Photo by CJ Horton
It was in the 1970s that pop music saw a shift from horn sections to individual players. Most of these individuals were skilled jazz musicians inspired by Miles Davis and the jazz-fusion movement. With horn players able to stand out more in these smaller ensembles, the best ones were frequently booked in studio sessions for all kinds of artists.
Two notable top-tier session saxophonist of this era (who were rooted in jazz tradition) were Michael Brecker and David Sandborn. Both Brecker and Sandborn exemplified complete virtuosity and mastery of their instrument. Technical ability aside, the main reason for their success was their ability to act as chameleons: to tastefully play in any genre while serving the music without overplaying.
Brecker and Sandborn were similar in that you could hear the bright timbral quality of their sound, the influence of bebop language, and the implementation of jazz harmony in their improvisation. Both saxophonists used distinct techniques in their improvisation: altissimo, multi-phonics, scooping, pitch bending, growling, and false fingering.
Stylistic commonalities of saxophone improvisation at the time were blues-orientated riffs with tasteful vibrato that both Brecker and Sandborn incorporated in their soloing during this era.
Although there are many similarities between Brecker and Sandborn’s playing, the key difference between the two is David Sandborn’s effects-driven, electronic sound in many of his recordings versus Brecker’s more conventional style.
Notable artist Michael Brecker has recorded with include Paul Simon (“Still Crazy After All These Years”), James Taylor (“Don’t Let Me Be Lonely Tonight”), and Donald Fagen (“About Maxine”). Some that feature David Sandborn are David Bowie (“Young Americans”), James Brown (Reality) and the Lethal Weapon soundtrack.
