Sanborn Offers Blazing Performance

Courtesy of Des Moines Register- Jan. 15, 2004

When the first ear-popping instrumental solo of the night is played on a piece of pottery, you know you’re in for a funkier-than-average jazz concert. Funk, Latin rhythms, a little soul – veteran jazz saxophonist David Sanborn and his sextet on Tuesday night at Hoyt Sherman Theater cut across musical styles without breaking a sweat. Their concert was brief (less than two hours long including a one-song encore) but blazed with intensity as well as variety.

The focus was on Sanborn’s fluid alto horn for much, but perhaps, not most of the night; his sidemen more than pulled their own weight.

Percussionist Don Alias, the gregarious member of the group who roamed around stage and mugged for the audience, played the piece of pottery in question. It was a Nigerian vessel drum known as the “udu,” unveiled during the second song, a world-beat interpretation of “Harlem Nocturne.” Alias slapped the udu with his hands, and its clay-metallic resonance was captured by a microphone and swirled around the theater. The audience of 688 sat enraptured.

So, if calling Sanborn’s sextet a jazz combo gives short shrift to its broad musical palette, the saxophonist has had to live with the inadequate jazz tag throughout his long career. But he keeps finding his way into the pop mainstream. Sanborn played Woodstock with the Paul Butterfield Blues Band and since has recorded key solos for such pop stars as David Bowie (think “Young Americans”), the Eagles, Steely Dan, James Taylor (think “How Sweet It Is”) and Stevie Wonder.

Tuesday night showcased songs off timeagain, Sanborn’s latest CD that has been nominated for (what else?) the Best Contemporary Jazz Album Grammy (to be awarded Feb.8).

Sanborn fired a barrage of notes in the first song of the night (also the opening song on the CD), “Comin’ Home Baby.” He squealed to the top of his range and glided back down with ease, but only later on did he unleash the reed-splitting, sustained high notes. In fact, the Hoyt Sherman staff might want to inspect their newly refurbished theater – Sanborn’s sax might have peepled off some of that new paint.

“Full House,” a song that Sanborn co-wrote with Marcus Miller, ditched world beat rhythms in favour of a hard, straight-ahead swing. It also gave keyboardist Ricky Peterson a chance to cut loose on the Hammond B-3 organ. (The guy had no fewer than five keyboards and an arsenal of synthesizer sounds at his disposal. It was actually refreshing to watch and hear him demonstrate his chops on the classic-sounding Hammond. Simpler is better.)

There was a cover of Joni Mitchelle’s “Man From Mars,” and it sounded like Sanborn snuck in a snippet of “My Favorite Things” a la Coltrane into the middle of his sax solo.

The older tune “Lisa” began as a pillowy romantic ballad but gradually eased into a loping funk; the rhythm accelerated while Sanborn punctuated the song with sharp hooks. It wasn’t the night’s most impressive performance, but the song had the most impressive and dramatic dynamic shift from beginning to end.

The loudest applause of the night was reserved for bassist Richard Patterson, whose thumb-slapping bass solo was the climax of the group’s funky jam session before the encore.

“I see smoke!” a man yelled from the balcony.

If jazz haters could hear the last 15 minutes of Tuesday night’s set by Sanborn and his able crew, they might become converts. – Kyle Munson