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| 10.641 Ft
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| 1. | The Peeper
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| 2. | Only Everything [For Genevieve]
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| 3. | Hard Times
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| 4. | Let The Good Times Roll
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| 5. | Baby Won't You Please Come Home
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| 6. | You've Changed
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| 7. | Hallelujah I Love Her So
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| 8. | Blues In The Night
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| 9. | Sometimes I Feel Like A Motherless Child
bonus track
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| 10. | Davenport Blues
bonus track
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Jazz
Dave Novik - A&R
David Ritz - Liner Notes
Dean Sharenow - Engineer
Derik Lee - Mixing Assistant, Pro-Tools
Don Goodrick - Pro-Tools
Fanny Gotschall - Creative Director
Frank Filipetti - Engineer, Mixing
Jill Dell'Abate - Contractor, Production Manager
Linner S. Vasoll - Personal Assistant
Lynn Goldsmith - Photography
Pete Wolford - Assistant Engineer
Phil Ramone - Producer
Rebecca Meek - Package Design
Sofia Garcia - Stylist
Tom Arndty - Package Coordinator
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. The charts here allow for more soloing and offer a looser, more intimate, spontaneous feel. It contains only two vocal appearances: one by Joss Stone on a punchy “Let the Good Times Roll,” and one by James Taylor in a unique interpretation of “Hallelujah I Love Her So.” There are two different bands here -- one a septet with a horn section, the other an organ trio. Steve Gadd handles all the drum chores here, with Joey DeFrancesco as organist on all cuts. The larger group includes saxophonists Bob Malach and Frank Basile, with Teddy Kadleck on trumpet, and trombonist Mike Davis. The only original here is the title cut, a ballad for trio, while everything else is R&B-drenched, soul-inflected jazz that may have come from a somewhat distant era yet feels contemporary whether played in septet or trio format. Crawford’s “The Peeper” is a soulful blues stutter with Sanborn’s alto lead being punctuated mightily by the horn section underscoring the melody; DeFrancesco fills the backdrop as Gadd swings away. Another highlight is Paul F. Mitchell's “Hard Times,” most recently associated with the Crusaders, but here woven through with soul and gospel via a beautiful horn chart that nods to the Charles band. Sanborn’s solo on this track is just outstanding. The album closes with a noirish yet emotional read of Johnny Mercer's and Harold Arlen's “Blues in the Night,” with DeFrancesco playing an inspired starring role. Any way you cut it, Sanborn’s continued exploration of his roots makes for terrific listening; it builds a smooth, groove-laden bridge between the music of Charles, Crawford, and Newman, to contemporary jazz seemingly effortlessly. ~ Thom Jurek, All Music Guide
David Sanborn
Active Decades: '70s, '80s, '90s and '00s
Born: Jul 30, 1945 in Tampa, FL
Genre: Jazz
Styles: Soul Jazz, Fusion, Neo-Bop, Jazz-Pop, Contemporary Jazz, Crossover Jazz, Progressive Jazz, Smooth Jazz, Jazz Instrument, Saxophone Jazz
David Sanborn has been the most influential saxophonist on pop, R&B, and crossover players of the past 20 years. Most of his recordings have been in the dance music/R&B vein, although Sanborn is a capable jazz player. His greatest contributions to music have been his passionate sound (with its crying and squealing high notes) and his emotional interpretations of melodies which generally uplift any record he is on. Unlike his countless number of imitators, Sanborn is immediately recognizable within two notes. While growing up in St. Louis, Sanborn played with many Chicago blues greats (including Albert King) and became a skilled alto saxophonist despite battling polio in his youth. After important stints with Paul Butterfield (he played with the Butterfield Blues Band at Woodstock), Gil Evans, Stevie Wonder, David Bowie, and the Brecker Brothers, Sanborn began recording as a leader in the mid-'70s and he racked up a string of pop successes. Over the years he has worked with many pop players but he has made his biggest impact leading his own danceable bands. Occasionally Sanborn throws the music world a curve: his eccentric but rewarding Another Hand, a guest stint with avant-gardist Tim Berne on a 1993 album featuring the compositions of Julius Hemphill, and a set of ballads (Pearls) on which he is accompanied by a string orchestra arranged by Johnny Mandel. For a couple years in the early '90s, Sanborn was the host of the syndicated television series Night Music which had a very eclectic lineup of musicians (from Sonny Rollins and Sun Ra to James Taylor and heavy metal players), most of whom were given the unique opportunity to play together. It displayed David Sanborn's wide interest and musical curiosity even if many of his own recordings remain quite predictable.
---Scott Yanow, All Music Guide |
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