David Sanborn Closer CD

Personnel: David Sanborn (alto saxophone); Lizz Wright (vocals); Russell Malone (guitar); Bob Sheppard (flute, soprano saxophone, tenor saxophone); Gil Goldstein (accordion, electric piano); Larry Goldings (electric piano, organ); Mike Mainieri (vibraphone); Christian McBride (bass instrument); Steve Gadd (drums); Luis Quintero (percussion).
Saxophonist and composer David Sanborn has always been a maverick. A top-notch technician, he has always imbued his playing with deep emotion -- indeed, that emotional element in his playing has been his signature since he began leading his own bands on record in the 1970s. He has wed modern jazz sophistication to the smooth jazz groove for many years now, and has followed his muse while remaining a commercially viable artist. Closer is another exercise in ambition for Sanborn and his sidemen. They include bassist Christian McBride, guitarist Russell Malone, Larry Goldings on electric piano and organ, vibist Mike Manieri, and drummer Steve Gadd, among others. The material is a fine collection of pop tunes, standards, and surprises from the jazz canon. First, the bad news: Sanborn and vocalist Liz Wright team up for a version of James Taylor's "Don't Let Me Be Lonely Tonight" that is as bland as soy milk. That said, Sanborn's read of Abdullah Ibrahim's "Capetown Fringe" carries within it the joy and dignity of Ibrahim's original and proves to the public something Sanborn has been aware of all along -- that the composer's music is truly accessible to the masses. Underscore this for the album's opener, a smoking little groove read of Gil Fuller and Chano Pozo's "Tin Tin Deo." Horace Silver's "Enchantment" and "Señor" are given fine finger-popping treatments, as are the stellar standards "Ballad of the Sad Young Men," "You Must Believe in Spring," and the beautiful "Poinciana." There is a lovely version of Charlie Chaplin's "Smile" here, given chamber orchestra treatment. Sanborn contributes a pair as well, in the silvery ballad "Another Time, Another Place" and the album's closer, the haunting "Sofia," with a fine string and horn treatment by Gil Goldstein. Once more, Sanborn has wed his commercial and creative aspirations into a thoroughly engaging whole. ~ Thom Jurek
Crossover jazz can be watered down so severely that the jazz gets washed away altogether. Thankfully, there is saxophonist David Sanborn. On CLOSER, Sanborn never goes so far as to take away beautiful jazz harmonies or chordal sophistication. His solos are rooted in the post-bop tradition, and he plays much more than simple pentatonic and blues scales. At the same time, this album is inviting and easy on the ears. Sanborn and company carefully avoid anything that is overly intellectual, or too "outside."
The first half of CLOSER is made up of upbeat Latin-funk tunes. This is best exemplified by the sleek montuno "Tin Tin Deo." Later in the disc, Sanborn explores some mellower, darker ballads, with the highlight being "You Must Believe in Spring." On this tune, Sanborn features the delicate guitar work of Russell Malone and the subtle organ comping of Larry Goldings. The most fascinating track on CLOSER, however, is Abdullah Ibrahim's "Capetown Fringe," a song that centers itself on South African rhythms and a wanderlust-evoking melody. On this selection, Gil Goldstein's accordion gives the song a wonderful quirkiness, which provides an excellent counterpoint to the album's more straight-ahead tunes.JazzTimes (p.77) - "Sanborn proves to be a compelling balladeer, spiking the melody with his percussive attack and fueling the melodies with hot-blooded lyricism."