Beyond Stereotypes

I had the pleasure of working with Poncho Sanchez a few years ago when I was an indie rep for his label at the time, Concord Jazz (“He May Be the King, but He Shuns the Crown,” by Agustin Gurza, Feb. 3). My first assignment with him was at an appearance at the Tower Records on Sunset on a rainy night. He was supposed to be supported by other band members, but they got stuck in traffic, so Sanchez had to entertain a store full of people on his own.

Being a musician in this town for over 30 years myself, I worried how Sanchez would be able to pull this off. (Ever try entertaining a crowd with just a set of congas? If you’re not a comedian, you’re in big trouble.) He proceeded to do just that--playing and talking to the crowd, giving impromptu conga lessons to volunteers, and winning them over with his humility, humor and musicianship. Sanchez’s command of his instrument is obvious to anyone who comes within earshot.

Still an inspiring figure to me, he is above and beyond the criticism and stereotyping of the “king of Latin jazz.” To me, a white, 49-year-old songwriter of rock and pop and admirer of all kinds of music, Poncho Sanchez is a master musician, and master musicians know no boundaries.

BOB BELAND

Los Angeles

*

Gurza’s article offered an interesting look at how fractured the Latin music world really is. We have grown up with Mongo Santamaria and Cal Tjader, and in fact years ago I interviewed Sanchez when he was playing with keyboard great Clare Fischer here in Hollywood for the now-defunct Goodphone magazine (1980).

What Sanchez does is carry on a tradition of Latin jazz in the old Tjader tradition with a lot of pluses.

Those who complain about Sanchez should look in the mirror and ask where their careers are. One need only look at Larry Harlow, one of the world’s greatest salsa pianists, and complain, “But he’s Jewish!” That doesn’t detract from his playing, does it?

JACK GOLD

Studio City