In memory of David Sanborn

When I wrote yesterday's post, I hadn't heard that David Sanborn had passed away.  Since learning of his passing, I've thought a lot about his most memorable melodies.  Sanborn's way with accessible hooks on the saxophone netted him deserved acclaim and considerable commercial success in the jazz world.  These are 10 of his best tracks, in my opinion:

• Bang Bang (A former KNJZ personality used to play this every Friday afternoon to kick off the weekend.  It's an appropriate choice, given the festive, party-like atmosphere that the instrumentation and vocals create.  It doesn't surprise me that multiple artists have released their own versions of this.)
• Benny (One of Sanborn's best slower-paced tracks.  This laid-back melody shows how effectively Sanborn was able to wail.)
• Chicago Song (This no-nonsense rhythm suggests a gritty setting.)
• Hideaway (I cited this song in yesterday's post as an example of jazz getting its due in a concert promo.  It's one of Sanborn's most immediately ear-catching uptempo melodies.)
• Lesley Ann (I always liked playing this on KNJZ, as its hook is fit for a lullaby.)
• Maputo (with Bob James) (Nice interplay between keyboard and saxophone here.  This is one of Sanborn's many compelling ballads.)
• One In A Million (Reflective.  I can imagine Stevie Wonder playing Sanborn's sax part on the harmonica.)
• Since I Fell For You (with Bob James and Al Jarreau) (These lyrics are appropriate in any era, and this melding of saxophone, keyboard, and vocals serves the narrative especially well.  There are many renditions of this tune, but this one ranks first with me.)
• Slam (This track's synthesized scoring is rooted firmly in the '80s, which is probably why a friend who drove me home from school in that decade played it at full blast in the car.)
• Summer (Another immediately accessible, high energy Sanborn track.  This appropriately titled instrumental conveys the joy and freedom many listeners associate with Summer.)

Giving jazz its due

In the early to mid '80s, I knew an artist had made it big when a slick announcer touted his or her concert in a commercial for the venue.  Usually, this honor was reserved for the biggest names in rock and R&B.  I was pleasantly surprised to hear David Sanborn receive his due a saxophonist in one such 1984 commercial.  It was unusual to hear jazz--or any instrumental, for that matter--in those commercials, but there it was--Sanborn's track, "Hideaway," along with a plug for his upcoming concert.

Although I was pleased to hear the promo, the rarity of hearing jazz artists promoted on that scale tempered my enjoyment.

An overlooked cover tune CXLIII

It's a day-brightener to stumble onto a well-sung cover tune unexpectedly.  While searching for another song of hers recently, I saw that Rebecca Poole sang a version of "Can't Take My Eyes Off You."  The Lettermen and Frankie Valli recorded strong versions of the tune, and I'd add Poole's take to that list.  Her low-pitched, breathy vocals suit the tune well, while the bass and guitar give them added gravity.  She also deserves bonus points for singing the "Da-da, da-da..." refrain instead of just relying on the instrumentalists to handle it.

The sentiments of "Can't Take My Eyes Off You" are timeless, so it won't surprise me if I'm reviewing yet another strong cover of it years from now.

Online radio sampler highlights CCXXXV

Some of the better selections I heard yesterday:

KJEM (Pullman, WA)

• 'S Wonderful (Live In Paris)-Diana Krall (Although I like Krall's vocals, her piano playing from 4:08 on impresses me even more; it imbues this Gershwin standard with a self-assured modern sensibility.  Krall and her rhythm section give this longer-than-usual rendition a chance to breathe, making it all the more appealing.)
• Pavanne-Erroll Garner (Garner was always adept at carrying off a melody with just the right amount of embellishments on the piano.  That's why I played so many tracks of his on WEW.)

WCZY (Mount Pleasant, MI)

• Hold On-Wild Cherry ("Play That Funky Music" was this group's big hit, but this laid-back slower jam deserves some attention.  I'm surprised that this oldies station played it, as it wasn't a top 40 hit.)

WFMT (Chicago, IL)

• George Gershwin: Three-Quarter Blues, "Irish Waltz" (Fazil Say, piano) (A pleasant, graceful piano interlude.  It's only one minute long but conveys its intended atmosphere compellingly during that minute.)

WWCF (McConnellsburg, PA)

• Follow Me-Jane Siberry (If someone thinks of you in these terms, that someone might be your soulmate.)
• Lonesome For A Place I Know-Everything But The Girl (Thoughtful lyrics about the allure of home.  Also recommended: "One Place.")

Diminishing returns

Let's see.  I've got some time, so let's find out if there's a documentary I haven't seen yet about a band I've followed for over 40 years.  Granted, I've read multiple books about this band, seen countless documentaries and interviews, and heard their music repeatedly.

Ah!  Here's a documentary on them I haven't seen.  Undoubtedly, it will cover the group's history, which I already know by heart.  It'll also likely spell out the reasons for various personnel and musical genre changes over the years, which I've also heard about many times.  There's a strong chance it will also include highlights from the band's concerts--all culled from the same sources other documentary producers have used.

It should be an enlightening morning of hearing the band members and a narrator tell me about pivotal events in the band's history that I already know.

I might as well be reading a favorite bedtime story.

Consoling the cat

No one is better at sheltering in place than my cat, Collette.  Yesterday was a rough day for her, with all the storms we endued.  I wanted to comfort her, so I put on "I Am The Mercury" by Jimmie Spheeris.  It was an especially appropriate day to play a song about coming in from the rain, after all.  I crouched down to where she was hiding, put two of her favorite cat toys near her, and started stroking her chin.  Eventually, she started purring.  A little later, I heard the jingling of her pink mousehead toy and saw her bat around her red toy mouse.

"I Am The Mercury" fit yesterday's necessity of seeking refuge from a storm while accepting that storms are inevitable, so this scene will likely repeat itself.

An overlooked cover tune CXLII

What's the difference between a command and a strong hint?  The answer lies in the contrasting vocals of Blondie and Janet Evra.  Evra covered Blondie's "Call Me" compellingly, giving it a breezy sheen.  When Blondie sings it, it sounds like the title should end with an exclamation point.  When Evra sings it, it sounds like the tune's parenthetical title could be, "(I Hope You Will)," or simply, "(Ahem.)"  Both artists' interpretations are equally valid, and I'm surprised that I haven't heard smooth jazz stations playing Evra's accessible version.