Jazz Reviews : Saxophonist Sanborn’s Funky Freeway Ride

David Sanborn may have been the most influential alto saxophonist of the ‘70s and early ‘80s. A generation of young players--Marc Russo (of the Yellowjackets), Brandon Fields and Sam Riney are only a few who come to mind--was deeply affected by Sanborn’s soaring high notes and blues-honed melodies.

Sunday night at the Pacific Amphitheatre in Costa Mesa, Sanborn displayed the present status of his skills firsthand before an enthusiastic capacity audience.

He divided Sunday night’s program fairly equally between older material and songs from a current album, “Close Up” (Reprise Records).

With the possible exception of a rousing piece titled “Slam,” the older material was far better, igniting considerably more improvisational sparks in Sanborn’s solos.

Wisely, he abandoned the incessant high note cries that dominate virtually every track of the studio effort, and, on pieces like “As We Speak,” dug deeply into the multinote swoops and flourishes that are the meat and potatoes of his style.

Guitarist Hiram Bullock, working alongside Sanborn as a near-equal front-line soloist, brought a highly entertaining visual energy to the program. On a feature number that included bits and pieces of “ ‘Round Midnight” and “Don’t Get Around Much Anymore,” he roved through the audience with his instrument, impressive with his vigorous athleticism, if not always with his music.

Keyboardist Ricky Peterson’s keyboard work, less visually spectacular, nonetheless did a bit more to tickle the brain, while bassist Steve Logan, percussionist Don Alias and drummer Terry Lynn Carrington laid down an unrelentingly foot-tapping pulse.

Invigorating though it may have been, the primary problem with Sanborn’s music was that it simply didn’t go anyplace. Whatever motion and change it showed was almost always generated by a calculated shift of gears from the rhythm section. And even those route changes were simply moves from one funk freeway to another.

The Pacific Amphitheatre concert was the final stop of a 2 1/2-month tour, and Sanborn may be well-advised to take a break and give a little consideration to the future musical direction of his career. With four Grammys on the shelf, regular appearances on “Late Night With David Letterman” and his own weekly radio program, “The Jazz Show,” he seems to have it all.

But his current level and style of performance--both in Sunday night’s program and in the new album--successful though it may be in a commercial sense, leads one to wonder how many young saxophonists are being influenced by today’s David Sanborn.