Subject: I have found a CD that I think you would enjoy
Genres: Jazz, Pop
It's not hyperbole to say that this is Sanborn's best record since his Warner Brothers heyday of the '80s. The same can be said of the quality of the musicians gathered for the alto saxophonist's first album for Verve. The... more »
It's not hyperbole to say that this is Sanborn's best record since his Warner Brothers heyday of the '80s. The same can be said of the quality of the musicians gathered for the alto saxophonist's first album for Verve. The material may be the best he's ever assembled, with many cover tunes that are singularly identified with other artists, yet he redefines them. None of those words are meant to disparage those Grammy-winning gold albums of yore, it just his high standards have been magnified many fold on these 10 tracks. From the absolutely smoke-any-kind-of groove all-star band featuring a wailing Russell Malone on guitar, Christian McBride on bass, Mike Mainieri from Steps Ahead on vibes, and Sanborn's longtime keyboard player, Ricky Peterson, to the sterling arrangements of re-imaged classics, including Stevie Wonder's "Isn't She Lovely" done as a ballad and the timeless "Harlem Nocturne" spiced with world music overtones, this record sparkles. "Comin' Home Baby" and "Christo Redentor," songs made famous in the '60s by Herbie Mann and Donald Byrd respectively, are interpreted with such passion and fire, it's as if the melodies have belonged to Sanborn the whole time. His exquisite alto tone shines throughout the proceedings, and Malone just shows off on "Sugar," and one of three Sanborn originals, "Spider B." --Mark Ruffin
Similarly Requested CDs
A terrific listen for any real smooth jazz fan
Nicholas Wilczynski | Ann Arbor, Michigan | 07/22/2004
(5 out of 5 stars)
"David Sanborn created a sound in the 70's where there were few alto players who had that degree of spice and edge. When he was a studio player (known as "Dave Sanborn"), he lent his inimitable sound to pop artists such as Michael Franks... the 80's went by and he set the standard for smooth jazz saxophone edge, bite, and chops. If you played smooth jazz at the time, everyone wanted to know if you had the "Sanborn Edge." When the 90's came, he started to face more direct competition from Gerald Albright, Art Porter, Marc Russo, etc, which caused Sanborn to experiment more. People's reviews that pan those albums are missing the point; when an artist expands the focus of their art, they will end up making a few projects that will thrill a few more than others. There's no denying that his version (with Cassandra Wilson) of Daydreamin' is incredible (from Inside), but the rest of the album doesn't thrill me... although I have friends who like the rest of that album more than they like Daydreamin'... artistic experimentation will do that! So when he landed on this concept, flaunting that when one has played as long as he has, one can choose from a limitless songbook and, through re-arrangement and careful, original, treatment, create an album of original, though familiar songs... how can you not be blown away? Sanborn plays "Isn't She Lovely" as if he wrote an entirely new song... and it definitely feels like a new song. Although it seems that the previous reviews have panned "Tequila," he definitely took the song a new direction, and that's commendable. From my perspective, there's not a misfire on the entire project, and it's just more evidence that Sanborn will someday be recognized as the Charlie Parker of smooth jazz / instrumental pop."
A Pleasure To The Ears
Lawrence Lamb | Australia | 06/01/2005
(5 out of 5 stars)
"WOW! What a CD, is this the greatest Sax CD of all time! Not only is every track great but the music quality is exceptional. This SACD makes even the best of my ordinary CDs sound dull.
Thankyou David Sanborn! What else does Verve have on SACD!"
David Sanborn CD
L. M. Winters | Gardena, CA USA | 01/10/2007
(5 out of 5 stars)
"How can you go wrong. CD is great. Thank you"