Jim Sanborn Dunin, Elonka

When David Sanborn debuted on Elektra with Another Hand after a 13-year stay at Warner Bros., the altoist swore off formulaic, radio-oriented muzak and vowed to make artistic considerations his main priority. There's nothing shallow or contrived about the album, an exploratory, heartfelt effort generally defined by his introspective, soulsearching improvisations. Sanborn tends to be reflective rather than extroverted – an exception being the soul-jazz gem "Hobbies." Instead of avoiding complexity as some of his more commercial recordings did, Another Hand often thrives on it. The album's main flaw lies in the fact that too often, the sidemen tend to serve as a backdrop for Sanborn instead of being active soloists. But given the depth and overall excellence of Sanborn's playing, one tends to overlook that shortcoming.

Sanborn's '83 release brought a new meaning to late night or midnight music listening ! By no means is this elevator muzak, either ! In fact, Sanborn was on the cutting edge in using drum machines and synthesizer arrangements without stifling his sax playing or throwing the whole project out of whack. Sanborn's playing is very upfront and sharp ! While the recording may sound dated, it is only in a very good positive way to demonstrate what is lacking in some of today's so-called pop-jazz or r & b instrumentalists.

Sanborn's '83 release brought a new meaning to late night or midnight music listening ! By no means is this elevator muzak, either ! In fact, Sanborn was on the cutting edge in using drum machines and synthesizer arrangements without stifling his sax playing or throwing the whole project out of whack. Sanborn's playing is very upfront and sharp ! While the recording may sound dated, it is only in a very good positive way to demonstrate what is lacking in some of today's so-called pop-jazz or r & b instrumentalists.

Only Everything, David Sanborn’s second album for Decca, feels like part two of his debut for the label, 2008’s Here & Gone. That set was a tribute to Ray Charles and Hank Crawford – the alto saxophonist who played with Charles in the '50s and early '60s, and influenced Sanborn tremendously. That set featured loads of vocals and tightly arranged tunes that were indicative of the performances of Charles' bands. Only Everything delves into more of that territory, but this time, Sanborn reflects more heavily on Crawford and David “Fathead” Newman, another legendary Charles ace from roughly the same period.

Close-Up is very much a collaboration between altoist David Sanborn and Marcus Miller, who serves as producer, bassist and frequently the lead keyboardist. With the exception of Randy Newman's "Same Girl" and "You Are Everything," all of the music was written or co-composed by Sanborn and Miller. Some selections utilize such additional players as guitarist Hiram Bullock, keyboardist Ricky Peterson and drummer Vinnie Colaiuta. In general, the music fits the formula well, offering Sanborn's emotional sax backed by then-modern electronics and funky rhythms.

Besides the stunning Hiram Bullock performance on a Sanborn LaserDisc from the "Purely Music" series, released in 1991 here in the USA by the Image label, and yet to be reissued on DVD (Bullock takes a long walk out of the stage and the audience goes crazy!), this "Love & Happiness" DVD (available only in Japan) is the second best example of Hiram as a top-class entertainer. Barefoot, dressing jeans and a small t-shirt, near the end of his second abrasive solo on the track "Smile" - a magic moment where "Eric Gale meets Jimi Hendrix" - he suddenly "appears" playing between Sanborn's legs!