Thanks for this enlightening interview -- the St. Louis scene and its intersection with Chicago's 1960s' blues and jazz ("Mayor Daley's music") continues to fascinate. Philip Wilson was also the original drummer for Roscoe Mitchell's Art Ensemble (as heard on Old Quartet). Sanborn's recall of Butterfield's Pigmeat Cranshaw (a classic) takes me back . . and his ambitious albums like Another Hand (produced by Hal Willner and Marcus Miller w/Marc Ribot and Bill Frisell, Jack DeJohnette, Charlie Haden, Mulgrew Miller and more) and Diminutive Mysteries (with Tim Berne) well worth hearing. Sanborn was stellar with Gil Evans' orchestra at Sweet Basil, too.
Thanks so much for this insightful interview. Makes me think back to being a kid graduating from high school in 1967, buying records with all my extra money -- mostly rock but just starting to dip my pinky toe into jazz. It is always fascinating to so many years later realize how closely woven together all
these musicians and musics actually were. And oh my goodness, let's all give a big hand indeed to "Another Hand." R.I.P., Mr. Sanborn...
On our first date my future wife and I went to the Oakdale Theater in Wallingford CT 9revolving stage and all) to see Paul Butterfield. "Pigsboy Crabshaw" had just come out and I needed to see and hear this band. Elvin Bishop had just left the band and this his replacement Buzzy Feiten's first tour with the band. I still laugh thinking about how the first solo after Butterfield's went to Phillip Wilson and he brought the crowd to its feet. Mr. Sanborn was amazing and he and "Brother" Gene Dinwiddie were formidable soloists. A few years, I had also discovered Roscoe Mitchell and heard Phillip Wilson in a totally different light. Then, "Dogon AD" showed me how the blues was even more human than I imagined! I remember reading your original post and smiling like I am right now! Thanks again, Ethan!
incredible stuff. so much to take in and investigate and study from that short piece — something that sounds like it rolled easily out of him, beyond the obvious surprise that Sanborn arose from the same ground as those legendary avant-gardists. RIP Sanborn and RIP Wilson!
Thanks for this enlightening interview -- the St. Louis scene and its intersection with Chicago's 1960s' blues and jazz ("Mayor Daley's music") continues to fascinate. Philip Wilson was also the original drummer for Roscoe Mitchell's Art Ensemble (as heard on Old Quartet). Sanborn's recall of Butterfield's Pigmeat Cranshaw (a classic) takes me back . . and his ambitious albums like Another Hand (produced by Hal Willner and Marcus Miller w/Marc Ribot and Bill Frisell, Jack DeJohnette, Charlie Haden, Mulgrew Miller and more) and Diminutive Mysteries (with Tim Berne) well worth hearing. Sanborn was stellar with Gil Evans' orchestra at Sweet Basil, too.
Great comment, thanks Howard
Thanks so much for this insightful interview. Makes me think back to being a kid graduating from high school in 1967, buying records with all my extra money -- mostly rock but just starting to dip my pinky toe into jazz. It is always fascinating to so many years later realize how closely woven together all
these musicians and musics actually were. And oh my goodness, let's all give a big hand indeed to "Another Hand." R.I.P., Mr. Sanborn...
thanks Karl!
On our first date my future wife and I went to the Oakdale Theater in Wallingford CT 9revolving stage and all) to see Paul Butterfield. "Pigsboy Crabshaw" had just come out and I needed to see and hear this band. Elvin Bishop had just left the band and this his replacement Buzzy Feiten's first tour with the band. I still laugh thinking about how the first solo after Butterfield's went to Phillip Wilson and he brought the crowd to its feet. Mr. Sanborn was amazing and he and "Brother" Gene Dinwiddie were formidable soloists. A few years, I had also discovered Roscoe Mitchell and heard Phillip Wilson in a totally different light. Then, "Dogon AD" showed me how the blues was even more human than I imagined! I remember reading your original post and smiling like I am right now! Thanks again, Ethan!
Right on, Richard!
incredible stuff. so much to take in and investigate and study from that short piece — something that sounds like it rolled easily out of him, beyond the obvious surprise that Sanborn arose from the same ground as those legendary avant-gardists. RIP Sanborn and RIP Wilson!
I heard Philip Wilson once in Boston with Lester Bowie and others.
I never forgot him.
Thank you for this. I knew a friend of David Sanborn and she had only nice things to say about him.