Details
Track Listing
1. Comin' Home Baby
2. Cristo Redentor
3. Harlem Nocturne
4. Man From Mars
5. Isn't She Lovely
6. Sugar
7. Tequila
8. Little Flower
9. Spider B.
10. Delia
Album Notes
Personnel: David Sanborn (alto saxophone, piano); Lani Groves, Arnold McCuller, David Lasley, Valerie Pinkston (vocals); Randy Brecker (trumpet, flugelhorn); Lawrence Feldman (alto flute, bass flute); Alfred Brown, Olivia Koppell (viola): Jesse Levy, Caryl paisner (cello); Mike Mainieri (vibraphone); Gil Goldstein (piano); Ricky Peterson (keyboards); Russell Malone (guitar); Christian McBride (bass); Steve Gadd (drums); Don Alias, Luis Quintero (percussion).
Recorded at Right Track, Hiatus, New York, New York and Capitol Studios, Hollywood, California.
TIMEAGAIN was nominated for the 2004 Grammy Award for Best Contemporary Jazz Album.
David Sanborn defined modern mainstream-jazz saxophone throughout the 1970s and '80s with a string of coolly pristine dance/funk-influenced records. Consequently, Sanborn paved the way for the mega-success of pop-jazz artists like Kenny G. After embracing a pop-oriented vibe himself on 1999's INSIDE, with TIMEAGAIN Sanborn returns to what one might call his "classic" sound--a highly rhythmic, cleanly produced yet earthy blend of R&B grooves, accessible tunes, and elegant, sublimely understated alto saxophone work.
Though the sound is as crystal-clear as always, the record often has the feel of a groovy late-night jam session; one can almost imagine people bobbing their heads and sipping their drinks, basking in the aural glow. Things never get too slick, thanks in part to the ruggedly bluesy bass of Christian McBride. Whether on gorgeously lush ballads like Sanborn's own "Little Flower" or fun romps like the Champs' classic frat-rocker "Tequila," Sanborn and crew play this music like they were born to do it, blowing with a calm sense of purpose that only the most accomplished professionals can attain.
Industry Reviews
...This is a pop-instrumental album that delivers in full on its promises of melodies, grooves and subtle variations. And it does so with the sort of understatement and curiosity that's all to rare in its field...
JazzTimes (06/01/2003)
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