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Jazzed about Poncho
Topics: Poncho Sanchez, Congas, Conguero, Bakersfield, Norwalk, CSUB Jazz, 2007, Salsa, Latin, Cal Tjader, Laredo, texas, chicano
Posted by matt Thu May 10, 2007 19:13:58 PDT
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0 responses 1 comment CATCH PONCHO SANCHEZ LIVE AT THE CSUB JAZZ FESTIVAL ON FRIDAY, MAY 11TH!

Conguero Poncho Sanchez remembers anxiously bringing home his first set of conga drums as a barrio teenager growing up in Norwalk, Calif.

<<<Check out Poncho Sanchez' music! "Knock on Wood," and "One Mint Julep!"

Proud, but a bit daunted, the aspiring musician stared at the instruments, not knowing whether to play with them or continue admiring them from across the room after splitting the $134 cost with his father. Sanchez had saved up his share during his freshman year in high school.

“My dad bought one, and I bought one,” said Sanchez during a recent phone interview with MÁS from his home in Southern California. “They were a cheap brand from Mexico, but I eye-balled those things at the pawn shop everyday after school. When we finally brought them home, I said, ‘Well here they are, now what am I gonna do with these things?’ I had no idea.”

It’s been quite some time since that fateful purchase. And now, 30 years later, the man now known as “El Conguero,” is a bona fide jazz icon, who inspires others as a mentor and an exciting performer.

Bakersfield jazz fans will get their chance to see Sanchez when he brings his signature brand of fiery Latin jazz to headline the 21st annual CSUB Jazz Festival May 11 at the CSUB outdoor amphitheater, along with co-headliner, vocalist Diane Schurr.

The youngest of 11 children, Sanchez was born Oct. 30, 1951 in the U.S. border town of Laredo, Texas. With a large family in tow, his parents decided to move to Norwalk when Sanchez was 3 years old. Coming from a working-class background himself, Sanchez’s father put in long hours, making sure the family was provided with the necessities of life.

“We never had much money,” said Sanchez. “We had food and the clothes on our back, but we couldn’t afford toys or gifts. We had to get that from neighbors’ hand-me-downs.”

But music was one thing the family had plenty of, and with a houseful of siblings, the sounds were eclectic — soon becoming a point of influence and joyful refuge during Sanchez’s youth.

“The way I learned about music was from my brothers and sisters, I had all their records — Machito, Tito Puente, Tito Rodriguez, and Cal Tjader,” he said. “I liked the sound of the congas. We always had the radio on, too, and I heard rhythm and blues, gospel and straight-ahead jazz.”

Listing primarily Latin jazz artists from a music collection that strongly impacted his taste in songs, Sanchez also used the records as learning tools, listening and imitating the sounds of the drums in his family garage, committed to bringing to life the sound he yearned.

“I went into the garage with my Cal Tjader records. I tuned one conga high, and one low, because they were both the same size” he said. “Usually, you have a higher-pitched conga, and then a tumba, which is lower-pitched. I was trying to get the sound of the drums that I heard on the records, and I couldn’t figure out how they did it.”

Practicing frustratingly for five days as he searched for the perfect sound, or “sweet spot” of the conga, referring to the location on the drum head where the distinctive slap or “popping” sound resonates, Sanchez finally made progress after literally beating the drum out of anger.

“I tried to get that sound off the records,” he said, imitating the drum tones he would eventually find. “Finally I hit it and said, ‘(Expletive)’ and it went POP! And there it was!”

Self-taught and without any formal music lessons, Sanchez continued to learn by seeking out the professionals performing around Southern California. Attentively watching the techniques by conga masters like Mongo Santamaria, who frequented The Lighthouse — a club in Hermosa Beach — Sanchez would also attend community jam sessions at Griffith Park in L.A., where Puerto Rican and Cuban drummers gathered every Sunday to play a variety of styles including the rumba and guaganco rhythms for hours on end.

By this time, with a few years of playing in garage bands under his belt and many hours of practice, Sanchez’s confidence was building.

But, being a Chicano kid from the barrio in the middle of well-versed Carribean drummers, the experience was eye-opening to say the least, according to Sanchez.
“I went up to the guys playing and asked them if I could sit in,” he said. “He asked me if I was Cuban or Puerto Rican. I told him, ‘No, I’m Chicano.’ Then he said, ‘Chicanos can’t play,’ and gave me a dirty look.”

Taken aback by such a comment, it only fueled Sanchez’s fire to show the group what he could do on the drums.

One day, while patiently waiting until one drummer walked away during one of the park jams, Sanchez immediately jumped in and began soloing. Sanchez recalls breaking down the wall of separation between the cultures right then and there.

“As soon as I started playing, those Puerto Rican and Cuban drummers said ‘Yeah, yeah, man,’ and I kept playing for about 15 minutes,” he said. “After I was done, one of the guys says, ‘Your father must be Cuban, or your mother must be Puerto Rican. I responded, laughing, ‘No, they’re from Mexico!’”

Another pivotal point in Sanchez’s career was meeting jazz vibraphonist, the late Cal Tjader, with whom Sanchez performed from 1975 until his death on May 5, 1982, during a performance in Manila, the Philippines. The guidance, care and lessons given by Tjader to Sanchez remain strong to this day.

“Cal taught me a lot of things, especially about business,” Sanchez said. “He would tell me that it wasn’t easy ... that I’ve got to learn to roll with the punches. At first, I didn’t understand, that is, until I started my own band.”

Signing with Concord Picante records in 1983, the Poncho Sanchez Latin jazz ensemble have gone on to release more than 22 recordings, including the Grammy-award winning “Latin Soul” in 1999. Now, Sanchez returns with his latest CD “Raise Your Hand,” to be released May 22.

Having worked in the past with such legends as Ray Charles, Celia Cruz, Dizzy Gillespie and Tower of Power, Sanchez has again rounded up another group of soul and jazz favorites on his latest musical offering.

“I invited Booker T and The MG’s, Maceo Parker from the James Brown band, and Eddie Floyd,” said Sanchez, who joins Floyd for a Latin-ized version of Floyd’s soul standard, “Knock on Wood.”

Apparently unable to grasp the notion that his records are a source of inspiration for other future congueros — just as his family’s album collection was for him —
Sanchez humbly considers himself the barrio kid from Norwalk, raised with a reverence for his roots.

“I find all this success is a little hard to believe, even when you’ve worked hard all your life, built up your style and following,” he said. “Most importantly, you’ve gotta respect your people. I learned that from Cal Tjader and my parents.”


21st Annual Bakersfield Jazz Festival
CSUB Outdoor Amphitheater, 9000 Stockdale Hwy, Bakersfield, CA 93311

Friday, May 11, 7 p.m.
Friday advance tickets are $23 for students and $32 for general admission.

 Saturday, May 12, 2 p.m.
Saturday advance tickets are $25 for students and $35 for general admission.

For general information also call 322-5200

www.bakersfieldjazz.com

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Comment From: soulajarmusic

We were able to see Poncho at Yoshi's Jazz Club for New Years in 03. I can't wait to see him in Baketown--