave start to his professional career which, in short, brought him to collaborate with the United Nation Orchestra by Dizzy Gillespie and, later, with Michael Brecker, Pat Metheny (in both the Pat Metheny Group and the trio completed with bassist Christian McBride), with Charlie Haden, pianists Danilo Perez and Marcus Roberts and others. Before recording “Migration”, Antonio Sanchez participated on two other CAM Jazz albums: “Architect Of The Silent Moment” by Scott Colley and “Viva” by Venezuelan trumpet player Diego Urcola, nominated in 2006 for a Grammy in the Best Latin Jazz Album category.
"Explosive bursts and rolls dazzlingly interact with Corea's staccato comping on One for Antonio, and Did You Get It (like a fast cool-school piece with a storming sax counterpoint at the start and a wailing two-horn conversation at the end) has a flickering cymbal beat you want to cheer. The light-speed thinking of Potter and the soulfulness of David Sanchez make a strong contrast, and Davis's classic Solar is a mercurial guitar / drums dialogue. Champions' League postbop." (guardian. co. uk)
"Migration portrays an amalgam of polyphonic images that express the riddles we encounter on this journey and their prismatic answers. Corea's post-bop use of contrapuntal yet resonant angles, Metheny's poignant melodicism, Potter and David Sanchez' playful arguments and Miles' final holographic influence contribute to its sense of evolution. Yet it bears Sanchez's indelible mark, like the rain on the salt-etched flats of the Argentinean plains on the album cover." (allaboutjazz. com)