[JPL] David Sanborn

louisx at verizon.net louisx at verizon.net
Sat Aug 9 12:38:16 EDT 2008


Little Walter and Archie Shepp...interesting. Walter's phrasing was like a 
jazz player's. When I was 16 and still in high school I went to Central Park 
to see the Butterfield band. I climbed up on a rock behind the stage about a 
half hour before the show and found Phil Wilson and Gene Dinwiddie smoking a 
joint. They invited me to join them. I was an innocent kid and felt like I 
was communing with the gods. I think they were amused. Nice guys.


----- Original Message ----- 
From: "Tom Reney" <tr at wfcr.org>
To: <jazzproglist at jazzweek.com>
Sent: Friday, August 08, 2008 11:29 PM
Subject: Re: [JPL] David Sanborn


> This week's sponsor:  JazzWeek Summit 2009 -- dates and venue to be 
> announced in August; registration opens in September.
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>
> Wilson was a wonderfully brash presence.  Dig him on David Murray's Low 
> Class Conspiracy.  And the variety of moods he explores with Lester Bowie 
> on their duo recording. Wilson and Sanborn were from St. Louis, where the 
> music scene was livened by B.A.G. (Black Arts Group).  Julius Hemphill was 
> there too, and Sanborn studied with him.  Also based in St. Louis were the 
> great bluesmen Little Milton and Albert King, and Sanborn played with them 
> before his stint with Butterfield began.
>
> I used to spend a lot of time with Archie Shepp, and on a drive to NYC 
> from Amherst about 30 years ago, I was playing a compilation tape of blues 
> harpists.
> I remember that Archie was particularly impressed with Little Walter's 
> blowing behind Muddy Waters on "Just to Be With You," asking me to replay 
> Walter's break numerous times, and Butterfield's recordings of "Work Song" 
> and "Everything's Gonna Be Alright."  He wasn't terribly familiar with 
> Paul's work, and I mentioned some of the cats who'd been on his bands, 
> including Wilson, whom Archie knew.  Once we got to the city, we stopped 
> at a place in the West Village for a little late night recreation, and who 
> should answer the door but Phil.  Small world.  I saw Phil with the BBB 
> many times, and still enjoy his singing and Butter's fierce blowing on 
> "Get Yourself Together" from In My Own Dream.
>
> Tom Reney
>
> ----- Original Message ----- 
> From: "Jae Sinnett" <jaejazz at yahoo.com>
> To: <jazzproglist at jazzweek.com>
> Sent: Friday, August 08, 2008 10:46 PM
> Subject: Re: [JPL] David Sanborn
>
>
> This week's sponsor:  JazzWeek Summit 2009 -- dates and venue to be 
> announced in August; registration opens in September.
>
> ++++++++++++++++++++++++++++++
>
> One of the more interesting stories with that Butterfield period Tom was 
> with drummer Phillip Wilson. He was doing work with the Art Ensemble of 
> Chicago and Roscoe Mitchell at the time when Paul asked him to join his 
> group. Talk about variation. Phillip...I understand it...was the one that 
> invited David Sanborn to a session with the Butterfield band. He sat in 
> and that's when that relationship began. Phillip Wilson was one of the 
> great avant garde drummers but could obviously lay down the blues grooves.
>
> Jae Sinnett
>
>
> --- On Fri, 8/8/08, Tom Reney <tr at wfcr.org> wrote:
>
>> From: Tom Reney <tr at wfcr.org>
>> Subject: Re: [JPL] David Sanborn
>> To: jazzproglist at jazzweek.com
>> Date: Friday, August 8, 2008, 7:22 PM
>> This week's sponsor:  JazzWeek Summit 2009 -- dates and
>> venue to be announced in August; registration opens in
>> September.
>>
>> ++++++++++++++++++++++++++++++
>>
>> I remember when David Sanborn joined the Butterfield Blues
>> Band in 1967, the
>> year Paul Butterfield introduced the first of his bands to
>> include a horn
>> section.  The blend of Butterfield's harp, Elvin
>> Bishop's guitar, and
>> saxophonists Gene Dinwiddie and Sanborn made for some of
>> the most innovative
>> and inventive music of the era.  That same year,
>> Butterfield's former
>> sideman, guitarist Michael Bloomfield, founded the Electric
>> Flag, a
>> horn-driven band that also featured the late Buddy Miles.
>> Both of these
>> groups found Butterfield and Bloomfield expanding on the
>> Chicago Blues idiom
>> that first brought them renown into a broad mix of r&b,
>> rock and jazz.
>> Sanborn worked with Butterfield until 1972, and plays
>> impressive solos on
>> the recordings "The Resurrection of Pigboy Crabshaw,
>> "Keep on Moving," and
>> "Sometimes I Just Feel Like Smilin'."
>> Butterfield's 1968 recording "In My
>> Own Dream" features some of Sanborn's most
>> creative playing on both alto and
>> soprano saxophones.
>>
>> I haven't followed Sanborn's solo career, but
>> I've always appreciated the
>> respect and humility he displays toward the great masters
>> of the idiom in
>> his reluctance to call himself a jazz musician, as he did
>> as recently as
>> last Saturday on NPR's Weekend Edition.
>> Here's a link to the feature with Scott Simon.
>> http://www.npr.org/templates/story/story.php?storyId=93198714
>>
>>
>>
>> Tom Reney
>> "Jazz à la Mode"
>> Monday-Friday, 8-11 p.m.
>>
>> WFCR 88.5 FM
>> NPR News and Music for Western New England
>> Hampshire House
>> 131 County Circle
>> Amherst, MA 01003-9257
>>
>> tr at wfcr.org
>> www.wfcr.org
>>
>> --
>>
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>
>
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