{"id":6714,"date":"2015-06-15T22:58:41","date_gmt":"2015-06-16T05:58:41","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6714"},"modified":"2015-06-15T23:11:46","modified_gmt":"2015-06-16T06:11:46","slug":"monday-recommendation-antonio-sanchez","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/06\/monday-recommendation-antonio-sanchez\/","title":{"rendered":"Monday Recommendation: Antonio Sanchez"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;wvWOnlAKTmBqGLaOlsmQm3M63x0rYZhE&#8221;]<\/p>\n<p><strong>Antonio Sanchez<\/strong>, <a href=\"http:\/\/www.amazon.com\/Three-Times-Antonio-Sanchez\/dp\/B00M0GKMCS\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"target=\"_blank\">Three Times Three<\/a> (CamJazz)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Sanchez-3X3-cover.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Sanchez-3X3-cover.jpg\" alt=\"Sanchez 3X3 cover\" width=\"200\" height=\"198\" class=\"alignleft size-full wp-image-6715\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Sanchez-3X3-cover.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Sanchez-3X3-cover-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Sanchez-3X3-cover-100x100.jpg 100w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a>Sanchez is inevitably associated with his improvised solo drum sound track of last year\u00e2\u20ac\u2122s hit film <em>Birdman<\/em>. The essential part he played in the movie brought him to the attention of millions unlikely to have known him from his work with Pat Metheny, Danilo P\u00c3\u00a9rez and Miguel Zen\u00c3\u00b3n. Here, Sanchez collaborates with musicians from the top ranks of jazz who are masters at listening, adapting and melding. The three trios have different personalities, but under the command of Sanchez\u00e2\u20ac\u2122s rhythmic mastery the 2-CD album has an adventurous consistency. Sanchez, pianist Brad Mehldau and bassist Matt Brewer find something new in Miles Davis\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Nardis.\u00e2\u20ac\u009d Guitarist John Scofield and bassist Christian McBride shine in Sanchez\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Rooney And Vinski.\u00e2\u20ac\u009d Saxophonist Joe Lovano and bassist John Patitucci have a field day with Sanchez in Thelonious Monk\u00e2\u20ac\u2122s \u00e2\u20ac\u0153I Mean You.\u00e2\u20ac\u009d There is much to discover in this bracing collection.    <\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;wvWOnlAKTmBqGLaOlsmQm3M63x0rYZhE&#8221;] Antonio Sanchez, Three Times Three (CamJazz) Sanchez is inevitably associated with his improvised solo drum sound track of last year\u00e2\u20ac\u2122s hit film Birdman. The essential part he played in the movie brought him to the attention of millions unlikely to have known him from his work with Pat Metheny, Danilo P\u00c3\u00a9rez and Miguel [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-6714","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6714","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6714"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6714\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6714"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6714"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6714"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}