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DAVID SANCIOUS

Jazz Rock/Fusion • United States


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David Sancious biography
David Sancious was born on November 30, 1953 in Asbury Park NJ. When he was still in his teens he was asked to join Bruce Springsteen's E Street Band as a keyboardist and occaisonal saxophonist. He stayed with that band for their first three albums. In 1974 Sancious split from Springsteen and formed David Sancious and Tone with drummer Ernest Carter and bassist Gerald Carboy. Tone's music was comparable to other 70's bands that mixed progressive rock and jazz fusion; ie Return to Forever, Bill Bruford, Camel, Jean Luc Ponty, Alan Holdsworth and Mahavishnu Orchestra. Sancious' keyboard playing revealed many influences such as French neo-classical piano music, Gospel and fellow synth/keyboardists Chick Corea, Keith Emerson and Jan Hammer. Playing in Tone also gave David the freedom to show off his talents as a guitarist as well. His guitar style owes a lot to Jimi Hendrix, as well as Jeff Beck and John McLaughlin.

Tone never got the recognition they deserved, but fortunately Sancious continues to remain in the limelight because of his highly valued sideman work with people like Sting, Peter Gabriel, Stanley Clarke, Billy Cobham, Seal, Eric Clapton, Jon Anderson and many more.

===Easy Money===


discography:

Forest of Feelings (1975) w. Tone
Transformation Speed of Love (1976) w. Tone
David Sancious (1977)
True Stories (1978) w.Tone
Just as I Thought (1979)
The Bridge (1981)
9 Piano Improvisations (2000)
Dance of the Age of Enlightenment (2004) w. Tone
Cinema (2005)
Live 'In the New'(2008)

David Sancious official website

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Forest of FeelingsForest of Feelings
Import
Imports 2014
Audio CD$23.47
True StoriesTrue Stories
Arista
Vinyl$5.93 (used)
Live At My Father's PlaceLive At My Father's Place
Import
Tachika Records
Audio CD$24.99
David Sancious [LP]David Sancious [LP]
CHELSEA
Vinyl$38.99 (used)
9 Piano Improvisations9 Piano Improvisations
Import
Not By Sight 2008
Audio CD$6.20
$7.75 (used)
CinemaCinema
Import
Not By Sight 2008
Audio CD$62.26
$26.87 (used)
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DAVID SANCIOUS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

DAVID SANCIOUS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 17 ratings
Forest of Feelings
1975
3.80 | 18 ratings
Transformation : Speed Of Love
1976
3.30 | 8 ratings
Dance of the Age Of Enlightenment
1977
4.10 | 10 ratings
True Stories
1978
4.61 | 9 ratings
Just as I thought
1979
4.38 | 8 ratings
The Bridge
1982
4.67 | 6 ratings
9 Piano Improvisations
2000
4.29 | 7 ratings
Cinema
2005

DAVID SANCIOUS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.83 | 6 ratings
In the now
2006

DAVID SANCIOUS Videos (DVD, Blu-ray, VHS etc)

DAVID SANCIOUS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

DAVID SANCIOUS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

DAVID SANCIOUS Reviews


Showing last 10 reviews only
 Forest of Feelings by SANCIOUS, DAVID album cover Studio Album, 1975
4.00 | 17 ratings

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Forest of Feelings
David Sancious Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars David Sancious' Forest of Feelings is an interesting look at what would happen if you took a fusion band and you parachuted into their midst a showboating keyboardist of the Keith Emerson school - the sort of guy who likes to spend a lot of time playing noodly, over-busy interpretations of classical music and old standards. I tend to find this sort of prog highly hit- and-miss - I find Emerson Lake and Palmer's quality control to be hugely variable, and I thought Beggar's Opera improved a lot on their second album where they moved away from this style of symphonic rock - but here I find Sancious does a credible job of keeping my interest and having a bit more to say than "Look! It's a classical standard, but on a MOOOOOOOG!"

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 Forest of Feelings by SANCIOUS, DAVID album cover Studio Album, 1975
4.00 | 17 ratings

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Forest of Feelings
David Sancious Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

4 stars Talented American keyboardist David Sancious, born in 1953 in Long Branch, New Jersey, received classical education as a youngster, while he also taught himself guitar and in early-70's he moved to Richmond, Virginia, where he worked at Alpha Studios.Soon he became a member of Bruce Springsteen's backing group E Street Band, with which he spent two years.In 1974 Sancious and E Street Band-bandmate Ernest Carter left the band and formed Tone with drummer Gerald Carboy.Sancious & Tone debuted in 1975 with the album ''Forest of Feelings'' on Epic.

The talent of Sancious is fully displayed in this first work of Tone and his wide influences from Classical Music to Jazz to Progressive Rock result a tight amalgam of sounds, that can only be described as Fusion.His main reference point seems to be a proggier WEATHER REPORT with alternating atmospheres from fiery and professional Fusion to more mellow moments of Jazz Rock.But the album contains also strong Classical-inspired themes and spacey keyboard parts, closer to the Progressive Rock lines.Sancious' work is dominant and impressive, including sharp and adventurous synthesizers blended with extremely inspired piano themes and smoother organ moves, while he also prooves to be an excellent guitarist when needed next also to the talents of Gerald Carboy and Ernest Carter.The faster and more energetic tracks have a strong progressive background, while the more one-dimensional pieces scan the differences between romantic Classical Music and easy-going Jazz.All of them though are well-composed and executed.

I would dare to say that Sancious & Tone should be a guide for all modern Prog/Fusion trios.''Forest of Feelings'' is the greatest proof.Dynamic, passionate still melodic keyboard-based Fusion of high quality.Highly recommended.

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 Forest of Feelings by SANCIOUS, DAVID album cover Studio Album, 1975
4.00 | 17 ratings

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Forest of Feelings
David Sancious Jazz Rock/Fusion

Review by Sander

4 stars I recently found this again, after 30 years. I had it on a cassette and that was stolen from my basement. And by that time I had no money to buy all the good music I liked on those cassettes again. And now I hear it again, it makes me happy, especially March Of The Conditioned Souls. I found a lost friend again. The music is awesome, Sancious plays so good. Acoustic piano parts, Chick Corea like parts, his guitar playing, the compositions, all great. And much variety. Do you like Return To Forever and the jazz rock side of George Duke? Buy this one.

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 Forest of Feelings by SANCIOUS, DAVID album cover Studio Album, 1975
4.00 | 17 ratings

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Forest of Feelings
David Sancious Jazz Rock/Fusion

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

4 stars I had heard David Sancious on album for years before I found out that he was a member of Bruce Springsteen's E Street Band originally. I knew him for his fiery playing with Stanley Clarke, Lenny White, Jack Bruce and of course, his own albums. And this is one of his best.

This album was his first solo endeavor. And it was produced by the great drummer Billy Cobham (who also plays tympani on a few of the tracks here). The album ranks up there with some of the best of the mid- seventies symphonic fusion greats.

The best tracks are the Mahavishnu-like Suite Cassandra and The Forest Of Feelings. Both of these are complex and lush fusion pieces, with symphonic prog sections driving them along. Another highlight is the two-part Dixie, a minor key warping of the classic song, which descends into some wild electronic experimentation.

It's a shame that Sony has allowed this gem to go out of print, as it should rank high in their fusion catalog.

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 Dance of the Age Of Enlightenment by SANCIOUS, DAVID album cover Studio Album, 1977
3.30 | 8 ratings

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Dance of the Age Of Enlightenment
David Sancious Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

3 stars This album was supposed to be released in 1977 but because of a dispute between Sancious' old label Epic and his new one Arista over ownership rights, it wasn't released until 2004 ! This album continues pretty much in the same path as the previous one but we do get vocals on a couple of tracks. Those two vocal tracks if anything lower my opinion of it.

"Overture" features vocals that come in quickly including some cringe worthy backing vocals.This is really wimpy except for the bass. "1st Movement" opens with vocal melodies followed by drums and organ a minute in. A calm with vocal melodies return then it kicks in once more before we get a steady rhythm with lots of keyboards 3 1/2 minutes in. The tempo shifts often after 6 1/2 minutes. The best part of the song is 11 minutes in.

"2nd Movement" opens with atmosphere before an orchestral-like soundscape takes over. A calm follows then it kicks back in quickly. Best parts are after 2 and 4 minutes. "The Dawn" is laid back with a beat and keyboards leading the way. "3rd Movement" opens with a flury of keyboards and drums then it settles as contrasts continue. "4th Movement" is led by piano throughout. "Finale Part I" has a Middle Eastern vibe with vocals. "Finale Part II" is my favourite tune as it's filled with atmosphere only.

It's difficult to even give 3 stars for this one. Just not my cup of tea I suppose.

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 Transformation : Speed Of Love  by SANCIOUS, DAVID album cover Studio Album, 1976
3.80 | 18 ratings

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Transformation : Speed Of Love
David Sancious Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

3 stars David Sancious was part of Bruce Springsteen and the E Street Band for their first three albums before going out on his own. After his solo project ended he became a session musician for popular pop stars. So yes he has done very well for himself. Man I hate to even bring up the Springsteen connection because i've never been a fan, quite the contrary actually, ever since "Born To Run" was all over the radio in the seventies. And that dude from "Rolling Stone" who said he saw the future of Rock when he saw Springsteen way back when, I hope you've finally gotten your laser eye surgery because you were dead wrong. The music from Sancious is sort of a Jazz / Fusion style mixed with Symphonic-Prog I guess you could say. I have to admit as much as the playing on this album impresses me, especially the bass and drum work, I just can't get into the music.

I probably like the first track the most. "Piktor's Metamorphosis" contrasts the laid back, chill out mood with the more aggressive keys, bass and drums sections. "Sky Church Hymn #9" opens with drums as this bluesy guitar comes in. Not fan of this. It turns more uptempo though with some ripping guitar (okay i'm impressed) before ending the way it began.

"The Play And Displays Of The Heart" opens with piano and acoustic guitar with the tempo switching back and forth. It's okay. "Transformation (The Speed Of Love)" is the closing side long suite. It kicks in after a minute. Organ 5 minutes in then we get a calm before it kicks back in. Love the bass and drum work. A calm with bells 9 1/2 minutes in and later after 12 minutes before kicking back in 15 1/2 minutes in. Good song but i'm not overy impressed.

I'm in the minority here with my thoughts on this record so a grain of salt is recommended. I think it's good, most think it's great.

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 Transformation : Speed Of Love  by SANCIOUS, DAVID album cover Studio Album, 1976
3.80 | 18 ratings

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Transformation : Speed Of Love
David Sancious Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

4 stars David Sancious possibly is better known as studio musician, but this album represents him as very competent solo musician. Just four compositions, David plays both keys and guitar. The music there is more or less similar to jazz fusion leaders of that time.

"Sky Church Hymn #9" is unusual blues based composition with very energetic guitar in Hendrix-style. Two other side-A compositions contain all main elements of jazz fusion from mid-70-s. David plays attractive keyboards tunes and structures, with some passages , but I like more separate moments, than compositions in whole.

Fourth, longest composition (and side-B of original LP release) is 18+ minutes long jazz fusion suite with vocals (including Gayle Moran). With bigger accents on individual instruments soloing, generally this composition could be compared with RTF works.

Overall, album contains many moments of really high class energetic jazz fusion of its time and demonstrates very competent musicianship. I just missed concept feeling, the music often sounded as great demonstration of some musical pieces, not too much connected between each other. Great musicianship, but after listening you possibly will remember some separate pieces and moments, but hardly all album as whole work.

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 Just as I thought by SANCIOUS, DAVID album cover Studio Album, 1979
4.61 | 9 ratings

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Just as I thought
David Sancious Jazz Rock/Fusion

Review by Kazuhiro
Prog Reviewer

5 stars It is David Sancious of "Musician in the musician" and the praised keyboard player in Peter Gabriel. And, the technology and knowledge that masters not only the keyboard but also very various musical instruments might be the points that should be exactly praised.

The activity of David Sancious after it had resigned from E.Street Band that led Bruce Springsteen in 1974 might always have offered the listener the work with high quality in which all Music's genres were exactly covered.

It is necessary to evaluate the talent of David Sancious known by competing with musicians such as Stanley Clarke, Peter Gabriel, and Sting high. It is likely to be able to listen to the work at time when the talent, the sense, and the idea were blocked most remarkably in his work in the 70's.

David Sancious forms "Tone" of own band in 1974. A recent work was time of the creation where his very a variety of element and idea were blocked. David Sancious is indeed well versed for Progressive Rock. Making those element and sound is expressed by the album of the "Tone" name.

David Sancious And Tone dissolves by "True Stories" announced in 1978. However, the desire of the created music enchanted the listener with the revolution in the flow that he announced the album by the name of Solo. The part where Eddy Offord had been appointed as a producer as well as "True Stories" of the former work concretely showed the music that David Sancious exactly created. The flow that the element of Jazz/Fusion and Prog Rock is taken to completion S well taking the sound of symphonic might be a result of bringing forth of the work of Eddy Offord and the creation of David Sancious splendidly. It is refined further, and all good parts might be developed and the creativity cultivated in the work of "Tone" been extracted. And, it is a work that should be able to be called the sound Jazz Rock/Prog Rock completely refined.

"Run" starts in the line of Bass that David Sancious plays. And, the original sound that David Sancious plays twines round the melody of the guitar with a complete sense. The rhythm of Ernest Carter keeps fast Passage and supports the tune. David Sancious plays the guitar well. The sound and has finished ..Jazz-Rock that the quality in which "Bruford" and Allan Holdsworth in the 70's are reminiscent is high... Progressing the tune not to forecast by making good use of fast and slow has a completely progressive flow.

"Just As I Thought" becomes complete piano and the rhythm that intermittently repeats the rhythm of the odd number and advances. The idea of David Sancious accompanies a good fusion of Jazz/Fusion and Prog Rock attended with an original sound. The composition and the flow of piano Chord are also preeminent. A variegated sound makes one space. There are only 30 second of one minute tune. However, creativity is exactly proportional to the album. And, Jeff Berlin takes charge of Bass in this tune.

"Again" might be a tune that gives width as the entire impression of this album. How the creation of David Sancious is not biased to one genre might be understood. Making the keyboard and a piano melody and the sound is splendid though the tune advances around the song. The gentle ballade sung by Kabir Ghani might have had a moving flow. Solo of the keyboard performs moving solo while using a progressive sound. It is a tune with which the part where David Sancious is good is exactly blocked.

As for "The Naked I", the arpeggio of a beautiful, acoustic guitar by Davis Sancious is impressive. The obbligati of the keyboard with the anacatesthesia twines well, too. The part where the tune that fast and slow is put as a composition of the album and the fraction is short is arranged might succeed as one of the senses, too.

"Valley Of The Shadow" is a tune that the element of Prog Rock unites completely in Jazz/Fusion. The tune explodes because of the sound of the keyboard with Spacey's element. A powerful rhythm twines round a beautiful piano melody. The tune reaches the peak at once and shifts to solo of the keyboard. The combination of the sounds of the keyboard is indeed variegated. And, the excitement continues. It returns to the theme again and the guitar twines. This flow will be reminiscent of the element of Bruford in the 70's, too. The part of the negotiation with the keyboard and the guitar might be exactly a highlight of the tune with the tension continued. The technology of David Sancious that surely expresses these ideas is splendid. The composition in which the top is repeated always surely raises this album-quality.

As for "Suite:For The End Of An Age", Spacey's sound twines from the explosion of a free tempo round an intermittent rhythm. The song of Kabir Ghani twines round the rhythm of the rhythm of five. The tune might be very ..Spacey.. Jazz/Fusion/Prog Rock. The tune combines the rhythms of 7 and 5 from complex development and advances in fast Passage. Development is very progressive. In addition, the tune shifts from the development of the rhythm in close relation to the complexity to the piano. The flow of the float in the space suddenly shifts to the rhythm of 12 and rushes into the Spacey part. The tune returns to the first theme and reaches the peak. They will never get tired by the flow.

"Remember" starts by a solemn piano melody. The sense of the melody of David Sancious might be splendid. The tune ..short composition.. has finished with the part of the intro. However, the concept of the album continues.

"And Then She Said" has the start where a progressive keyboard twines round a beautiful piano sound. It might be development where a good element of Jazz/Fusion is included. The sound in which the anacatesthesia is given is made and it becomes intense and advanced development is composed well as an idea. The method of Jazz/Fusion has been exactly taken well. Solo of Bass might be exactly straightening of Jeff Berlin. The composition that returns from solo of Bass to the theme is also splendid.

"Again Part 2" that decorates the end of the album is a sequel of "Again", too. A gentle piano theme touches it with a grand impression. Grand flow by the chorus's introduction. And, a perfect idea and it is technological of David Sancious. They might have completed the album.

The music that he created in the 70's is always acknowledged as a high-quality work. You may take up this album as the compilation. It is ..one by David Sancious exactly- masterpiece.. finished.

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 Transformation : Speed Of Love  by SANCIOUS, DAVID album cover Studio Album, 1976
3.80 | 18 ratings

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Transformation : Speed Of Love
David Sancious Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Sancious second album came a bit bizarrely with a similar artwork of orange skies at sunset, just like its previous and debut album To say that if the container looked the same,and deduct that the content was the same as the debut is something I wouldn't do, but there is a bit of that. The awesomely gifted Sancious was breaking grounds with his risky mix of jazz and symphonics without actually sounding cheesy or cliché or being part of Sinatra's generation. The man was using modern jazz rock/fusion ala RTF or later WR, but instilling a good dose of classical music, a bit like McLaughlin had done with MO, but quite achieving the same results, which is where Sancious innovates. This album is actually attributed to DS and Tone, which is his back up band, roughly the same players than on the debut, including bassist Carboy and drummer Carter, and an appearance of Gayle moran, already a guest on the previous album.

Just four tracks on this album, three of them medium-sized on the A-side, but the longer of these Sky Church Home is good blues but overstaying its welcome at 9 minutes. The other two tracks are much more interesting for the progheads, as the opening Metamorphosis takes you through a bunch of challenging rhythms, and entwining solos of keyboards and guitars (both handled by Sancious) and even gets a bit of growled vocals in until you feel dizzy. After Sancious' fiery guitar pyrotechnics on the blues tracks, Play And Display Of The Heart is a welcome rest, a slow-starting fusion piece starting on a classic piano (and later a slightly more jazzy guitar, but not at first) and remains in the mostly in the symphonic (sorry to use this word for a sole piano) realm.

The flipside's sidelong Transformation returns more to the enthralling music of Metamorphosis (mmmhh!! I think the titles are a solid hint), slowly rising from the ashes under a hundred percussion instruments slowly crescendoing (a bit like the Moody Blues had done so typically in their classic period), and once the track is under way, it turns out that it should've been subtitled speed of light or speed of sound rather than Love.Sancious' rocky guitar histrionics are much of the appeal on this album and the groups support him well, providing studious and well kept rhythm. All I heard from Sancious is the first two albums, but this mother is definitely his better tracks spread over the two discs. After a dizzying quarter hour of all-out music reaching some real heights, the track slowly fades with the same percussion instruments that had started it. Outstanding playing from everyone, even if Moran's voice is an acquired taste (not by me), but her interventions are rather insignificant in regards to the tracks' enormous stature. Its amazing that Sancious' two epic label albums didn't get more recognition (although they sold rather well, back then) and is not a household name among fusionheads. Part of the explanation might be that both album were out of print for many years, and only received a reissue in Columbia's Master Of jazz Rock in the early 90's, and now finally a third recently. Both his first two albums are very much worth your investigation, the forst being more even, while this one is presenting Sancious' masterpiece.

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 Forest of Feelings by SANCIOUS, DAVID album cover Studio Album, 1975
4.00 | 17 ratings

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Forest of Feelings
David Sancious Jazz Rock/Fusion

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Sancious is a bit of an exception in the jazz rock world, as part of his background is deeply rooted in rock (he was after all part of Springsteen's E-Street Band and will later play with Peter Gabriel and Sting), but his oeuvre is also extremely drawn from classical music. With only a drummer (the good Ernest Carter that played some sessions on Born To Run) and a bassist (a very noticeable Gerald Carboy), Sancious manages to make an extraordinary Classical-jazz-rock album with his wide range of keyboards (and obviously a lot of dubbing too). This album is produced by the familiar Billy Cobham, who also contributes some percussion instruments on half the tracks

Starting with the amazing symphonic Suite Cassandra, Sancious should marvel those symphonic rock fans that always fear the jazz tonalities: if one album could convert them, this might be it. Followed by the funky and energetic Come On, where Sancious' guitar leave nothing to envy to others, David veers into a calm Asian tune where Indian and Far-East music merges (this is fusion like we are not used to and the track's title East India confirms it) to some of Billy's percussions and chimes from Alice Coltrane. Herbie Hancock is not far away in this track. The inaptly-named Dixie is anything but Southern Dixie-jazz sounding (even if Sancious is making an anti-racist statement in this track) and presents another steaming fusion of styles, this time nearing Ponty's later 70's albums and some Tangerine Dream-like electronics, if you can picture that!!!

With the title track comes the album's last lengthy track (a small 8 minutes and the start of the second side), where the mood is more into RTF and Chick Corea's world. A short funky Joyce is followed by a "Crystal Image"-clear classical piano. One Time plunges us into an Emersonian realm, but I think Keith would have to bow out, as he would've not managed to play (or write anyway) this classical piece with the jazz feeling that Sancious dares. Absolutely stupendous!! The title's track's reprise is again in the Ponty register.The album's CD version gets a bonus track, the short, ultra calm and reflective Promise Of Light, which blends in on the album quite well, but is nothing that special, but can serve as a very apt outro.

If you notice, a lot of the references or comparisons I gave while describing the tracks date after this album's release, and if not on purpose, I don't think this is an accident either. Sancious seems to be much a precursor with this album, and it is about time that progheads take notice of this amazing keyboardist that unfortunately is never cited in top "prog" lists, and this is really a criminal omission.

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