SHIFT-ing The Paradigm: Bad Hombre, Vol. II by Antonio Sanchez
Drummer/composer/multi instrumentalist Antonio Sanchez has been making bold moves, not the least of which is his new album Shift: Bad Hombre, Vol. II. The ambitious new album (available streaming, CD and LP) that was in production the past few years and stalled at least 5 times during the pandemic. Shift represents and entire new phase for the musician, born in Mexico, City on November 1, 1971, and currently a resident of Jackson Heights, in Queens, NY. The moment you hear his legendary grandfather, Ignacio Lopez Tarso, 97 years young, one of the most famous actors in all of Mexico, in the role of a carnival barker on a Sunday morning in a Mexican plaza, complete with the out of tune calliope, the listener knows the album is completely different from the first. While the first Bad Hombre, on Sanchez’s former label CAMJazz was essentially a solo drum record constructed from improvisations to create compositions married with electronics, a political finger to then President Donald Trump, hence the creation of his alter ego Bad Hombre, Shift is completely different. For Shift, Sanchez asked some of his very favorite musicians across multiple genres, and asked them to bring their own compositions to the table. He would then add orchestrations on synths, keyboards, guitars, bass and of course drums. He has joked in numerous interviews discussing the album he is “the least famous person on the record” with his classic self deprecating dry humor, but he is a definite equal among the likes of Dave Matthews, Trent Reznor, Me’Shell Ndegeocello, frequent collaborator and wife Thana Alexa, blazing a path of superstardom herself, Lila Downs and Kimbra among many others. Also, since this is the drummer/composer/multi instrumentalist’s first album for Warner Music Group there is added push that was simply not found with his previous label.
This article seeks to be a profile /review hybrid with some of the format carried over from my old blog . I aim to explore just how big Sanchez has become in music offering a brief history, while offering some standard review elements.
Like many others, I first heard Sanchez on the Pat Metheny Group’s penultimate release Speaking of Now (2002). He was introduced with other new PMG members, the super human bassist, vocalist and percussionist Richard Bona, and trumpeter and vocalist Cuong Vu. I recall being in my community college’s computer lab back in 2001 on Metheny’s website and seeing that a new drummer from Mexico City would be replacing Paul Wertico who played with them since 1983. When I had transferred to University that fall, I rushed to the Barnes and Noble after my English class that afternoon and eagerly bought the CD. I listlessly waited in class all day and actually my school’s wheelchair accessible vehicle dropped me off at the Barnes and Noble near campus and I bought it. When I put on the album, I was blown away by Sanchez’ playing, especially “The Gathering Sky”. He was synthesizing the tradition of Danny Gottlieb and Wertico, the band’s previous drummers but he had a feel for lack of a better term was rooted in Tony Williams, Roy Haynes and Jack DeJohnette as much as progressive rock and drummers like Dave Weckl and Neil Peart. Furthermore, there was a Latin undercurrent that the world became hip to, as he was a member of pianist Danilo Perez’s trio. With techniques like cross sticking and the way he approached tom tom hits, this stunning way of emulating the entire spectrum of Afro-Latin hand drumming. Immediately, I knew there was a new, original voice in the drumming world.
Fast forward to 2008 when Sanchez released Migration, his leader debut for Italian based CAMJazz. The offering was straight ahead with heavyweights like Chick Corea, Chris Potter, David Sanchez and Pat Metheny guesting on two cuts. It became evident that Antonio was an incredible writer, writing these very meaty yet accessible tunes that had space for thrilling improvisation. An approach to orchestral dynamics apparent on the PMG disc had grown tenfold. Also little did I know back then I’d get to know Sanchez personally and was blessed with an amazing opportunity to write the liner notes (under my dead name) for Grammy nomination considered album Channels of Energy with Vince Mendoza and the WDR Big Band in 2018.
2013 signaled the start of the trajectory he has taken currently with the album New Life from his Migration band. The album was the first to feature Thana Alexa’s evocative vocals (My late mother herself a great singer, remarked upon hearing Alexa’s debut album “she’s going to be a star”), and then two years later a shift (pun intended) occurred. Backstage, after playing with Metheny, the drummer/composer, multi instrumentalist met a fan who seemed persistent. Sanchez was tired, and sweaty from an intense performance, and just wanted to get a moment of peace. That fan turned out to be celebrated director Alejandro Gonzalez Inarritu, who directed classics like Amores Perros. Sanchez’s demeanor changed after hearing this, gave the director a big hug, and mentioned he too was a big fan. In that moment, he recalled hearing wonderfully strange music on the radio in Mexico City that “wasn’t jazz, but jazzy” and waiting for the DJ to announce. The DJ, who happened to be Inarritu, announced over the airwaves, it was “Last Train Home” by the Pat Metheny Group. He had no idea when he heard the track on the radio, that he’d be playing with the guitarist/composer, a collaboration lasting till the present.
The director asked Sanchez if he’d be willing to collaborate on a score for a film that at point hadn’t begun pre- production, the idea was intriguing to the drummer/composer/multi instrumentalist. Initially he prepared some drum improvisations, that ultimately weren’t used, but while driving around with Alexa, Sanchez received a phone call from Mr. Inarritu who usually didn’t call. He took it without hesitation. He was onboard for the film score, and the director asked if he could make his drums sound unkempt, dirty and old, like in an old basement to fit the story of a show taking place in an old theater. It was here that Sanchez began experimenting with extended sound producing techniques — cutting old t-shirts to alter the sound of resonant drum heads, taping small splash cymbals to the drum heads, stacking cymbals on top of each other to make them have a staccato burst of dryness, etc. The experimental music produced would become the soundtrack to the 2015 Oscar winning film Birdman with Michael Keaton in the starring role. The production methods Sanchez used would become the impetus for the initial Bad Hombre record.
SHIFT-ing the Paradigm with Bad Hombre Vol. II
The direction for Bad Hombre, Vol. II is completely different as stated in the opening of this profile piece, from the first record. It would be a disservice to say that this is purely a rock record, but that’s what it is, and the goal of the narrative it creates is a diametric opposite compared to the first album. They definitely share musical DNA in a loose sense but the powerful thing about the album is how Sanchez makes it not about himself, but to allow the other artists to shine. He makes a strong statement on the role of Latin American female composers and vocalists as well as the role women play in society.
One track that absolutely melted my heart upon first listen when I streamed the album initially when it was released, was “La Risa De Mujer” featuring Mexican powerhouse vocalist Lila Downs. Downs has sung not only pop and jazz adjacent musics, but much of her music is dedicated to exploring indigenous women and using indigenous dialects. Her impassioned vocals over a slow rolling rhythm, thick swathes of Moog bass, and a emotional chord progression build to a peak that I absolutely love, and it uses minor chords in a way that I’m a sucker for. The way the vocals build, a reverb drenched multitracked chorus in the distance and rising dynamics had me in disbelief the first listen. I continued to play the track over and over, and is my custom, repeating certain sections of the chord progression repeatedly to gauge the emotional impact. Pardon the expression, but for me it’s like a slow climb to orgasm. My senses overload and I’m placed on a different plane. When the track is used again as an interlude, it’s deep.
The collaboration with Chilean/French vocalist Ana Tijoux, on “Mi Palabra” is one of the best hip hop infused things I’ve ever heard. Tijoux, who Sanchez first brought to my attention, I initially really dug her track “1977”. Her charismatic presence begs the question of, if mainstream hip hop now was more inclusive, she’d be among the top female emcees anywhere, and honestly, she is. Her flow on “Mi Palabra” is fiery, fiesty and locked in behind some funky drums and bass. When Sanchez ramps things up mid cut with sinister guitars playing power chords, and the variety of sounds either on headphones or hi-fi that present themselves, the track goes to another level.
Thana Alexa, fresh off SONICA with the power trio of Nicole Zuraitis and bassist Julia Adamy provides us with lead vocals on the one-two punch of “Doyenne”, and “Trapped (Red Room)”. “Doyenne” which also appeared on SONICA with her multi layered beat boxing front and center with Zuraitis’ vocals also adding to the sweet blend is aided greatly by Sanchez’ textured drumming. The track drives home a message, a sub theme running throughout the record that the time for women is now, and well secured for the future. “Trapped (Red Room)” details pandemic anxiety and the claustrophobic nature of the reality of touring artists being locked down for so long, but the title is also cheeky, it’s the pair’s living room. The frustration in Alexa’s delivery is offset by some spiky phrasing and a serious hook, there is no question she is the Bad Mujer (there’s a blog with someone claiming that title out there but here is the real genuine article) and she owns the track with authority.
Me’shell Odegeocello provides some sultry, slinky bass and vocals to her original “Comet, Come To Me”, a cut with it’s dub overtones is full of sensuality. Sanchez takes control of the beat with some tasty dub fills, and a wide sonic panorama for the listener to drink in. Nine Inch Nails fans will delight at the appearance of front man Trent Reznor who lends his signature darkness to “I Think We’re Past That Now” also starring Atticus Ross, with buzzy analog synths, enthralling vocal delivery and a hook whose power cannot be denied. The stop motion video released for the song must be seen to be believed. An incredible piece of art.
The track that initially set the Shift project in motion was “El Agua y Miel” featuring Silvana Estrada. Sanchez saw her in performance live in Mexico and was blown away and asked her to participate plays the cuatro guitar, and her tender voice enriches this mesmerizing performance. Becca Stevens crafts the spoken word tale of Sterling Cunio, who was released from prison last year into lyric gold on “The Bucket”, one of the album’s most heart wrenching moments.
“Eh Hee 2.0” has been the track that has burned the house down as Bad Hombre has toured over 2021 and 2022, and Dave Matthews reimagining of a melody he first heard in Africa, kicks the listener’s ass from the moment the track drops and doesn’t let up. The video that accompanies the song is thought provoking and a meditation on the reliance of manufactured pandering of faith and also the saturation of social media really makes one stop and think. The chorus is raucous, and live whipped audiences into a frenzy, and the cameo of wild guitar from Pat Metheny is the cherry on top of the sundae. The guitar legends whips wild, squealing phrases, that show the sides of his musical personality evident on Song X, TAP and the maligned, but avant garde cult classic Zero Tolerance For Silence.
For those who only know Kimbra from the 2011 mega hit “Somebody That I Used To Know” featuring Gotye, they may be in for a shock. “Suspended Animation” is dark, moody and delicious, with just a touch of danger. The singer made a guest appearance at Bad Hombre’s NYC release show in Brooklyn this year as an unannounced guest. “M-Power” closes things with tasty guitar work from the popular duo; some jaw dropping unison lines reminiscent of Mahavishnu Orchestra, and Alexa and Sanchez (yes, he sings!) bring forth an anthemic wordless vocal melody that one can imagine filling a whole soccer stadium, and then the track fades as quietly it began, with a whisper.
Ignacio Lopez Tarso brings us back from the adrenaline packed journey, and then we are reminded it’s over… for now. The album is incredible, having amassed over 406 thousand plus streams. Antonio Sanchez is a juggernaut who cannot be stopped, and with Shift has found a new audience, one that will be exposed to creative, well produced music that for the uninitiated, is a revelation. Better yet, see this incredible band LIVE featuring Thana Alexa, BIGYUKI and Lex Sadler, it will blow your brains out. For tour dates please check www.antoniosanchez.net and peep the IG @antoniodrums1 The album is also up for Grammy consideration. For those with an open mind, SHIFT is worth hearing, if you are a purist or a snob, stay far away, but it will make an indelible impression regardless.
© 2022, Shizuka Shearn
