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In 1991 he moved over to Elektra and released Another Hand, which became his most revered album among jazz fans.

After relocating to the Bay Area, he joined the Butterfield Blues Band.

He appeared with them at Woodstock and went on to record with them.

Though he had been composing film scores since 1975 (Moment to Moment), his career in this medium took off in 1986 with Psycho III.

From the late '80s to the mid-'90s he also wrote scores for Lethal Weapon 2, 3, and 4.

As a composer and bandleader, he has, since the beginning, combined genres, making him a pioneer of crossover music and contemporary jazz.

His passionate tone and emotional melodies make his playing instantly recognizable.

The decade saw him shift toward his own music more than session appearances, but he still made plenty, including dates with Dave Stewart, Oleta Adams, and Branford Marsalis' Buckshot Le Fonque.

Sanborn shifted gears again for 1995's Hearsay, a collection of standards with Johnny Mandel's orchestra which revealed yet another side of the altoist.

Over the rest of the decade, he cut two more albums and worked live and in the studio with a dizzying array of artists from Steve Forbert and Ian Hunter to Chaka Khan, the Fania All-Stars, and Bonnie Raitt. The album's single, "All I Need Is You," netted him his first Grammy Award for Best R&B Instrumental Performance.

Relocating to New York, Sanborn's first real break as a leader came with 1980's Hideaway, which hit number two on the Jazz Albums chart and number 33 on the R&B Albums chart and marked the beginning of a long association with bassist/producer Marcus Miller. The full-length was the first of four straight '80s albums to hit the top spot on the jazz charts.

The youngster made his professional debut at the age of 14 in 1959, playing with visiting Chicago bluesmen Little Milton and Albert King.