专辑英文名: Only Everything
歌手: David Sanborn
音乐风格: 爵士
资源格式: FLAC
发行时间: 2010年01月26日
地区: 美国
语言: 英语
简介:
出品厂牌：DECCA Label Group/Universal
唱片编号：B0013778-02
音乐风格：Contemporary Jazz, Crossover Jazz, Smooth Jazz
专辑时长：45:48 min
专辑介绍：
David Sanborn，萨克斯风长青巨匠、大师，五次葛莱美奖桂冠巨星。他在全球的唱片销售成成绩也早已超过多白金标准。David Sanborn擅于借力讲究精致技巧的传统爵士演绎方式，以及必须的即兴精神，又能够同时吸取当代流行的各式不同异域音乐分子，使得他不但延续了自Miles Davis以降的Fusion（融合爵士）精髓，更开创出属于他自己的风格；而更重要的是，他的音乐不但在质感上广受好评，对于一般听众更是充满了亲切感。无怪乎David Sanborn不但在新一代爵士乐手中备受尊崇，他的名字也经常出现在一般流行音乐畅销排行榜上。
David Sanborn可以说是近二十年来其中一个最成功将Soul Jazz推广到群众的爵士色士风手。 早在1970年代， 他已经开始替爵士乐手如Jaco Pastorius、Gil Evans和流行乐手如David Bowie、The Eagles伴奏。到1980年代，他已经确立了在Soul Jazz的举足轻重的地位，前后灌录了17只唱片，获得1只白金及6金唱片，并6次夺得Grammy Award。他的音乐充满了城市感，无论听他的火辣辣、浓情抑或忧怨的吹奏，都不会有过时的感觉。所以，对于一些入门的爵士乐迷，David Sanborn的最新专辑绝对是一个安全的选择。
在1980年代尾的香港演出时，他给人火辣辣的感觉最深刻。那时，真没想到alto saxophone可以是那么厉害，绝对不会逊色于fusion结他。但到了那张《Time Again》专辑，他已经来得挥洒自如，随手拿起他的色士风吹奏funky的Comin' Home Boy时，就算在Christian McBride(bass)和Russell Malone(guitar)这两位当时得令的主流爵士乐手的伴奏下，David Sanborn已经不再需要吹奏得声嘶力竭，因为他就是David Sanborn。他的signature吹奏，纵使引来不少其它色士风手模仿，亦很容易给人辨认到。就算在处理一些ballad如Cristo Redentor时，David Sanborn亦较过去用少了一份激情，不似他在《Double Vision》(1986)中的ballad如Moon Tune，亦要加入一份“怨”。也许，当年他要吹奏心酸的情歌，而今天他已经蓦然回首，只能轻叹。
不过，始终不变的是他坚持“感情”是音乐的最重要元素。他曾经说过：“I think emotion is the cornerstone of everything I've done. I think good music, any style of music, reaches people in a direct heartfelt way.”所以，他从来不会将爵士看成高深莫测的音乐。这次，他亦重新演译了一些流行曲—Joni Mitchell的Man from Mars和Steve Wonder的Isn't She lovely将groove的感觉带入流行曲。其实早在《As We Speak》(1981)专辑内的Love Will Come Someday，他已经找到了Michael Sembello主唱这首结合Jazz和Pop的情歌。
这份“要感动听众”的坚持，正好反映他深受Soul Jazz色士风手Hank Crawford和Gene Ammons的影响。这次，他吹奏了另一位Soul Jazz色士风手Stanley Turrentine的Sugar。那一份浓情蜜意，真是浓得化不开，而Russell Malone的独奏彷佛画出一对恋人在街角中追逐的片段。
不过，David Sanborn所吹奏的不是那种少变化、轻音乐式的音乐。他在Soul Jazz的音乐范筹中，仍不断追求创新，加入个人的特色。他将Tequila吹奏得moody得多、将Isn't She Lovely吹奏得relaxed得多，又在Harlem Nocturne吹奏得更lively。而且，他亦在《Time Again》中写了三首曲Little Flower、Delia和Spider B，并在Harlem Nocturne、Comin' Home Boy、Tequila和Little Flower弹奏钢琴。﹙值得一提是Don Alias在percussion的演奏尤其出色﹚
所以，57岁的David Sanborn在平衡Jazz和Pop的音乐旅途上仍然不断追求进步，自我突破。这一份创新的精神，不但令他的音乐走近大众，还正好说明爵士乐不是一种过时的“闷艺”。
色士风高手David Sanborn的音乐风格一直游走於Fusion与主流爵士之间，他的吹奏既高音又尖声，带点咆哮味道，别树一帜。最新推出的《Only Everything》来个返本溯源，沉浸於怨曲的天地。......
Album Intro
引用
"Among the great saxophonists of the past four decades," says one Rolling Stone writer, "David Sanborn has earned an identity all his own. He's jazz, he's funk, he's soul, he's pop, he's blues, he's rock. Most remarkably, he excels in each of these genres with a voice that is both forceful and tender, sensuous and subtle."
With Only Everything, the second of Sanborn's homage to the aesthetic of Ray Charles, he revisits his roots with fresh perspective. The New York Times called David's 2008 Here and Gone, the first of his tribute series, "a disarming delight." He returns to this territory with renewed passion.
"If anyone would ask me what Ray—or Ray's musicians—meant to me, my answer might be, `only everything," says David. "As a concept, Only Everything, is about gratitude. I'm grateful not only for the musical life I've been able to live, but the original sources of inspiration that continue to inform and excite me fifty years after encountering them."
The seminal encounter in the musical life of Sanborn happened in 1956 when he was 11.
"My dad took me to Kiel Auditorium," he remembers, "an indoor arena that housed the St. Louis Hawks during the basketball season and, at other times, big band concerts. This was Ray's little band, my first time to hear him in person. I already knew him from records like "I Got A Woman," "Drown In My Own Tears" and "Night Time (Is the Right Time)." Those songs had fired my imagination. But his live performance transformed me. He sang with a passion I had never before experienced. Although they were pop hits, his songs were soaked in the blues. Beyond the authority of his voice and the spark of his electric piano, two additional forces from Ray's world took hold of me and, to this day, have not let go. The first was Hank Crawford and the second was David `Fathead' Newman, the band's two star saxophonists. Hank and Fathead each had his own voice that, though distinct, was closely linked to Ray's. It was the voice of pain, joy, release, and relief. Both Hank and Fathead had a mixture of deep-country blues, sanctified gospel, and big-city jazz. The message of this music came across like lightning—get a saxophone."
Sanborn got a saxophone and a voice of his own. Along with a handful of other alto players in the history of the instrument—Benny Carter, Johnny Hodges, Earl Bostic, Charlie Parker, Cannonball Adderley, Paul Desmond—Sanborn's sound is instantly recognizable. His musical voice is deeply human, a cry of both pain and celebration.
"When I make a record," he explains, "I look for a core sound," he explains, "and use it as a unifying source, the aural center of the record. On Only Everything, my producer Phil Ramone, who also produced Here and Gone, agreed that the sound was Joey DeFrancesco's organ. For my money, Joey is the ruling monarch of the Hammond B3. His mastery of the instrument is complete. But more than a technically remarkable player, Joey has a feeling that's unparalleled. No one grooves harder, yet no one relaxes deeper. While this is my first recording date with Joey, I've been teaming with Steve Gadd for years, a remarkable drummer who plays in service of the music. He colors his drum tones with subtlety, pushing us forward even as he lays back."
Sanborn sees the first three songs on Only Everything as the definitive building blocks of the record.
musicians
David Sanborn - Selmer saxophones,Valdoren Reeds
Steve Gadd - drums
Bob Malach - tenor sax
Joey De Francesco - Hammond B3
Frank Basile - baritone sax
Mike Davis - bass trombone
Tony Kadleck - trumpet
James Taylor - vocals on track 7
Joss Stone - vocals on track 4
Recorded and mixed at the Legacy Recording Studios,NYC
Produced by Phil Ramone
