[JPL] David Sanborn
barrygaston at cox.net
Fri Aug 15 16:31:41 EDT 2008
Say Hey Dr J Love the new CD by David Sanborn, will have it on the
air next week. Any chance you can help hook up a phone interview with him?
----- Original Message -----
From: "Dr. Jazz" <drjazz at drjazz.com>
To: "Jazz Programmers Mailing List" <jazzproglist at jazzweek.com>
Sent: Friday, August 15, 2008 1:29 PM
Subject: [JPL] David Sanborn
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> Composer/pianist Lisa Hilton's latest release, ''Sunny Day Theory'' heads
> to jazz radio next week. Hilton is joined by top talent Lewis Nash on
> drums, Larry Grenadier on bass and Brice Winston on tenor sax. Eighteen
> time Grammy winner, Al Schmitt recorded and mixed the 12 track release.
> What is the ''Sunny Day Theory''? Hilton smiles, &quot;My engineer
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> ''Sunny Day Theory''/Ruby Slippers Productions promotion by Jane
> Once-stricken saxman: Music 'gave me my life'
> * Story Highlights
> * David Sanborn suffered from polio as child; playing sax a way to
> build wind
> * Sanborn has played with many, hosted own show in '80s
> * Saxophonist's new album is "Here and Gone"
> By Shanon Cook
> *NEW YORK (CNN)* -- Ask saxophonist David Sanborn to reel off a list of
> career achievements, and you'd better get comfortable. It's a long list.
> Even /he/ looks surprised when he reaches the end of it, and quips, "I
> split the atom and cured cancer."
> Sanborn's career spans jazz, rock, pop and R&B. He's played with Stevie
> Wonder, the Rolling Stones, James Taylor, David Bowie and Carly Simon --
> just to name a few. He's won six Grammys, hosted the TV show "Night Music"
> in the early '80s and has performed with the bands for "Saturday Night
> Live" and "Late Night with David Letterman."
> OK, so maybe curing cancer is a bit of a stretch -- but Sanborn is
> certainly no stranger to fighting his own health battles. Having suffered
> polio in his childhood, he says his mantra growing up was "Hey guys, wait
> up!" as he trailed his peers. At age 11, he took up the saxophone on his
> doctors' advice that the wind instrument would help build up his lungs.
> Now 63, Sanborn has just released "Here and Gone" (Decca), his 23rd album.
> It's a sultry, bluesy nod to early influences Ray Charles and Hank
> Crawford, and features guest appearances by Eric Clapton, Joss Stone and
> Sam Moore. VideoWatch Sanborn play a few notes »
> Sanborn invited CNN to his Manhattan home to talk about his uneasy
> relationship with the sax, letting Eric Clapton play and sing, and why you
> probably shouldn't call his music "smooth jazz."
> *CNN:* When you've been playing an instrument for many, many years as you
> have, do you ever get to a point where you ...
> *Sanborn:* Hate it?
> *CNN:* Well, that wasn't going to be my question, but ... do you?
> *Sanborn:* Sometimes, yeah. But it's like hating your arm at a certain
> point, because [the instrument] is really supposed to be an extension of
> *CNN:* I was going to ask ... do you ever get to a point where the
> instrument no longer surprises you?
> *Sanborn:* No. I'm waiting for that time. I think that goes along with
> discovering things as a musician and discovering new places to go. To me,
> the object of practicing is to allow you to play what you hear. But you're
> always hearing new things, so you never get to the end of it.
> That's the great thing and the frustrating thing about music; you never
> really master it. Music is like an open sky. You know it's out there ...
> and there you are.
> *CNN:* Is being a successful musician a pretty self-centered existence?
> *Sanborn:* It's self-involved in that you have to go into your imagination
> and bring stuff forth. I look at the artistic process as like experiencing
> the world, channeling it through your personality and sending it back out
> there. That's the process. So it certainly is involving. And because it's
> coming from you, it's very "self," so you tend to get preoccupied. It's
> tough to be in a relationship with a musician, because it reads sometimes
> as this ego and self-involvement when it's really just concentration and
> That's a good excuse, at least. That's the cover we all use!
> *CNN:* Is it fair to say that your instrument is always your first love?
> *Sanborn:* It's more like it's a part of you. So it's not like it's this
> other thing that you love more than your mate. It's like saying, "Do you
> love your hand more than you love your wife?" Well ... yes and no.
> *CNN:* You've said that making your new album, "Here and Gone," was a
> labor of love. How so?
> *Sanborn:* Well, it was just going back to the kind of music that inspired
> me in the first place. Ray Charles, Hank Crawford, David Newman. And kind
> of getting back in touch with where I came from.
> *CNN:* Eric Clapton ... is he a good friend of yours?
> *Sanborn:* He's been a friend of mine for a long time. I asked him to sing
> on the record, and he said, "You mean you don't want me to /play/?" And I
> said, "Well, I didn't want to presume!"
> He said, "Well, you know I kind of need to play when I sing," and I said,
> "Feel free." And he did a great job. He inhabited that song ["I'm Gonna
> Move to the Outskirts of Town"].
> *CNN:* Is it true that you don't like to consider yourself a jazz
> *Sanborn:* I just think those labels are not very helpful. It doesn't
> really describe what we do. I think music is an evolving, changing,
> beautiful thing that absorbs influences from everywhere. Jazz music by its
> very nature is just a conglomerate of a lot of different kinds of music.
> ... As you grow and develop as a human being and as a musician, you absorb
> all these influences from everywhere, and it comes out in the music that
> you play. To limit it to one category is not very descriptive and not very
> *CNN:* How do you feel about the term "smooth jazz"?
> *Sanborn:* As opposed to lumpy jazz? I don't like the connotation, because
> it always strikes me as being like blood without plasma. It's like
> everything that you leave out. It's not what you include. Jazz music
> should be inclusive. Smooth jazz to me rules out a certain kind of drama
> and a certain tension that I think all music needs. /Especially/ jazz
> music, since improvising is one of the cornerstones of what jazz is. And
> when you smooth it out, you take all the drama out of it.
> Music is important to me. It really gave me my life. Not just a way to
> make money ... but it gave me my /life/. And it's hard for me to think
> about it as wallpaper. And that to me is what smooth jazz represents.
> There's no easy answer to that question. I can give you a longer answer
> *CNN:* No please don't ...
> *Sanborn:* (laughs) Stop him!
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