David Sanborn
David Sanborn
David Sanbornis an American alto saxophonist. Though Sanborn has worked in many genres, his solo recordings typically blend jazz with instrumental pop and R&B. He released his first solo album Taking Off in 1975, but has been playing the saxophone since before he was in high school. Sanborn has also worked extensively as a session musician, notably on David Bowie's Young Americans...
NationalityAmerican
ProfessionSaxophonist
Date of Birth30 July 1945
CityTampa, FL
CountryUnited States of America
Well, if I'm really playing, I'm hopefully not thinking.
Well, I did all the pre-production and I did full demos of all the songs and then I took it into the studio and played it for all the guys and then we kind of took that as the template and did the album live very quickly.
To me, a record needs to have a focus. It needs to have a core.
I didn't go on the road until right after my second album.
I did the first album, and it did much better than anyone expected.
Pop used to actually routinely sell 10 million records. Now if they get there at all it takes them quite awhile.
But certainly the idea of making records that had a mainstream appeal instrumentally was nothing that we invented.
So I get it worked out beforehand so I can be really efficient in the studio.
Somebody like George Coleman has an approach and a pedagogical approach to teaching and can really kind of lay it out with exercises and demonstrations and different things that will improve your playing.
Music is an expression of individuality; it's how you see the world. All art is, for that matter. You take how you experience the world, interpret it, and send it out there - express it - whether it's sculpture, dance or singing.
Maybe I call the shots, but it's not about them and me. It's about me as a part of everything.
When I was 17 or 18 and it was time to figure out what to do with my life, I realized that I didn't enjoy anything as much as I enjoyed playing music. I felt that I had no choice: that I had to become a musician.
There are some logistical and legal nightmares tied to that show, ... for me, the great thrill of doing that show was playing with people I've been a fan of.
People who really understood the use of space and the fact that the sound and the silence are of equal weight and that what you're doing is really manipulating space. It's the same as a painting except that you're doing it aurally.