|All Artists: David Sanborn|
Members Wishing: 0
Total Copies: 1
Label: Warner Bros / Wea
Release Date: 10/25/1990
Genres: Jazz, Pop
Style: Smooth Jazz
Number of Discs: 1
SwapaCD Credits: 1
UPCs: 075992390620, 075992390644
Genres: Jazz, Pop
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Member CD Reviews
Karen J. (rhyta) from W VALLEY CITY, UT
Reviewed on 6/9/2012...
Backstreet is another great album by David Sanborn,a fantastic alto saxophonist. The classification of smooth jazz is misleading since he predated all the 90's radio stations playing "smooth jazz". His music is funky, soulful with glorious solos that still give me goosebumps when I listen.
I first found Sanborn's music in 1978 and I was an immediate fan. Most saxophonists I had heard played the tenor but Sanborn's alto really caught my attention. It is a cliched phrase nowadays but he knew how to lay down a groove and run with it. Whether on a funky song or lilting ballad, his sax sound stands out. I've played his music to relax, to workout and dance around the house. The 70's fusion style of jazz was where Sanborn got his start and this album is a nice segue into the jazz-funk of the early 80's. Another feature of his albums is a restyling of an old classic song, such as You don't know me (w Al Jarreau on Double Vision), Al Green's "Love & Happiness" (Straight to the Heart). This album has Neither one of us as the closeout track w Luther Vandross in the backup group.
Give this one a try and you won't be sorry!
A Landmark Recording, 8 March 2002
howard d clarke | new york, NY United States | 03/05/2002
(5 out of 5 stars)
"David Sandborn is my all time favourite saxophonist. His 1980 release, 'Voyeur', initially exposed me to him and this genre of music. After that first taste, I began to obtain his back catalogue, which included the fine 'As We Speak' LP. However, it was not until I heard this LP, which I believe is his best recording to date, I realised that this was an artist in the true sense of the word. Every track is full of emotion. At times his sax sounds like it IS a human voice. Remarkable! The use of drum machines, which was a reflection of the times, did not hinder but enchanced the recordings, as guided but the deft hand of Marcus Miller. I could go on and on, but, however I will close with this - whenever I hear a track from this album, I am in Germany, I'm 22 and it is 1984 all over again!! It is truly a MUST HAVE for your cd collection:-)"
One of Sanborn's Best
Stephen H. Lajoie | 07/24/2001
(5 out of 5 stars)
"This album marked a major change in album sound for David Sanborn. Several pieces feature his signature alto sax sound double-tracked, the second track being one octave lower than the first. This makes for a much thicker sound, and perhaps accounts for some of Mr. Arvidson's perception of a pleasing sound in the low-frequency range. The album also was David's first to rely heavily on programmed electronic drum sounds.Marcus Miller's bass work and production skills are in fine form in this album -- much matured from 1981's "Voyeur." Guitarist Hiram Bullock is responsible for much of the performing and production work in the opener, "I Told U So." "When You Smile at Me" and "A Tear for Crystal" both feature beautiful, lyrical melodies. "Believer" has some happening bass work by Marcus Miller, as well as some cool vocoder sounds. The title tune is worth repeated listenings, especially because of its interesting use of percussion. Drummer Steve Gadd displays some very fine brushwork -- in tandem with Marcus Miller's drum machine parts. I've heard very few tunes that integrate "live" and programmed percussion so well. The remaining tunes are also good. I could take or leave the vocal arrangement of "Neither One of Us," although David's improvised responses to the vocalists are very hip.If you are down on Sanborn's playing, you won't find anything here to change your mind; but if you like it, you will enjoy this album. If you have the ears to pick up on some hip subtleties, you will dig it even more. I've enjoyed listening to this album since it came out."