01. Dreaming Girl [04:35] 
02. Bang Bang [04:37] 
03. Everything Must Change [04:55] 
04. Back to Memphis [04:46] 
05. First Song [05:23] 
06. Savanna [06:17] 
07. Try a Little Tenderness [05:59] 
08. Full House [06:54] 
09. Got to Give It Up [05:22] 
10. Superstar [05:32] 
11. Hobbies [05:00] 
12. Smoke Gets in Your Eyes [05:42] 
13. Benny [05:47] 
14. Georgia on My Mind [05:12]

David Sanborn has been the most influential saxophonist on pop, R&B, and crossover players of the past 20 years. Most of his recordings have been in the dance music/R&B vein, although Sanborn is a capable jazz player. His greatest contributions to music have been his passionate sound (with its crying and squealing high notes) and his emotional interpretations of melodies which generally uplift any record he is on. Unlike his countless number of imitators, Sanborn is immediately recognizable within two notes. While growing up in St. Louis, Sanborn played with many Chicago blues greats (including Albert King) and became a skilled alto saxophonist despite battling polio in his youth. After important stints with Paul Butterfield (he played with the Butterfield Blues Band at Woodstock), Gil Evans, Stevie Wonder, David Bowie, and the Brecker Brothers, Sanborn began recording as a leader in the mid-'70s and he racked up a string of pop successes. Over the years he has worked with many pop players but he has made his biggest impact leading his own danceable bands. Occasionally Sanborn throws the music world a curve: his eccentric but rewarding Another Hand, a guest stint with avant-gardist Tim Berne on a 1993 album featuring the compositions of Julius Hemphill, and a set of ballads (Pearls) on which he is accompanied by a string orchestra arranged by Johnny Mandel. For a couple years in the early '90s, Sanborn was the host of the syndicated television series Night Music which had a very eclectic lineup of musicians (from Sonny Rollins and Sun Ra to James Taylor and heavy metal players), most of whom were given the unique opportunity to play together. It displayed David Sanborn's wide interest and musical curiosity even if many of his own recordings remain quite predictable. ---Scott Yanow, Rovi

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1 Savanna 6:18
2 The Long Goodbye 6:04
3 Little Face 4:49
4 Got To Give It Up 5:23	play
5 Jaws 5:26
6 Mirage 5:57
7 Big Foot 5:17		play
8 Back To Memphis 4:46
9 Ojiji 6:20

Personnel includes: 
David Sanborn (alto saxophone); 
Howard Hewett (vocals); 
Lenny Picket (tenor saxophone); 
John Purcell (trumpet, English horn); 
Earl Gardner, Michael "Patches" Stewart (trumpet); 
Marcus Miller (bass clarinet, keyboards, guitar, bass, background vocals); 
Ricky Peterson (piano, organ, background vocals); 
William "Spaceman" Patterson (guitar, background vocals); 
Robben Ford, Dean Brown (guitar); 
Steve Jordan (drums, background vocals); 
Don Alias (percussion, background vocals); 
Jason Miles (programming).

David Sanborn is without doubt the most distinct and expressive saxophone player alive and this album is possibly the best exmple of that. He uses a range of latin and funk fushion backing tracks to let rip on some truly stunning solo work and as a fellow saxophonist I can only listen in total admiration. My only slight criticism is that on every track sanborn seems to hold back on any sort of a tune or melody and instead is just waiting for his solo oppurtunity to blow the listener away with some outrageous harmonics. That said this album is a must for any sanborn or saxophone fans and has a quite different feel from his previous work. For me this album entrenches sanborn as the finest alto player around.

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." ---Reginald D. Garrard

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