How to Skinner jazz cat swapping Vidya niceties for a Smile

[Serial_Apologist]

Sun 2 June

http://www.alynshipton.co.uk/blog

http://www.bbc.co.uk/programmes/m001znxc

(N.b. There's NO d in Sanborn, someone should inform the iPlayer algorhythmics dice-throwers, and also Radio Times).

Mon 3 - Fri 7 June

http://www.bbc.co.uk/programmes/m001zmwz

[Serial_Apologist]

I dare say I'll win few brownie points for saying David Sanborn is overrated, in my opinion, and I am surprised he is receiving so many plaudits at the moment. This was highlighted by the two Gil Evans versions of that old standard King Porter Stomp, the earlier of which, highlighted by Cannonball Adderley's leaping Bird-expanding lines really showed up the moribund ordinariness of Sanborn's 17 years later chronologically if not idiomatically. George Russell's admonishing of Andy Sheppard, "You ain't just supposed to play the blues scale, man!" came back to me not for the first time. Had he stuck around the likes of Oliver Lake and the other Bowie a bit longer he might have gleaned a few ideas to enrich his improvising style, but I guess he preferred to place safety before risk and reputation. What a delight the Vidya track turned out to be, the vocalist (new to me) starting off insouciantly before the band truly caught fire with a daring one would wish more often of younger players these days and then returning impishly to the mike.

[BLUESNIK'S REVOX]

I'm not a huge "fan" of Sanborn (the tone) but I think he did hang around MORE than a lot with Philip Wilson, Lester Bowie, Lake etc in the developing days. And they all played in many different settings to make a living, as he outlined in the very good interview I posted above. The direction he took was his choice - although I notice today some Eddie Harris as well as Hank Crawford - and he did it with humility and an open awareness of others abilities. He wasn't a technical player like Mike Brecker, he'd had serious polio as a child and that limited his hand etc. The (over produced?) settings were very much of the times he came up.

His late night TV shows also featured a huge array of artists, from blues to jazz players who were rarely on mainstream TV, Stanley Turrentine, Phil Woods etc.

So, a good life and an apparently very decent guy. He didn't have to be Cannonball - Cannonball already did it.

*And thanks Alyn for playing "Rambling".

[Serial_Apologist]

I'm not a huge "fan" of Sanborn (the tone) but I think he did hang around MORE than a lot with Philip Wilson, Lester Bowie, Lake etc in the developing days. And they all played in many different settings to make a living, as he outlined in the very good interview I posted above. The direction he took was his choice - although I notice today some Eddie Harris as well as Hank Crawford - and he did it with humility and an open awareness of others abilities. He wasn't a technical player like Mike Brecker, he'd had serious polio as a child and that limited his hand etc. The (over produced?) settings were very much of the times he came up.

His late night TV shows also featured a huge array of artists, from blues to jazz players who were rarely on mainstream TV, Stanley Turrentine, Phil Woods etc.

So, a good life and an apparently very decent guy. He didn't have to be Cannonball - Cannonball already did it.

*And thanks Alyn for playing "Rambling".

You're right - I was being disingenuous, not my usual style, and I take it back.

[Serial_Apologist]

I want to recommend much of the stuff Soweto has been presenting tonight, given that it flies against my pessimistic prognostications for the first time, really. The Simcock solo was amazing, a sort of John Taylor/Chick Corea amalgam and more, also the Emma Rawicz, one of the finest female tenorists I have heard, going by that track, and a great band to go with, vocalist included.