Bought: Our Price Richmond
On 17 July 1986, Tampa-born sax great David Sanborn broke off from a European tour to guest with Miles Davis and band at the Montreux Jazz Festival.
Though obviously nervous, Sanborn acquitted himself well, getting stuck in with some tasty modal solos and prompting many Miles smiles. Hopefully the performance would bode well for Sanborn’s next studio recording.
Unfortunately not. Sanborn made some fine albums during the 1980s – Hideaway, Voyeur, As We Speak, Straight To The Heart – but A Change Of Heart was not one of them. It was the kind of over-produced, under-composed, unfunky ‘fusion’ record that Tutu should have killed off once and for all.
I bought it on cassette when it came out, proudly showing it off to a cool family friend who had previously introduced me to loads of great music. I hoped he would be impressed by my purchase. He turned his nose up, mumbling something about ‘Bloody muzak…’ Harsh but fair, at least when it comes to most of A Change Of Heart.
The opening two Marcus-written-and-produced tracks – ‘Chicago Song’ and ‘Imogene’ – deliver a quality that the rest of the album never even remotely approaches. Miller was in constant demand around this time and presumably couldn’t commit to the whole album. ‘Imogene’ is a classic ballad with a haunting fretless bass melody and beguiling bridge, while ‘Chicago Song’ transcends its simple melody with an irresistibly funky rhythm section and biting Hiram Bullock guitar bridge.
The rest of A Change Of Heart seems designed for the latest Don Simpson movie or an episode of ‘Miami Vice’. Syndrum overdubs and unsubtle Fairlight samples prevail alongside ugly synth sounds and flimsy melodic motifs, without a whiff of jazz or R’n’B. Producer/synth players/writers Ronnie Foster, Philippe Saisse and Michael Colina toil away fruitlessly and even Sanborn’s licks don’t stick.
Sanborn toured A Change Of Heart extensively with a great band featuring Bullock and Dennis Chambers on drums, even popping up on primetime UK music show ‘The Tube’ playing Michael Sembello’s smooth-jazz ballad ‘The Dream’. He was clearly at his commercial peak (the album made the top 100 in the US and UK) but the creative rot would prevail to the end of the ’80s. He got back on track with the release of 1991’s Another Hand.