Sanchez Poncho - Hong Kong Arts Festival

Poncho Sanchez Latin Jazz Band ᕡ઴ gࣚʘ౜

ּȻᏲɡᅥ྆

ࠗ

ಋᖚ୺ ຝ̯ܰ

Δʥԓʪਂ ‫ ؿ‬ʼ ʝ ଞ ԑe‫ס‬ಳም ɃɍɊɍ՚ αc˚ፒዀ

T

he Hong Kong Arts Festival is a prominent arts event in the cultural calendar of Hong Kong and the Asia Pacific region. Proudly stepping into its 33rd year, the Festival continues its vigorous pursuit of innovative development; the presentation of new works and the provision of quality arts.

࿚ᆅʘুұ௚ณcɺᒾ˞၀‫ٻ‬೸ ࠷‫ؿ‬ຝ͌ȹณᜮଠϦ͌e ʌαᖚ୺ຝʑࢀҡᔔఒΛۜcஃ ᅡɾɣዃαӢӮc‫ࣵݯ‬ʑ̔΃Ρ ੓Ԟਝ჌Ίࡼၤ̯Δ၀ߜᐰϳᖚ ࠭Ͳ‫ؿ‬൚ɓ࿫ˮc๫ผ˥ࠗಋ஛ ਝ჌ʼʝ஭ผࠛ૚ቤɈe

In terms of the number and diversity of programmes, the 2005 Festival is one of the largest festivals to date, offering a wide variety of inspiring art, music and cultural programmes by prestigious international artists and leading local talents. I am sure that the Festival will further enhance Hong Kong’s status as an international cultural metropolis.

ᔑϊᚭ‫ٴ‬ΈϽᖚ୺ࡼ਄ၤܰωଞ ผcԎूࣵʑ̔ᜮଠʶ̈́‫఻؀‬d သጙϤᓊe

I extend our warmest welcome to all participating artists and wish all local and overseas members of the audience a most enjoyable time.

ࠗಋऋПϷ‫ਂܧ‬Ϸ‫ٽܧ‬ւ

TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region

˚࢐ᘆᖽ Message from the Chairman ਄ၤ଱ɍɊɍ։ࠗಋᖚ୺ ᚭ ‫ٴ‬ຝc஛ܰࠗಋʼʝ‫ވ‬ʥԓʪΔ ਂ‫߬ࠇؿ‬ʼʝଞԑcමၙਝ჌՗ԓʪ ਂᖚ୺၀ߜc˞ʥ̯Δ௚෮‫ؿึݗ‬ᖚ ୺ɮАّe ̯Ɂটʶ෰ᑢ஦༦੖ᅥʥʼʝԑ৻ອ ༅Х҈ࠨ‫ࠗؿ‬ಋ‫֚ܧ‬c˞ʥࠗಋᑩ৛ ผ෯ഁ‫ڌ‬পਥ‫ټ‬ԭɣ˚߬༅Хዀ࿚c ˢࠨΛαԞྦྷࠗಋᖚ୺ຝ‫ྐྵؿ‬షʻ ‫ܛ‬c҈ࠨ૯ߎᑢ҃e ϊ̔cࠗಋᖚ୺ຝྦྷֺτᖳХዀ࿚d ᖚ୺྆᛽˞ʥ࠯Ɂ༅Хc͛ߎ˞টʶ ᑢ෮e ȹΣ˞֡cࠗಋᖚ୺ຝ஦༦˸ძነ́ ଩᎚య˞ʥ—‫ڇ‬ʭαɾʤ˜ི߮cߎɈ ར᎞ነ́ʥαႦᜮଠઅᘩΈᗘᖚ୺e ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥ࠯Ɂ༅ Хcɻነʥɣነነ́ɖʦᎶᆅईe 2005α ࠗ ಋ ᖚ ୺ ຝ ຝ ͌ ᔔ ఒ d ˳ ᖓ ຒτc‫ٴ‬΋ɺ΃ᜮଠ‫ؿ‬௩ΡʥɟՈc Ϣ̢‫ڻ‬փe ʹω෰ᑢჇɎ‫ؿ‬ʻ‫ܛ‬c౨શၤ੬Ε 2005αࠗಋᖚ୺ຝɻӮࠍe

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warmly welcome you to the 33rd Arts Festival. As a premier event in the Hong Kong cultural calendar as well as the Asia Pacific region, the Festival presents the finest international and regional artists in an intense series of concerts and performances, as well as showcases the creativity of artistic talent in Hong Kong. Appreciation and thanks are due to our main subventing organisations – the Hong Kong Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey Club Charities Trust. Their long and continued patronage are what make these cultural presentations possible. In addition, we gratefully acknowledge the generous support of many corporate sponsors, arts institutions and individuals. The Festival has always made our programmes accessible to students and young audiences through half-price student tickets and our Young Friends Scheme. These schemes are funded by the generous donations from numerous corporate and individual donors. The 2005 Festival offers a rich and stimulating programme, with a variety of captivating performances and choices, presenting a diverse range of tastes with artistic excellence. We hope to offer something enjoyable and of interest to everyone. Above all, I would like to thank you, our patrons, for your support and participation in the 2005 Festival.

ңพᄤ

Charles Lee

ࠗಋᖚ୺ຝ‫ؿ‬༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of:

Ϸ‫ܧ‬ᐢဟᘆᖽ Message from the Executive Director

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005α ࠗ ಋ ᖚ ୺ ຝ ‫ ؿ‬ຝ ͌ ˞ — ु ັ ၤ ˖ ‫ ˚ ݯ˜ ڙ‬ᕀ e ु ັd˖‫ڙ‬஛ԭඖʏॖc஭ܰΈိ ᖚ୺Ѽβ‫ؿ‬੒Ӯᕀҥၤ᜙෰‫ݖ‬ ฻cʌ։ຝ͌గऋПॶਪʦ‫ܮ‬஛ ࠯෮֨e҈ࠨѴશ஛ԭඖ‫ޚܫ‬ᗐ Ɍྦྷ͓‫ؿ‬ʏॖcॶ‫ݯ‬ɣࡼొԜҡ ৽Ɂdҡᗒѿ‫ؿ‬ᜮሌ᛽᛻e ৖ȿࣵ̔ᖚ୺ɮАّc҈ࠨ‫۾‬࿘ ֗ॶᑼᇼ̯Δ࿫ᖚ၀ߜcΣࠗಋ ဳ֞ᅥ྆dࠗಋ໷ჱ྆d̯Δ௑ ˮαႦ፡ೄ࿫ۗࡼਜ਼ᆼ౟d૜ࠓ Ⴛဳʄࠇۗᘆᖚeԯˢ਄ၤ࿫ˮ ‫̯ؿ‬Δ࿫ᖚ၀ߜ˳‫ܢ‬ຣჱΊД૆ ு໱ʥң᎘d7AऒᎻჱୂdɻߜ ჱ ྆ d 89268d ‫ ټ ܖ‬ɩ մ d ࠗ ಋ ᇁၦࡼฦ‫ܬ‬ϐcᑹτ΋Ɉ‫ݵ‬ႇ ؒл‫ྡྷؿ‬Ɉ‫ୂݢ‬΋ ңᔪ ‫ݘ‬dષഥࠦdңɻͲʥ୥૆֍e ᖚ୺ຝᘗᙩዶรկ޸̯Δၤࣵ̔ ˮϳ‫ؿ‬௚АɁc̯։ณА˳‫ܢ‬ ು‫ރ‬dէᚗdʌէ࿨ၦ‫ק‬ ̡d‫ټܖ‬ਝ჌࠭ᅥ஫dཫ҈ ஛ᅚ‫ؿ‬ȹ࠯‫̟ے‬dؒлd‫׭‬ ˚τ௩ʥɩ˔ɥనʊতe 2005αࠗಋᖚ୺ຝ‫ݯ‬ᜮଠᘆɐȹ ϛɀɊ̒௿࿫ˮc਄ၤ‫ٲ‬࿫྆᛽ ༠ ̒ Ɋ ɀ ࠯˳ ‫ ܢ‬ɍ Ɋ ɀ ࠯ ࣵ ̔ ʥ Ɋ ࠯ ̯ Δ ྆ ᛽€c ᑹ τ ԭ ࠯ ࢄ ᙴc˞ʥɺࢀ፟༦‫ؿ‬ᖚ୺ຝ˱ࢿ ຝ͌iᑟ࢔d࢔ᇹผʥᖚɁᇹe

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he starting point for the programming of this 2005 Festival was the idea of contrasting opposites – ‘sacred and profane’. Both of these elements are rich sources of creative impulses for the performing arts in most cultures and this thematic link is evident in much of our programming. We hope these connections and contrasts will make your Festival experience more engaging and memorable. Alongside all of our international artists, we are proud to present many outstanding Hong Kong artists. For example, the Hong Kong Philharmonic Orchestra and the Hong Kong Repertory Theatre, as well as the fine young Hong Kong musicians, pianist Rachel Cheung and the Fresh Air Brass Quintet. Other important Hong Kong artists taking part include Cantonese opera stars Mui Suet-see and Lee Lung; Class 7A Drama Group; Chung Ying Theatre; Group 89268; the Material Girls; choreographer Daniel Yeung and the remarkable combined talents of Lee Chun-chow, Faye Leong, Gabriel Lee and Chong Mui-ngam in The French Kiss. In addition, our commitment to commissioning new work from Hong Kong and around the world continues, with pieces such as Amber, The Nightingale, All That Shanghai Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. The 2005 Festival will offer a total of 124 performances with 42 performing groups (32 overseas and 10 local), two exhibitions and our Festival Plus programme of talks, seminars and meet-the-artist sessions.

̯։ຝ͌Λ‫ٻ‬ΛۜcࠓࣟΛʏ ʝcܰࠗಋዃԞஃᅡ௖ɣd௖˥ Ɂሌʶࢧ͌d௖Ԯઢೕֲ‫ؿ‬ᖚ୺ ຝɾȹc෰ᑢჇɎ‫ي׊‬਄ၤe

This is one of our largest Festivals to date, in terms of the number and the diversity of programmes. I am sure too, that it will be one of our most enjoyable and inspiring. We are delighted that you could join us.

ঢ়ᄨᓤ

Douglas Gautier

35 Poncho Sanchez

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࿫ˮ‫޸ٽ‬1ɩࣂ30ʗᘸcɺஉɻ௿ͤࢠ Running time: approximately 1 hour and 30 minutes, with no interval ࠗಋʼʝɻʶࠑᅥᜨ Concert Hall, Hong Kong Cultural Centre

17 - 18.3.2005

‫ݯ‬ȿᜑɣࡼྦྷ஛ω࿫ˮजɎ޻ΡͿോcᇼʘতΕຝ͌඀௿‫ک‬ᗐઌʹ፜dಲᇃཋ໷ʥඨՓዀ‫ؿ‬ᚊባ໦ ສeผ௿ʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕ՗мํcΛᑢ΋Аk To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your ALARM WATCHES, MOBILE PHONES and PAGERS. Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your cooperation.

ႇАʥ࿫ˮCredit List

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ᅥ྆ιࡗ ੖˱རʥᅥඅეऒ ፡ೄʥࠑᅥᐢဟ ແճʱဍར Гࠑɣొೄ ɩʹརʥ̀ʱʒ֞೶ˢ ᔁК౜ဳʥ‫ٽ‬ର ɩ໔ʥᐮ໔ ‫ٽ‬໔ ɻࠑᔁК౜ဳ

ᕡ઴ g ࣚʘ౜ Ꮌၐ g μԈ౜ ௶‫ ؝‬g ෙဍແ౜ μ̛ g ऒऋ ᔁဍ g ̿౜К౜ ໊̌ g ৛̈́ ෌ּ٧ gࡥּࣟ ̥࣍Ϲ౜ޫ gμԈ౜ Ꮌၐ g ʣК߻

Ҍ୺ဟ๼ ຤ଉɁ

ּС g ࣚʘ౜ ˻ճ g ˺Ϲဍ

Band Members Congas and Band Leader Piano and Musical Director Timbales Bass Bongos / Trés Saxophones / Flute Trumpet / Flugelhorn Trombone Baritone Saxophone

Poncho Sanchez David Torres George Ortiz Tony Banda Sal Vasquez Scott Martin Serafin Aguilar Francisco Torres David Urquidi

Technical Manager Artist Manager

Larry Sanchez Jim Cassell

17.3.2005̒Thur€ ࿫‫܃‬ᖚɁᇹ Meet-the-Artist (Post-Performance) ᚭ‫ٴ‬ᜮଠ࿫ˮ‫܃‬जүcၤᕡ઴ gࣚʘ౜Ӯࠍ If you would like to meet Poncho Sanchez, please stay behind in the auditorium after the performance

̯ຝ͌ࠑᚊኂҥͅ஝СೄϷᖳХ The audio equipment is sponsored by ֺτ๑ː All photographs © Norman Seeff

̡́ʍଽBiography

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ᕡ઴ gࣚʘ౜ ᕡ઴ g ࣚʘ౜Ε‫˱ڲ‬ή‫ٽ‬ɣc૯ՇᇽΣӓμ gౝ࢟ऋdӓμ gያ߻ࣟ౜d৛թμdၬ ʷ gࣚෑနСԓʥ˺ဍ g௑ᄨ‫ؿ‬ᆅ੓ּȻࠑᅥc˞ϭຝۗᔂሁ೩ҰʨᚇЌɣࣩཋؐ‫ؿ‬ ࠑᅥֺᄧᚊe ɀɊ˖޵ʒɊαˤcࣚʘ౜ᑹܰȹ࠯ɊԞั‫ؿ‬ʭαcࡼɻᚹྻࡐࡐմմɣ‫ض‬ຝ‫׏‬ੜ ‫ؿڰ‬ᔁဍᔁࠑᅥcˮ̔‫˱ڬ‬Ƀ‫ؿਂمٶڃ‬ᅥඅኪͨ࿨ʹc࿫ۗຝۗᔂሁʥฎ࿬ᅥc ऋПኞ‫ٽ‬ᅡ͝ടΊ࿨ʹ˻ɡ g̠࣍eࣚʘ౜ʥ‫়܃‬ɐ੖˱རcቀ෮ೕࢄϬɯ‫ݘڈ—ؿ‬ Ð̀ʱࠑᅥ˜ຝۗࠓࣟe 1975αcࣚʘ౜ຆɐҝᛰˢ́՜‫ؿ‬ዀ༤iཋᛌೄʹ˺ဍ g ௑ᄨԅԔ߲ଞΊ‫ּؿ‬ȻᏲ ɡᅥඅᑼᇼˢ˱Ƀeࣚʘ౜Α෱঴՗௑ᄨȹ঴‫ࣂ˂ัؿ‬႓i—҈෰ԷɊʗϬႚcɊ ʗτͫ൴cϤ҈Λფ෱՗௑ᄨ΃௿࿫ˮkྦྷ҈Ԟ႓cԅܰ࿘ᙷc˿႓ܰ޻ྒι भk˜ˢઅ㠥႓i—ၬʷ g ࣚෑနСԓȹ‫ق‬஭ܰ҈௖௩ᚭ‫ؿ‬੖˱རʹcֺ˞҈͝ࢽˢ ‫̨ؒؿ‬hˢ‫ؿ‬རੜ‫ڰ‬τɈcྸ۹ႏभcҰȹ௿՗௑ᄨ΃௿‫ؿ‬࿫ۗผɻc҈஭ᕤ㠥ȹ ᅚ‫ྸؿ‬۹e˜ ɀɊΛαԞcࣚʘ౜ι‫ވ˖Ͳݯ‬௖ι˲‫ּؿ‬ȻᏲɡᅥඅეऒɾȹc‫؀‬ಳઅՇ࿫ᖐּ Ȼࠓࣟ‫߬ࠇؿ‬ӯϳe‫ވ˖ݯ‬ʵʍּȻࠑᅥ‫ؿ‬ˢαԞᏵᆉಲᅕc˳‫ܢ‬1999αንLatin SoulᏵཕࣟ‫޻׳‬ᆉʥBillboardࠑᅥɣᆉe༦˾ԭαcˢͱ‫ޚڋ܃‬Ᏺɡࣂˤᔵႌ՗ Ᏺɡઠөነం ਝ჌ᏲɡઠөԾผˮ‫خ‬ɾ౨˰€cι‫ࠍ۬ݯ‬Ɂ‫ذ‬eᅥඅ˞ˢ‫ࠖݯ‬ઐ ˮ‫ؿ‬ɀɊȹਜ਼ਿፎcɰ˥ˢࣃӸᖚ୺ˋๅ௖ᖇց‫كވ˖ؿ‬ΊᏲɡᅥʹϷͶeԯԀি ࿫ˮ‫ؿ‬ӷ༌༧ʥ޻ਝdˀ̯c˞ϭᅩ‫ݘ‬e

̡́ʍଽBiography

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Poncho Sanchez Growing up in s outhern California, Poncho Sanchez was nurtured by the twin musical influences of tropical Latin music, including Tito Puente, Tito Rodriguez, Machito, Mongo Santamaria and Cal Tjader; and the Rhythm and Blues (R&B) sounds that dominated the radio airwaves of the day. As a teenager in the 1960s he was a singer in a neighbourhood band that played R&B and rock ‘n’ roll material; his speciality being a flashy imitation of James Brown. Meanwhile at home he was hearing the strong rhythms of salsa in the music played by his older brothers and sisters. Later Sanchez became fascinated with conga drumming and was determined to make the Afro-Cuban rhythmic style his own. The chance of a lifetime came along in 1975 when he was asked to join vibraphonist Cal Tjader’s popular Latin jazz group. “I was very proud and I was so much into being with Cal, it was an honour – a dream come true for me,” he recalls of his years with Tjader. “Mongo [Santamaria] had always been my favourite conga drummer, so I approached it in the way Mongo would have. He played strong and hard and very seriously. I went into every gig with Cal with that in mind.” Now with over two decades as one of the most successful Latin jazz band leaders in the world, Poncho Sanchez has gracefully accepted the role as one of the cherished idiom’s most important practitioners. A worthy ambassador for Latin music, he had racked up an array of awards including a Grammy and Billboard Awards in 1999 for his excellent Latin Soul CD. In the past two years, his now famous visage has graced the covers of such publications as Jazz Times and Jazz Education Journal, the prestigious journal of the International Association for Jazz Education. His 21 albums as a leader, including 19 for Concord Picante, have established him as the most artistically consistent and popular Latin jazz artists in the world, bar none. His touring schedule takes him from coast-to-coast in the US and from Japan to Europe.

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ऋᆨFeature

ೝኽೝ৛‫ؿ‬ ຝ‫׏‬ᅥັ Ϊձန୧ g ͠ඔ౜ Σ‫׮‬ˢࠨɺܰᚹԷᔴ࢔ʹၦӷᑰcˢࠨ ஛ܰᕡ ɖȹցΕড়ɥ㛾ጙኍᗒ޾k ઴ g ࣚʘ౜ΉࠗಋᜮଠАˮ‫ړؿ‬ᖬe஛ ԭયcˢ՗ˢ‫ؿ‬ᅥඅผ‫ݯ‬ɣࡼᘆɐˌႨ Ⴈd௅ՕՕdκɁʶ֞‫ּؿ‬ȻᏲɡᅥʥ ᔁဍᔁࠑᅥe ࣚʘ౜ࡈᘒᄨήּཊΛcࡼɻɊȹ˩Ѻ մհɻખϷ௖̢e—҈ᚹȿࡐࡐ՗մմ ԅԒּȻᔁဍᔁʥᏲɡඨթᅥʹɣ஫ ͫԞϬख़޸€‫ؿ‬਎ːɾ‫܃‬cੜ‫ؿڰ‬ຝ‫׏‬ ෰ᚎԚ҈‫܃‬Ԟ‫ض‬ɐ੖˱ར՗ແճʱဍར རeԅܰ҈Ɋɍัᚾɻɍࣂ‫ؿ‬ԑe˜ ႓Էᄧᚊࣚʘ౜‫ؿ‬ᅥɁcˢొʥཋᛌೄʹ˺ဍ g ௑ᄨe1975αcˢɰ຤ܰ௑ᄨᅥඅ ‫ؿ‬ᅥʹe๫αc௑ᄨᅥඅ‫ؿ‬੖˱རʹ̳߬ᔴඅcࣚʘ౜Қ၇஛࠯ዀผc˱Ƀȿᅥ අeԭɁ‫ؿ‬ᗐ‫ڝ‬ȹ‫ق‬ၐ‫ܛ‬Էȼα‫܃‬௑ᄨ஡˖e ࣂϭʌˀcࣚʘ౜ɰܰͲ˖‫ވ‬௖δຉ‫ּؿ‬ȻᏲɡᅥඅეऒɾȹcᆅੱ‫ؿ‬ᚹଠcᜑˢ ‫ٲؿ‬࿫ӷ༌༧ʥ޻ਝc˞ϭԓ‫ݘ‬ΈΔe‫ޜࠍٲ‬Ԟc፼਽‫ؿ‬࿫ˮӷ˞˥ˢӸʶ࠭ठc Ўˢ੣ᚹଠӸɐᏵ੡‫۾‬ɣ‫ؿ‬ᅥመe ˢ႓i—҈ࠨ੣ᚹଠԅ㛾੡ΑԞ‫ؿ‬cܰȹိnatural highϬಳʅኍ€c˥҈ࠨֺτɁ ஭૯෰ጙኍe҈ࠨᘷ‫י‬ˮ՗੣ᚹଠνΑԞ‫ॶؿ‬൴c˥҈ࠨ෰ᘨӪΡcᜑ҈ࠨ‫ؿ‬࿫ۗ ҡɐȹᄙᅢe˜ ࣚʘ౜‫ؿ‬࿫ˮτɈϤ෰ֲhኣԯϬ߸cԅᓊ˲‫כ‬ˢॶ‫͂ݠ‬ɺ΃‫ࠑؿ‬ᅥࠓࣟc˳‫ܢ‬ȹ ͅ௶ g̀ʱ೩ख़޸ᅥʹࠖ࠮‫ּؿ‬Ȼᅥ՗ฎ࿬ᅥ૥΋᛽e ိ̉২—̠˱ቧ˜ ࣚʘ౜႓i—҈੹ȹᎷ੡‫ؿ‬࿫ˮʿؒగܰੜ‫ڰ‬τɈc๫ಳɖ߬τ෰ᘨeɺ༦cʌʨ ҈α޵ɣȿcɁነ၀ȿc҈ነᎷ২ᅥඅეऒhЩܰ႓c҈߬՗ᚹଠ̨͚༞c߬՗ˢ ࠨ႓໷c෰Շˢࠨ‫ؿ‬෰Շc҈ଊΕɖˈ˞‫ک‬Λ਎ȿ࿨cɁࠨ௩ᚭ஛ᅚe҈ܰȹ࠯ೝ ኽೝ৛‫ؿ‬ᅥʹcЎ҈ɖܰᅥඅეऒe˜

ऋᆨFeature

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ቱဳࣚʘ౜ɰ௚஥ˮˢϬӸዟऋ‫ࠑؿ‬ᅥ຤᛻cЎኣˢီcෙແ౜ g ཊȻdཊ g ݅ଉ ౜dɩ໔ʹ߻ღ g΁ഠ౜͊dၬʷ gࣚෑနСԓʥ̒։ࣟ‫޻׳‬ᆉ੡˚ᅥඅეऒ߻μ g ౝ࢟ऋ೩Ɂc஭ྦྷˢ‫ࠑؿ‬ᅥࠓࣟτ㠥૯Ⴉᄧᚊe —҈ࠑᅥ‫࣏ؿ‬ʶ฻ϬᔁဍᔁdּȻᏲɡᅥ՗ᙃ᜙e҈෱҈࿫ۗ‫ؿ‬ᔁဍᔁ՗ּȻࠑᅥ ɰ෵Ԟ෵‫ݚ‬Ϸcΐ‫ֺވ˖Ͳݯ‬τɁ஭ॶეผ՗ԔՇ஛ᗘࠑᅥొԜ‫ؿ‬ຝ‫׏‬d෰ੱ՗ॶ ൴෰eʹّc˖‫ވ‬ΈΔɖ෵Ԟ෵ΛּȻ໢ɁֈϾe˜ ྦྷ‫כ‬τዀผ།˾αʒ˂˾˖‫ע̖ؿ‬፡ೄ࢑ཊ g ݅ଉ౜ᙙʹ፣ႇ ࢂ਎ːcࣚʘ౜૯ ‫ٲ‬ᄪ֗i—།ཊ g݅ଉ౜΋А€๫ಳܰ҈‫ؿ‬࿘֗c˥҈Ρྒιभe҈૜ฟˢ‫ࠑؿ‬ᅥ՗ ҈‫˞˿ؿ‬৉΋੡‫۾‬Ρeཊ g ݅ଉ౜௩ᚭᏲɡᅥ՗‫۾‬Λԯˢࠑᅥᗘ‫ێ‬c՗ˢ΋ۗܰभ ̳҄ᄱ‫ؿ‬ԑcϤˢྦྷ਎ː‫ؿ‬௖ୄιᐜɖ෰ర෮e˜ ࣚʘ౜།ԯˢ̨ແճʱဍརdᄦГࠑɣొೄdкɩ໔dкɻࠑᔁК౜ဳdкᔁК౜ ဳdк‫ٽ‬໔d̨ɩʹར՗ᄦ፡ೄ‫ࠑؿ‬ᅥࡼȹ঴࿫ˮcΕ̎ɐҏ৽Ӹᚎࣂc੒˥Ɂ෱ ঴˻ɡ g ̠࣍e ɐ˖޵ʒɊαˤcࣚʘ౜ᑹܰ˱ή‫ؿ‬ɻነ́ࣂcɰ̠ܰ࣍‫ྡྷ֦ؿ‬ᅥ়e๫ࣂˢܰȹ ʻᅥඅ‫ؿ‬ეඅc‫כ‬ɻነၦผ՗਴ᓤ࿫ˮc຤੒ᒻˮҏຶ˔̠࣍‫׃ؿ‬ಶۜබeࣚʘ౜ ႓i—҈੣̰‫ق‬અ།̠࣍ᇹ༦໷cЎПɁ།҈႓ˢɊʗ௩ᚭ҈‫ؿ‬਎ːe˜ ࣚʘ౜ෲɐ̠࣍‫ࠑؿ‬ᅥc‫ืু˿ق‬ϭˢᚹࡐࡐմմ਎ː‫ؿ‬ʭαั˂eˢ႓i—҈௩ ᚭʄɊαˤ‫ؿ‬ຝۗᔂሁcʮԯᒉෲʒɊαˤ‫ؿ‬ᙃ᜙ࠑᅥcԅྡྷΕʪˮϳȿeˢࠨ͂ ‫۾‬Λဳᅥc࿨ീ‫ٲ‬ଊԅࣂˤ‫܆ؿ‬෱cᇁςɖ౵e˜ ࠗಋᚹଠԔՇˢࠨ‫ࠑؿ‬ᅥcЎ˿ॶˈϹʿᚹଠԞ੡фၫȹᒨeɺ༦cࣚʘ౜‫۾‬τ‫ڌ‬ ʶ˿˞˥ࠗಋɁᚹԷᔴ඀࢔Ͻcʹၦӷᑰe —ྦྷc҈ɺᘨ੡τΛшᗒcΐ‫ࠨ҈ݯ‬ɰྻ‫ֺݯכ‬τɁొԜຝۗd҄ᅥ՗ঢ়ሔॖࠑ ᅥeಲሃˢࠨผЯॎ঴Ԟʹၦӷᑰȹೌcˢࠨড়ɥ㛾ɰΕᙂඔቝᗔࡕe˜

௿˰ɻᘭi࣍ʨ

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ऋᆨFeature

The Man with the Music Annemarie Evans If they’re not dancing in their seats, they’ll be dancing in their heads. That’s the promise to Hong Kongers from band leader Poncho Sanchez who’ll be serving up two nights of hot, funky and infectious Latin jazz and salsa rhythms. Sanchez originates from Laredo, Texas, and was the youngest of 11 children. “When I was listening to the records of my brothers and sisters of many great Latin salsa and jazz legends mostly from New York, I was driven to play conga and timbales by the driving rhythms. This was when I was in the 9th grade and 13 years old.” Among his influences he counts vibraphonist Cal Tjader, whose band he played in back in 1975. Tjader’s conga player was leaving and Sanchez grabbed the opportunity to play in his band, a relationship that stayed until his idol’s death seven years later. These days Sanchez is one of the busiest Latin Jazz band leaders in the world, with a live performance timetable that takes him across the US and out to Asia, to keep his fans happy. His schedule looks exhausting on paper, but Sanchez derives a lot of pleasure from his audience. “What we get back from the audience is a natural high that makes all of us feel good. The energy we deliver and get back from the audience makes us feel good and play even better,” he said. Sanchez plays hard but sensitively, he says, using a whole variety of influences including boogaloo, a hybrid of Latin and rock that was started by artists including Joe Cuba in New York. “The only way I know how to play is strong and hard, but sensitive also. But, now that I’m older and wiser I have also learned to be a band leader which means I relate to the audience, talk to them, feel what they are feeling. I also sing a little more now which people like. I am the hard driving player, but also the band leader,” Sanchez said. While Sanchez has created a unique musical experience of his own, he says Otis Redding, Ray Charles, big-cheeked trumpet player Dizzy Gillespie, conguero Mongo Santamaria and four-times Grammy award-winning band leader Tito Puento, have all had a role in helping to create the sounds of his band.

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“The core of my music comes from salsa, Latin jazz and soul. I think salsa and the Latin music I cover is more and more popular because all people of all countries relate and enjoy the rhythms, feelings and energy this music provides. Also, there are more and more Latin people in all parts of the world today.” Sanchez was delighted to do a joint CD with blind piano player Ray Charles, who died in June last year. “Of course it was an honour and a dream come true [to play with Ray Charles]. I knew his and my music would work very well together and Ray Charles liked Latin as well as many other types of music. It was a real pleasure working with him and he was also happy with the final CD result.” On stage with the other musicians playing timbales, bass, trumpet, baritone sax, saxophone, trombone, bongo and piano, the bearded conga player is renowned for his James Brown moves. Sanchez has been a keen fan of James Brown since his schooldays in California where he was front man for a band and learned to do the king of funk’s hipswinging moves on stage, while cutting his teeth with sets at weddings and high school dances in the 1960s. “I’ve never talked to James Brown directly,” Sanchez says, “but I have heard from other people that he really likes my CDs.” Sanchez’s love of James Brown’s music stems from those early days of listening to the records of his brothers and sisters. “I loved the R&B of the 1950s, but especially 1960s Soul music because the music has such a strong groove. They used lots of horns, the words had a lot to say about the times, and great arrangements,” he said. Hong Kong audiences enjoy their music, but are perhaps a little more sedate than concert audiences in the West. Still Sanchez is confident he’ll have them out of their seats. “Yes, I think it will be easy because we give all people great pleasure, rhythm, fun, and high quality with our music. Whether they are up dancing or not, they will be dancing in their heads.”

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Patron 7KH&KLHI([HFXWLYH The Honourable Tung Chee-hwa

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Finance and Management Committee &KDLUPDQ Mr Billy Li

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Honorary Life President Sir Run Run Shaw, CBE

৹˚࢐ ஈˡʆͱ́

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