Closer

( 1 )

Editorial Reviews

Barnes & Noble - Ted Panken
As he has done on innumerable occasions, David Sanborn frames his trademark blues-drenched sound with a swath of irresistible rolling grooves on Closer, his second Verve offering. But the date -- featuring just-elemental-enough rhythm arrangements and harmonically savvy orchestrations by keyboardist Gil Goldstein -- has a hard-core jazz feel often absent from the alto saxophone icon's past sessions. That may be due to the presence of master jazzmen like bassist Christian McBride, vibraphonist Mike Mainieri, guitarist Russell Malone, traps-master Steve Gadd, and percussionist Luis Quintero, who help Sanborn to evoke the sophisticated, populist essence of late-‘60s Blue ...
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Editorial Reviews

Barnes & Noble - Ted Panken
As he has done on innumerable occasions, David Sanborn frames his trademark blues-drenched sound with a swath of irresistible rolling grooves on Closer, his second Verve offering. But the date -- featuring just-elemental-enough rhythm arrangements and harmonically savvy orchestrations by keyboardist Gil Goldstein -- has a hard-core jazz feel often absent from the alto saxophone icon's past sessions. That may be due to the presence of master jazzmen like bassist Christian McBride, vibraphonist Mike Mainieri, guitarist Russell Malone, traps-master Steve Gadd, and percussionist Luis Quintero, who help Sanborn to evoke the sophisticated, populist essence of late-‘60s Blue Note and early-‘70s CTI albums by such soul-and-funk-jazz pioneers as Stanley Turrentine, Duke Pearson, and Donald Byrd. Over a groove template more pan-African than funky, Sanborn digs into repertoire by early idols like Horace Silver ("Señor Blues" and "Enchantment"), Dizzy Gillespie ("Tin Tin Deo"), Ahmad Jamal ("Poinciana"), and Abdullah Ibrahim ("Capetown Fringe"). He emotes in heart-on-sleeve torchers like "Ballad of the Sad Young Men" and "You Must Believe In Spring" and complements the smoldering vocals of emerging star Lizz Wright on James Taylor's "Don't Let Me Be Lonely Tonight." But yes, it's jazz: Modern but not "contemporary," effervescent but not "lite," Closer communicates without dumbing down.
All Music Guide - Thom Jurek
Saxophonist and composer David Sanborn has always been a maverick. A top-notch technician, he has always imbued his playing with deep emotion -- indeed, that emotional element in his playing has been his signature since he began leading his own bands on record in the 1970s. He has wed modern jazz sophistication to the smooth jazz groove for many years now, and has followed his muse while remaining a commercially viable artist. Closer is another exercise in ambition for Sanborn and his sidemen. They include bassist Christian McBride, guitarist Russell Malone, Larry Goldings on electric piano and organ, vibist Mike Manieri, and drummer Steve Gadd, among others. The material is a fine collection of pop tunes, standards, and surprises from the jazz canon. First, the bad news: Sanborn and vocalist Liz Wright team up for a version of James Taylor's "Don't Let Me Be Lonely Tonight" that is as bland as soy milk. That said, Sanborn's read of Abdullah Ibrahim's "Capetown Fringe" carries within it the joy and dignity of Ibrahim's original and proves to the public something Sanborn has been aware of all along -- that the composer's music is truly accessible to the masses. Underscore this for the album's opener, a smoking little groove read of Gil Fuller and Chano Pozo's "Tin Tin Deo." Horace Silver's "Enchantment" and "Señor" are given fine finger-popping treatments, as are the stellar standards "Ballad of the Sad Young Men," "You Must Believe in Spring," and the beautiful "Poinciana." There is a lovely version of Charlie Chaplin's "Smile" here, given chamber orchestra treatment. Sanborn contributes a pair as well, in the silvery ballad "Another Time, Another Place" and the album's closer, the haunting "Sofia," with a fine string and horn treatment by Gil Goldstein. Once more, Sanborn has wed his commercial and creative aspirations into a thoroughly engaging whole.
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Product Details

  • Release Date: 1/11/2005
  • Label: Verve
  • UPC: 602498631973
  • Catalog Number: 000309502
  • Sales rank: 75,806

Tracks

Disc 1
  1. 1 Tin Tin Deo (6:19)
  2. 2 Señor Blues (5:09)
  3. 3 Don't Let Me Be Lonely Tonight - Lizz Wright (6:08)
  4. 4 Smile (3:52)
  5. 5 Enchantment (4:28)
  6. 6 Ballad of the Sad Young Men (4:01)
  7. 7 Another Time, Another Place (6:05)
  8. 8 Capetown Fringe (3:25)
  9. 9 Poinciana (6:03)
  10. 10 You Must Believe in Spring (3:50)
  11. 11 Sofia (3:45)
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Album Credits

Performance Credits
David Sanborn Primary Artist, Alto Saxophone
Larry Goldings Organ, Electric Piano
Gil Goldstein Accordion, Electric Piano
Bob Sheppard Flute, Soprano Saxophone, Tenor Saxophone
Russell Malone Guitar
Steve Gadd Drums
Joyce Hammann Violin
Mike Mainieri Vibes
Christian McBride Bass
Luis Quintero Percussion
Belinda Whitney Violin
Sheryl Henze Alto Flute, Bass Flute
Alex Sipiagin Trumpet, Flugelhorn
Dave Eggar Cello
Lizz Wright Vocals
Mike Davis Trombone
Ron Lawrence Viola
Technical Credits
James Taylor Composer
Gil Fuller Composer
Gil Goldstein Orchestration, rhythm arrangement
Michel Legrand Composer
David Sanborn Composer, rhythm arrangement
Horace Silver Composer
Chano Pozo Composer
Alan Bergman Composer
Marilyn Bergman Composer
Charlie Chaplin Composer
Jacques Demy Composer
Joe Ferla Engineer
Bernie Grundman Mastering
Abdullah Ibrahim Composer
Stewart Levine Producer, Audio Production
Tommy Wolf Composer
Geoff Parsons Composer
John Turner Composer
Hollis King Art Direction
Fran Landesman Composer
Nat Simon Composer
Bill Singer Sax Technician
Dean Sharenow Digital Editing, Pro-Tools
Buddy Bernier Composer
Linner S. Vasoll Personal Assistant
Jonathan Duckett Engineer
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Customer Reviews

Average Rating 4
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    A cross between classic and smooth jazz

    Wonderful purchase. It is a gentle sound--not quite the soulless music of the 80s, but not quite Coltrane either. I find myself wanting it as background music when in a pensive mood--his breath control is remarkable, and I love the gentleness of the rhythyms. A must have for those looking to escape sans the use of Buddah Bar.

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Sort by: Showing 1 Customer Reviews