Fleetwood Mac's “Everywhere” Sounded Even More Special Ten Years Later. Christine McVie wrote “Everywhere” for the band's 1987 album Tango in the Night, during a period of considerable tension within Fleetwood Mac. Yet the song was remarkably cheerful, with one of the warmest melodies in their catalog. When the classic five-member lineup reunited for The Dance in 1997, Christine performed it with the same gentle, unhurried vocal style that made the original so appealing. After years of personal differences and lineup changes, seeing these five musicians playing together again gave this simple love song an added significance.

Candy Dulfer’s saxophone technique stands out for its seamless blend of funk, smooth jazz, and rock, delivering a warm, emotional sound that feels alive and full of energy, especially in live settings. She primarily plays the alto saxophone. As a child she started on the soprano because her father’s tenor felt too heavy, then switched to the alto and has stayed with it ever since. Largely self-taught, she absorbed deep influence from her father Hans Dulfer as well as legends like Maceo Parker, David Sanborn, Charlie Parker, and Sonny Rollins. That mix of sources gives her playing both accessibility and a clear personal stamp. What defines her sound most is its warmth, depth, and soul. Her notes rarely feel purely technical; they seem to sing, carrying a quiet sense of life and character. She has excellent dynamic control, moving easily from a soft yet full-bodied tone ideal for ballads to a sharper, cutting edge that slices through dense pop or funk arrangements. Her articulation is precise and nuanced, particularly in funk contexts where intricate rhythms and constant sixteenth-note subdivisions keep her tightly locked with the rhythm section. These subtle details are hard to capture fully on paper, which is why the best way to absorb her approach is by careful listening and transcription of her performances. In improvisation she favors a melodic path. Solos often grow from pentatonic scales—especially minor pentatonic—combined with chord tones and short motifs that she repeats and gently varies. Many of her lines begin in the lower register of the alto and gradually climb, building intensity. She tends to play reactively, listening to the band first and then responding, rather than always leading the way as Maceo Parker does. On the famous track “Lily Was Here,” she treats the saxophone almost like a vocal line: simple, memorable, and emotionally direct. On stage the energy rises further; she aims to get audiences on their feet and dancing. Her practice habits are practical rather than academic. She admits she does not spend much time on long tones or classical scales. When she needs to reset her embouchure she simply works soft-to-loud-to-soft phrases. More often she plays along with Maceo Parker records or works through tunes with tricky chord progressions to stay sharp and inspired. For many years she relied on a classic Selmer Mark VI, prized for its dark, complex tone. Later she moved to a handmade Amsterdam Free Wind saxophone that keeps the same warmth while offering easier intonation and stronger high notes, better suited to both jazz and more contemporary styles. Overall, Candy Dulfer’s technique avoids rigid classical paths. Instead it weaves jazz, funk, and rock into something natural and inviting. The result is playing that feels technically solid yet always approachable, which is why her live performances continue to draw listeners in with such lasting energy and appeal.