Two slices of Sanborn from very different eras. The eponymous recording (his second release) finds the young gun fresh and funky in radio friendly mood but still with enough edge to rustle feathers. Bullock's there to aid and abet that funk thang and it's no surprise that it's the guitarist's song, ‘Concrete Boogie’ that is the longest and dirtiest cut on what is overall a workman-like effort. Paul Simon's contributions add a classy pop slant; go on, dare not to shed a tear to ‘I Do It For Your Love.’ No cheese-factor on the outstanding Another Hand. Sanborn's Elektra debut pointedly kicked his muzak pedigree into touch with this meditative set, shot through with a rawer, bluesier edge than his radio fans may have wanted. That cluster of stellar guitarists often set the tone, with Frisell at his skewed country waltz best on ‘Monica Jane’. More ‘out’ cuts like ‘Medley’ maybe more effortful rather than effective, but no one sings a soul ballad as sweetly as Sanborn does on ‘Come To Me Nina’. Far from awed in such company, Sanborn keeps himself centre stage, which is a shade galling as it would've made a fine album finer if he'd traded more licks with his illustrious sidemen. It will help hugely if you read Japanese for this import but the music needs no translating.