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Only Everything (Bonus Track Version)

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Album Review

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.

Customer Reviews

Less band - more groove

Great stuff! "The Peeper", "Hard Times" and "Hallelujah I Love Her So" are the standouts for me. And "Blues in the Night" grooves hard - with Sanborn letting it all hang out.

Dave has pared down the band to a trio - himself, Joey DeFrancesco and Steve Gadd - and it comes off as raw and refreshingly under-produced. They didn't try to clean up every little squeak. And there's a sense of playfulness - at one point, you can hear Sanborn yelling "aw yeah!" in the background as Joey DeFrancesco churns out his solo - great fun. This feels more like Sanborn in concert than any album since "Straight to the Heart".

As usual, I couldn't help but smile while listening to James Taylor's contribution. Joss Stone is OK here, but not as good as her effort from the last album. Hers is probably my least favorite track. And the ballads drag a little for me, but are still vintage Sanborn.

Killer Bluesy Sh_t

There's only one David. Somewhere Hank Crawford, David "Fathead" Newman and Ray Charles are smiling and sho-nuff proud of this throwback simmering of greasy spoon delights David has served up!

Smooth as 12 year old scotch...easy like Sunday afternoon.

Pass the bottle Uncle Ray!

Saxaphones's Greatest

After seeing and listening to David Sandborn last night in State College this album is a divine reminder of how wonderul the eveing was. It was a powerful sound and the entire auditorium was superbly filled with jazz music. This album is a departure for David and it was great to hear some of the old standards played perfectly.


Born: July 30, 1945 in Tampa, FL

Genre: Jazz

Years Active: '60s, '70s, '80s, '90s, '00s, '10s

David Sanborn is a Grammy-winning saxophonist, composer and arranger. A pioneer of contemporary jazz, he is also a prolific session man in pop, R&B, blues, funk, and jazz. His solos have graced records by popular artists as diverse as Stevie Wonder, David Bowie, Todd Rundgren, Bobby Charles, Roger Waters, Esther Phillips, James Brown, Ween, and over a hundred more. As a composer and bandleader, he has, since the beginning, combined genres, making him a pioneer of crossover music and contemporary...
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