This 1981 recording is an excellent example of David Sanborn's music. The highly influential altoist is joined by familiar studio veterans (including guitarist Hiram Bullock and drummer Steve Gadd) with bassist/composer Marcus Miller being a key figure in creating the funky rhythms and colorful backgrounds. Miller, who shared the writing chores with Sanborn, not only contributed his powerful bass, but backed the altoist during a duet version of "Just for You" on piano. Easily recommended to fans of R&B-ish jazz.
Released in 1980, Hideaway earned David Sanborn fame beyond that of the average studio musician, and rightfully so. Many releases by studio musicians suffer from weak compositions and overproduction, including some albums by Sanborn himself. However, Hideaway features a stripped-down, funky sound that showcases the artist's passionate and distinctive saxophone sound. This includes two tunes co-written with Michael McDonald and the "love theme" from the motion picture American Gigolo, appropriately entitled "The Seduction." All eight tunes on Hideaway are winners.
This 1980 recording is an excellent example of David Sanborn's music. The highly influential altoist is joined by familiar studio veterans (including guitarist Hiram Bullock and drummer Steve Gadd) with bassist/composer Marcus Miller being a key figure in creating the funky rhythms and colorful backgrounds. Miller, who shared the writing chores with Sanborn, not only contributed his powerful bass, but backed the altoist during a duet version of "Just for You" on piano. Easily recommended to fans of R&B-ish jazz.
David Sanborn (Florida, 1945) is the protagonist of another successful album of his career, which allowed him to win the Grammy for 'Best instrumental interpretation of Rhythm & Blues' by theme 'All I need is you', a vaporous and sexy theme inescapable in his music. In this work David was accompanied by a set of eight veterans study instrumentalists, among which are noteworthy composer and bassist Marcus Miller, Hiram Bullock on electric guitar and Steve Gadd on drums manifests.
It was about this time in his career that one sensed David Sanborn was getting a bit tired of the formula he was using on his records. However, his great popularity kept him from changing direction much. As usual, the highly influential altoist blows his heart out over a lot of funky rhythms on As We Speak, but surprisingly, he switches to his less notable soprano on four of the nine tunes. Bassist Marcus Miller is a key force in the background, leading the expanded rhythm sections through some pop-oriented material that is appealing but not too substantial.
David Sanborn's third album as a leader has him steering away from the N.Y.C. neo-bop, skunk funk, Seventh Avenue style he helped co-found with the Brecker Brothers band. That it is recorded in Miami speaks volumes about the sunny attitude and less jazz-oriented music he is fomenting. Guitarist/vocalist Hiram Bullock and emerging electric bass guitar star Mark Egan have something to do with this, but the extraordinary drummer Victor Lewis is the one who gives this music an R&B heft while also adding Latin flavors, like boogaloo on growth hormones. Keyboardist Rosalinda DeLeon, percussionist Jumma Santos, and four female vocalists help with the sexy Afro-Caribbean underpinning, while Sanborn plays his trusty St. Louis soul vibrato-drenched alto sax, and also experiments with sopranino sax and the lyricon. The album yields mixed results – including some spectacular, fervent music, with the tamer sounds more likely to appeal to crossover or pop audiences.
Marcos Valle was the Renaissance man of Brazilian pop, a singer/songwriter/producer who straddled the country's music world from the early days of the bossa nova craze well into the fusion-soaked sound of '80s MPB. Though his reputation in America never quite compared to contemporaries like Caetano Veloso, Milton Nascimento, Gilberto Gil, or even Tom Ze, Valle is one of the most important and popular performers in the history of Brazilian pop.
In 1978, Herbie Mann came out with two very different LPs. The more improvisatory Brazil: Once Again fulfilled his need to record a serious Brazilian jazz-pop album, while Super Mann is a commercial disco effort that finds Patrick Adams doing most of the producing. The two LPs aren't anything alike – while the instrumental Brazil: Once Again makes extensive use of the flutist's jazz chops, Mann doesn't do any improvising on Super Mann. This album isn't about his virtuosity as a soloist – it's all about the beat and the groove. So naturally, Super Mann was trashed in the jazz press by critics who made the mistake of judging it by jazz standards and wouldn't have known a good disco record from a bad one. Judging Super Mann by disco standards, one hears an LP that is uneven and isn't in a class with Chic, Gloria Gaynor, Donna Summer, or Sister Sledge but has its moments. While "Jisco Dazz" and "Rock Freak" are mechanical, stiff, and forgettable, Mann gets into a nice samba/disco groove on "Etagui" and demands attention with a speeded-up version of the haunting "Body Oil" (which he had previously recorded for 1975's Waterbed).
The third of three Concord albums by this version of the Quartet (with Jerry Bergonzi on tenor, Chris Brubeck on bass and bass trombone and drummer Randy Jones) is the most rewarding of the trio although each one is recommended. Brubeck and the Coltrane-influenced tenor Bergonzi take consistently exciting solos on seven standards which are highlighted by "Music, Maestro, Please," "I Hear a Rhapsody" and "It's Only a Paper Moon"; Brubeck's solo version of "St. Louis Blues" is also noteworthy.
Back To The World is a powerful concept album dealing with America's social issues, the aftermath of the Vietnam War, the environment (years before it became fashionable), as well as Curtis' optimism for the future.