A masterful alto saxophonist, David Sanborn became the standard-bearer for the smooth-jazz movement in the 1970s and '80s, his funky, R&B-soaked style much emulated. Sanborn was stricken with polio as a child and started playing sax as a way to keep his strength up. When he saw the mighty Hank Crawford make a guest appearance at a basketball game, it all came together for the young Sanborn, who took the soul-jazz stylings of Crawford and David "Fathead" Newman to advance his own style. Sanborn steeped himself in many styles of music, from the blues to free jazz and instrumental R&B. He went on to become a busy session player: he's worked with Stevie Wonder, Steely Dan, Bruce Springsteen, Elton John and more. Sanborn's most famous work can be found on David Bowie's "Young Americans" and the Saturday Night Live theme. In 1995, he cut Pearls, a luxurious ballad set that recalls mainstream giants like Lou Donaldson. Sanborn continues to follow his own muse: 2005's Closer finds him laying out hard bop standards, while 2010's gritty Only Everything has him fronting a soul-jazz big band, proving he's still proudly advancing the legacy of his idols.
David Sanborn Concert Films
Live at Montreux
Runtime: 1 hr 27 minDavid Sanborn has been a frequent visitor to the Montreux Jazz Festival, either headlining in his own right, as a sideman or as part of nineties "super group" Legends. This program focuses on his second headlining appearance in 1984 when he was touring in support of his "Straight To The Heart" album, which would see him win the second of his six Grammy Awards to date. The set combines tracks from that album with others from across his career. It features a special guest appearance by Rickie Lee Jones on piano and vocals on the track "Autumn Leaves". In 2008 David Sanborn released his 23rd album and his diverse career continues to thrive both on stage and in the studio.
David Sanborn Top Tracks
Runtime: 1 hr 50 minThe first live album by saxophonist Kenny G was released in 1989, peaking at number 2 on the Contemporary Jazz Albums chart and number 16 on the Billboard 200. This performance was recorded live at Humphrey's Concerts By the Bay in San Diego, California. The concert film includes one of his most popular recordings 'Songbird' as well as 'Don't Make Me Wait For Love'.
Live at Montreux 2003
Runtime: 1 hr 34 minThe Crusaders were one of the pioneers of jazz-funk music in the 1970s and have made a number of visits to Montreux over the years. This broadcast focuses on their performance from 2003 when the band were touring in support of their album 'Rural Renewal'. Founder members Joe Sample and Wilton Felder were joined in the line-up by Ray Parker Jr on guitar and the inimitable Randy Crawford on vocals. They delivered a set that spanned their career from early days up to their latest album capped with a stunning nine minute plus performance of their classic 'Street Life' and finished off with a fun rendition of Ray Parker Jr’s 'Ghostbusters'.
We Live Here
Pat Metheny Group
Runtime: 1 hr 50 minSome six years after their previous studio album, the Pat Metheny Group regrouped in 1995 to release the album We Live Here. This was to be the first of a set of three albums that the band refer to as the triptych, the others being Quartet (1996) and Imaginary Day (1997). Following the release of the album, the Pat Metheny Group embarked on a world tour during which this concert was filmed in Japan. Many of the tracks from the We Live Here album are included along with others from their various eighties albums. There are short interview segments with the band members inserted between some of the songs which give an insight into the creation of the album and life on the tour.
The Gospel According to Jazz, Chapter IV
Runtime: 2 hr 27 minAfter a six-year wait, the much anticipated The Gospel According To Jazz, Chapter IV is finally here with a benchmark for live recording, nuanced performance and deep improvisation at the most profoundly felt, thoughtfully conceived, personal level. Kirk Whalum’s insightful and revelatory narrative enriches the whole experience, with an up-close and personal look at the heart of the artist and his art. The Gospel According to Jazz, Chapter IV is an invitation to pause, hear and “see” in a fresh, prescient way; it is also a tribute album that is uniquely gospel-centric. Honored are heads of state (Mandela and Obama), departed and greatly respected and loved artists (George Duke, Wayman Tisdale and John Coltrane), alongside mothers (Kirk’s, and yours if you like) and a homeless woman Whalum came to call friend (“Nannette”). In myriad ways, the gospel’s welcome is declared and displayed with eloquence and power.