DAVID SANBORN — Hearsay (review)

Album · 1994 · Funk Jazz

3.5/5 · 2012-02-27
Chicapah

This album is more along the lines of what I expected from David Sanborn as a solo artist. The first record of his that I heard, however, wasn’t. It was his surprising “Another Hand” from 1991 wherein he gathered up a contingent of legendary jazz musicians and took part in making a record of music that honored their craft and their heritage splendidly. “Hearsay” is much more contemporary in nature but it’s no dog, either. What this tells me is that Sanborn can adapt to any style as easily as a chameleon changes skin color and that his central aim is to maintain a lofty standard of excellence. There’s an art to creating light jazz fare that doesn’t end up being so predictable that it bores you to tears and I’m happy to report that this album avoids that pitfall by being consistently lively and by including a great deal of variety.

He opens with the invigorating “Savanna.” It rides atop a striding funk groove supplanted by Ricky Peterson’s growling Hammond B3 organ, one of my favorite instruments of all time. Its signature ambience is featured in abundance throughout the proceedings and that alone makes “Hearsay” a fine listening experience. David’s saxophone is crystal clear and cuts cleanly like a knife through butter. The subtle horn section he employs here and there as well as the song’s tactful percussion breakdown keeps things on the up and up. I especially like its upwardly mobile key changes and the track’s consistent energy level. “The Long Goodbye” is the apex of the disc. Its soft, bluesy jazz feel and the sneaky B3 lurking in the background are hypnotic. The tune’s depth of field is warm and dreamy yet the number never gets lazy due to timely and punchy accentuations. The melody’s large-scale presence is powerful and seductive. The aggressive shuffle drummer Steve Jordan applies to “Little Face” is hard to ignore and once again the Hammond’s distinctive aura gives it a regal glow. The song’s crisp big band atmosphere will have you tapping your toes and the interplay between Sanborn’s expressive sax and Robben Ford’s top-notch rock/blues guitarisms are exhilarating.

“Got to Give it Up” is like walking into a festive party in full swing. An unpretentious, carefree attitude inhabits this number and it’s the kind of song that can lift you from even the sourest of moods. Nothing complex to be found here, just a bouncy jam that’s more than dance-worthy. “Jaws,” with its strong funk foundation, brings to mind the Headhunters in a respectful way but Peterson’s sensuous B3 fills up the spaces and allows the track to develop its own personality. Marcus Miller’s bass guitar work is commendable and David smartly opts to not overplay his hand, choosing to be more of an aural overseer who adds flavors to the mix only when called for. “Mirage” is sultry, sexy and slightly mysterious with Latin percussion and dense keyboards distinguishing the tune. The number flows smoothly and possesses an undeniable Herbie Hancock hue that gives it a cool elegance.

“Big Foot” has a slight techno-funk coloring that sets it apart from what’s come before. The sizzling guitar injections give this song some oomph and the charms of the multipurpose Hammond organ are exploited expertly to provide an amiable backdrop. Miller’s popping bass lines boost the momentum repeatedly. “Back to Memphis” utilizes a beefy R&B drive to get its point across and I half expected Al Green to jump into the fray at any moment. The tune’s arrangement, the superb engineering and the deft mix one finds here are all of the highest order so I recommend that you just sit back and enjoy the track’s excellence without over-analyzing it. He ends with “Ojiji,” a real change of pace. A generous dash of hot Brazilian spice supports this unusual piece and it’s further bolstered by a very enthusiastic rhythm section. More so than at any other time on the album, Sanborn doesn’t try to stay as under control and cuts loose with some spirited sax spasms that’ll tickle your eardrums.

While “Hearsay” won’t bowl anybody over it won’t send discriminating jazzers running for the exits, either. It maintains an impeccable air of professionalism gleaned through years of experience on the part of everyone involved but that’s to be expected. What makes it such a pleasant record to listen to and separates it from the run-of-the-mill is, as always, the caliber of the material presented. The nine cuts are all good songs and each one has something unique to offer so it makes it difficult to say anything negative about the album. Well done.