Antonio Sanchez: In the studio, it's just a sample most of the time, of what you do live, and it needs to be a lot more concise, and it needs to be a little more to the point, I think, and when you're playing live, I mean, that's why my second record was live, because I wanted people to hear some of the same tunes that we recorded in Migration, and then hear them expanded when you play it live. And for example, there's a tune on my first record, called, "Greedy Silence," that is probably, I don't know, seven minutes or something like that, and then when we recorded it live, and it's on the second record, that's 20 minutes long, and it's exactly the same tune, but the improvisations just get completely to a different level when you're playing live, but now I like to keep a little bit of a balance and I think I've also been very influenced by Metheny in that way, that yes, you're playing live, and you're playing in front of people and you're improvising, but also I don't want to stray away too much that it's just kind of like an ego stroke. Okay, let me see how cool I can be, or how far I can take it. I-- nowadays I really like to keep the, you know, the people's attention in mind. The attention span of people has reduced dramatically over the last years, I think, because of social media, you know, the music that is being played now, so yes, I want to push them a little bit, but I don't want to push them so hard that I lose them, you know, and I think Metheny is a great example, Chick Corea, too, that people that play amazing music, but they always have the people in mind. I think sometimes jazz musicians can be like, oh well, you know what, I'm going to play what I play, if you don't dig it, sorry, you know. I don't want to be like that. I want to, of course satisfy myself and my musical spirit and my musical instinct, but I want it to be inclusive. You know, I don't want it to be such hard music that people don't understand it, or the improvisations are so long that, you know, we're just stroking our egos.
