Hearsay

David Sanborn | Format: MP3 Download

Product Details

• Original Release Date: June 7, 1994
• Label: Elektra 0591
• Copyright: 1994 Elektra Entertainment Group, a division of Warner Communications Inc. for the United States and WEA International Inc. for the world outside of the United States
• Genres: Jazz/Jazz Fusion, Jazz/Smooth Jazz
• ASIN: B001202TQ0
• Average Customer Review: 3.5 out of 5 stars  See all reviews (6 customer reviews)

Customer Reviews

Most Helpful Customer Reviews

3 of 3 people found the following review helpful:

5.0 out of 5 stars Unexpected delight., August 7, 2003

By 

Neyetro "Jazzyone" (Atlanta, GA (Austell)) - See all my reviews

This review is from: Hearsay (Audio CD)

I bought this CD back in '96, a year or so after it was released, and delayed my purchase because I thought it wasn't a good Sanborn release. Unexpectedly, this CD really gives you some regular 'Sanborn-type' compositions, especially after the free formed and conceptual 'Another Hand', and the laid-back/ballads 'Pearls'. It was 'Another Hand's' disappointment which really kept me off 'Hearsay'. Upon my first listen, I realized that Sanborn was making a strong effort to regain his old audience with some upbeat tunes along with the production help again of Marcus Miller. 'Jaws' really lights up the joint and 'Long Goodbye', 'Little Face', and 'Back to Memphis', all have a strong blues influence which works really well. This one is worth a strong listen to.

1 of 1 people found the following review helpful:

5.0 out of 5 stars One man's pleasure is another's pain, June 10, 2002

By 

Reginald D. Garrard "the G-man" (Camilla, GA USA) - See all my reviews
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This review is from: Hearsay (Audio CD)

Contrasting an earlier reviewer, I find this entry from sax wizard David Sanborn to be a highly enjoyable musical experience. Sanborn weaves a varied listening tapestry with slow jams to mid-tempo gems to downright funky scorchers. His reworking of Marvin Gaye's "Got to Give It Up" pays homage to the original party song, which in itself was more of an instrumental (with Gaye's voice serving as the "horn"). Other strong highlights are the African-influenced "Ojiji" and the down-home sound of "Back to Memphis."

5.0 out of 5 stars Sanborn Stepping Back Into The Groove, January 24, 2012

By 

Andre S. Grindle "Andre' Grindle" (Brewer Maine) - See all my reviews
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This review is from: Hearsay (Audio CD)

David Sanborn gained a lot from his musical experiences during 1991-92 first with his Another Hand release,which found him pursueing a completely unexpected musical direction and the following years B000002HA6 which found him in a more modern funk state of mind and with a popular new hit "Bang Bang". His creative journey as a solo artist had taken him in many directions. At this point it wouldn't have been hard,especially approaching middle age to just fall back on the session playing that made him famous. But he didn't have any intention of going backward. He was creatively rejunivated. And at last had discovered that it wouldn't be that difficult to make his soulful jazzy funk within the "keeping it real" ethic of the time.

Consisting of the likes of guitarist Ricky Peterson,drummer Steve Jordan,percussionist Don Alias and of course Marcus Miller's bass this album continues on the funk oriented direction Sanborn had been pursuing on his previous release. Only the rhythms are a lot more organic in flavor. "Savanna" is a great opener,a riveting jazz-funk number with a lot of great rhythmic meat to it. "The Long Goodbye",with it's prominant organ and "Little Face" both deal very heavily with the blues,the first on the slower side and the next one with this jazz-rock rhythmic shuffle and a catchy sax hook for Sanborn. A cover of "Got To Give It Up" as well as "Jaws" and "Bigfoot" and we're dealing with some serious funk that's all the way live,in others words just as powerful onstage likely as it is here.

"Mirage" is a slower,more textured and jazzy type track while Sanborn's affinity for funky Southern soul jazz comes out on the chunky "Back To Memphis". It's back to the very Afro-Carribbean roots of funk on "Ojiji" as Alias's percussion is locked in tight with Sanborns played. From song to song,beginning to end this is yet another musical success for David Sanborn. He has a small group that could easily take this music to the stage and manages a relatively difficult feat-to produce funk in the 90's that could function perfectly both in a live and studio setting. Often times either the sound is too obsessed with instrumental "naturalness" or some variety of electronics. This is very balanced both ways. And nobody's pushing too hard either. Everyone knows each other's abilities in this band enough by now to know what to expect and flow with the grooves. And it makes the music all the more captivating.