Only Everything,
David Sanborn’s second album for Decca, feels like part two of his debut for the label, 2008’s
Here & Gone. That set was a tribute to
Ray Charles and
Hank Crawford -- the alto saxophonist who played with
Charles in the '50s and early '60s, and influenced
Sanborn tremendously. That set featured loads of vocals and tightly arranged tunes that were indicative of the performances of
Charles' bands.
Only Everything delves into more of that territory, but this time,
Sanborn reflects more heavily on
Crawford and
David “Fathead” Newman, another legendary
Charles ace from roughly the same period. The charts here allow for more soloing and offer a looser, more intimate, spontaneous feel. It contains only two vocal appearances: one by
Joss Stone on a punchy “Let the Good Times Roll,” and one by
James Taylor in a unique interpretation of “Hallelujah I Love Her So.” There are two different bands here -- one a septet with a horn section, the other an organ trio.
Steve Gadd handles all the drum chores here, with
Joey DeFrancesco as organist on all cuts. The larger group includes saxophonists
Bob Malach and
Frank Basile, with
Teddy Kadleck on trumpet, and trombonist
Mike Davis. The only original here is the title cut, a ballad for trio, while everything else is R&B-drenched, soul-inflected jazz that may have come from a somewhat distant era yet feels contemporary whether played in septet or trio format.
Crawford’s “The Peeper” is a soulful blues stutter with
Sanborn’s alto lead being punctuated mightily by the horn section underscoring the melody;
DeFrancesco fills the backdrop as
Gadd swings away. Another highlight is
Paul F. Mitchell's “Hard Times,” most recently associated with the Crusaders, but here woven through with soul and gospel via a beautiful horn chart that nods to the
Charles band.
Sanborn’s solo on this track is just outstanding. The album closes with a noirish yet emotional read of
Johnny Mercer's and
Harold Arlen's “Blues in the Night,” with
DeFrancesco playing an inspired starring role. Any way you cut it,
Sanborn’s continued exploration of his roots makes for terrific listening; it builds a smooth, groove-laden bridge between the music of
Charles,
Crawford, and
Newman, to contemporary jazz seemingly effortlessly. ~ Thom Jurek