Various Artists - 1998 [2000] "Who Loves You?" A Tribute to Jaco Pastorius

Jaco Pastorius was as brash and confident as they came, an innovative and challenging musician who, if anyone asked, would call himself the best bass player in the world. Almost 14 years after his death, the legend of Jaco continues to grow. This tribute, produced by Michael Colina, assembles players who jammed with Jaco on record and stage, and also those who were and continue to be inspired by his groundbreaking style.

Former bandmates Peter Erskine, Michael and Randy Brecker, Don Alias, David Sanborn, Mike Stern and Bob Mintzer all play with passion, as do bassists Victor Bailey (who replaced Jaco in Weather Report), Mark Egan, Will Lee, Marcus Miller, John Geus and John Patitucci.

Fittingly, the CD opens with Jimi Hendrix’s “Third Stone from the Sun.” Hendrix’s time was a few years before Jaco’s but Hendrix’s guitar was the same as Jaco’s bass: reckless, daring, uncompromising. Although Jaco could jam like a mother, he expressed many moments of tenderness, as invoked by Egan’s fretless bass on Joe Zawinul’s “A Remark You Made” and Bailey’s lead bass on Pastorius’ “Continuum” from Jaco’s debut solo album.

There are many more highlights, including the seldom-heard “Dania,” a free form and flying excursion with soaring sax lines from Mintzer. Two magical moments are fresh takes on Jaco’s best songs: “Three Views of a Secret” and “Portrait of Tracy,” the latter with Marcus Miller producing and playing all instruments. Sanborn’s sax is magical on “Song for Jaco-Song for a Friend.”

Of course, this isn’t a bass CD anymore than Jaco’s records were bass albums. It’s a jazz CD, with top jazz musicians infusing their own styles, from Bob James and Jeff “Train” Watts to Will Lee, saxophonist Bill Evans and Joey Calderazzo.

A bonus: Excellent liner notes from Jaco biographer Bill Milkowski.

This tribute to the genius of jazz/fusion bass pioneer Jaco Pastorius features many of the friends and musicians that jammed with the legendary musician, including Victor Bailey (who replaced Pastorius in the Weather Report lineup in 1982) and drummer Peter Erskine (Pastorius's bandmate in Word of Mouth). Bassists Mark Egan, Marcus Miller, Will Lee, James Genus, and John Patitucci play three originals composed in memory of the bassist and cover six songs composed by Pastorius. 

"Third Stone From the Sun" is also included, a song that alludes to a riff that Pastorius would often quote in concert during his bass reign with Weather Report. At the center of this tribute the listener will find a treasure. In what must be one of the most stirring renditions of "A Remark You Made," tenor saxophonist Bill Evans plays a beautifully haunting sax melody underscored by Gil Goldstein's accordion and keyboards that taps into the depths of one's soul. This powerful rendition of Joe Zawinul's composition is even more emotional because of Mark Egan's recreation of the signature fretless bass voice that brilliantly reflects the nucleus of Pastorius' greatness. This, along with the plaintive wail of Mike Stern's guitar that adds another layer of pent-up passion, will bring tears to your eyes. 

Victor Bailey plays "Continuum" to perfection and offers some highly authoritative statements to his excellent perception of the original vision. The song continues to stand as an enduring medium for their brilliant bass chops. Randy Brecker, Peter Erskine, and Bob James perform the compelling ballad "Three Views of a Secret," with Brecker's muted trumpet emphasizing the dramatic inner self, or secret through shifts in nuance. "Song for Jaco - Song for a Friend" spotlights the reverence of alto saxophonist David Sanborn, the beautiful piano of Bob James, and the contemplative guitar of Steve Cardenas and closes the beautiful tribute. 

The music on Who Loves You: A Tribute to Jaco Pastorius is expressive, emotional, and brilliantly eulogizes the passion and forces that were a part of Jaco Pastorius' essence.

Track Listing/Personnel:

01 Third Stone From The Sun - Michael Brecker/Joey Calderazzo/John Patitucci/Jeff 'Tain' Watts

02 A Remark You Made - Bill Evans/Mike Stern/Gil Goldstein/Mark Egan/Steve Gadd/Don Alias/Kevin DiSimone

03 Continuum - Victor Bailey/Gil Goldstein/Steve Gadd/Don Alias/Michael Colina

04 Jaco - Bob Mintzer/Mike Stern/Gil Goldstein/Mark Egan/Steve Gadd/Don Alias

05 Fall'n Star - John Patitucci/Steve Cardenas/George Whitty/James Genus/Peter Erskine

06 Okonkole Y Trompa - Randy Brecker/George Whitty/John Patitucci/Peter Erskine/Don Alias/Michael Colina

07 Come On, Come Over - Hiram Bullock/Will Lee/Jim Beard/Steve Gadd/Don Alias/Andy Snitzer/Chris Hunter/Jim Hynes...

08 Three Views Of A Secret - Randy Brecker/Bob James/Steve Cardenas/James Genus/Peter Erskine

09 Dania - Hiram Bullock/Jim Beard/Mark Egan/Steve Gadd/Don Alias

10 Portrait Of Tracy - Marcus Miller

11 Song For Jaco - Song For A Friend - David Sanborn/Bob James/Steve Cardenas/James Genus/Peter Erskine/Michael Colina

Frank Zappa - 1992 "You Can't Do That On Stage Anymore Vol. 6"

You Can't Do That on Stage Anymore, Vol. 6 is the last of six double-disc collection volumes of live performances by Frank Zappa recorded between 1970 and 1988. All of the material on Disc one has a sexual theme. Zappa used the monologue in "Is That Guy Kidding or What?", to ridicule Peter Frampton's album I'm in You with its double entendre title and pop pretensions. Disc two includes performances from Zappa's shows between 1976 and 1981 at the Palladium in New York City, as well as material like "The Illinois Enema Bandit" and "Strictly Genteel" that he frequently used as closing songs at concerts. It was released on October 23, 1992, under the label Rykodisc.

The last volume of the series You Can't Do That on Stage Anymore is one of the strongest, especially for those who prefer Frank Zappa's sex-oriented songs. There is not much complex material or instrumental pieces in this collection, but catchy humorous songs abound, along with more of that stage craziness the series tried to capture. Live incarnations of Zappa's band from 1970 up to 1988 are represented (the original Mothers had a whole disc devoted to them on Vol. 5). Most of disc one revolves around sex, starting with "The M.O.I. Anti-Smut Loyalty Oath," where the 1970 Mothers solemnly swear not to show their private parts on stage. Disc two is more varied, but tracks like "Catholic Girls" and "Crew Slut" make it fit right in. "The Poodle Lecture" and "Lonely Person Devices" reveal important Conceptual Continuity Clues. The "Camarillo Brillo"/"Muffin Man" medley provides a highlight, as does the frantic rendition of "Dirty Love." Lisa Popeil, who sang the 1982 track "Teen-Age Prostitute," makes her only other Zappa-related appearance in "Lisa's Life Story." Most of all, the music from the movie 200 Motels -- still unavailable on CD when this album came out -- was given special attention. Even today, the renditions of "200 Motels Finale" and "Shove It Right In" stand out as important tracks. This volume is less focused on the die-hard fan craving rare material. It will appeal to a wider range of casual listeners, while portraying with much fidelity the atmosphere of Zappa's concerts.

Track listing:

All songs written, composed and arranged by Frank Zappa.

Disc one

No.    Title    Recording venue and date    Length

01.    "The M.O.I. Anti-Smut Loyalty Oath"    Tully Gymnasium, October 9, 1970    3:01
02.    "The Poodle Lecture"    The Palladium October 30, 1977    5:02
03.    "Dirty Love"    Hammersmith Odeon, February 18, 1979    2:39
04.    "Magic Fingers"    Berkeley Community Theater, December 5, 1980    2:21
05.    "The Madison Panty-Sniffing Festival"    Dane County Coliseum, November 16, 1980    2:44
06.    "Honey, Don't You Want a Man Like Me?"    Towson Center, March 23, 1988    4:01
07.    "Father O'Blivion"    Hordern Pavilion, June 25, 1973    2:21
08.    "Is That Guy Kidding or What?"    The Palladium October 30, 1977    4:02
09.    "I'm So Cute"    Santa Monica Civic Auditorium, December 11, 1980    1:39
10.    "White Person"    Hemmerleinhalle, February 25, 1978    2:07
11.    "Lonely Person Devices"    Tivolis Koncertsal, March 3, 1976    3:13
12.    "Ms. Pinky"    Santa Monica Civic Auditorium, December 11, 1980    2:00
13.    "Shove It Right In" (comprising "She Painted Up Her Face", "Half a Dozen Provocative Squats" and "Shove It Right In")    Fillmore East, June 5–6, 1971    6:45
14.    "Wind Up Workin' in a Gas Station"    The Spectrum, October 29, 1976    2:32
15.    "Make a Sex Noise"    Broome County Arena, March 17, 1988    3:09
16.    "Tracy Is a Snob"    Salt Lake City, December 3, 1980    3:54
17.    "I Have Been in You"    The Palladium, October 29, 1978    5:04
18.    "Emperor of Ohio"    Salt Lake City, December 3, 1980    1:31
19.    "Dinah-Moe Humm"    Bismarck Theater, November 23, 1984
The Pier, August 26, 1984    3:16
20.    "He's So Gay"    The Pier, August 26, 1984    2:34
21.    "Camarillo Brillo"    Bismarck Theater, November 23, 1984    3:09
22.    "Muffin Man"    Bismarck Theater, November 23, 1984    2:25

Disc two

No.    Title    Recording venue and date    Length

01.    "NYC Halloween Audience"    The Palladium, October 31, 1981    0:46
02.    "The Illinois Enema Bandit"    Universal Amphitheater, December 23, 1984
Royal Oak Music Theatre, November 21, 1984
Paramount Theatre, December 17, 1984
Bismarck Theatre, November 23, 1984
Stadio Communale, July 8, 1982    8:04
03.    "Thirteen"    The Palladium, October 27–31, 1978    6:08
04.    "Lobster Girl"    The Palladium, October 29, 1978    2:20
05.    "Black Napkins"    The Palladium, December 26, 1976
Bismarck Theater, November 23, 1984 (guitar solo)    5:21
06.    "We're Turning Again"    Mannheimer Rosengarten, May 25, 1988    4:56
07.    "Alien Orifice"    The Palladium, October 31, 1981    4:16
08.    "Catholic Girls"    Tower Theater, February 12, 1988
Auditorium Theatre, March 3, 1988    4:04
09.    "Crew Slut"    Tower Theater, February 12, 1988
Auditorium Theatre, March 3, 1988    5:33
10.    "Tryin' to Grow a Chin"    The Palladium, October 31, 1977    3:33
11.    "Take Your Clothes Off When You Dance"    The Palladium, October 31, 1978    3:46
12.    "Lisa's Life Story"    Santa Monica Civic Auditorium, December 11, 1981    3:05
13.    "Lonesome Cowboy Nando"    Pauley Pavilion, August 7, 1971
Palasport, June 9, 1988    5:15
14.    "200 Motels Finale"    Pauley Pavilion, August 7, 1971    3:43
15.    "Strictly Genteel"    The Palladium, October 31, 1981    7:07

Personnel:

Frank Zappa – conductor, main performer, guitar, vocals, synthesizer, producer
Mark Volman – vocals
Howard Kaylan – vocals
Lisa Popeil – vocals
Denny Walley – slide guitar, vocals
Ike Willis – guitar, vocals
Adrian Belew – guitar, vocals (tracks 2, 8, 10, 32)
Ray White – guitar, vocals
Warren Cuccurullo – guitar
Steve Vai – guitar
Mike Keneally – guitar, synthesizer, vocals
Bobby Martin – keyboards, vocals
Bob Harris – keyboards, vocals
Peter Wolf – keyboards
Allan Zavod – keyboards
George Duke – keyboards
Tommy Mars – keyboards
Ian Underwood – keyboards, alto saxophone
Lady Bianca – keyboards, vocals on "Wind up Workin' in a Gas Station"
Patrick O'Hearn – bass guitar
Jeff Simmons – bass guitar
Arthur Barrow – bass guitar
Scott Thunes – bass guitar
Tom Fowler – bass guitar
Ralph Humphrey – drums
Vinnie Colaiuta – drums
Aynsley Dunbar – drums
Terry Bozzio – drums
Chad Wackerman – drums, electronic percussion
Ed Mann – electric percussion, percussion, backing vocals, marimba
Paul Carman – soprano saxophone, alto saxophone, baritone saxophone
Napoleon Murphy Brock – saxophone, vocals
Albert Wing – tenor saxophone
Michael Brecker – tenor saxophone on "Black Napkins"
Kurt McGettrick – baritone saxophone, contrabass clarinet, bass saxophone
Walt Fowler – flugelhorn, synthesizer, trumpet
L. Shankar – violin
Jean-Luc Ponty – violin

The Brecker Brothers - 1994 "Out Of The Loop"

Out of the Loop is an album by the Brecker Brothers that was released by GRP Records in 1994. In 1995 the album won the brothers two Grammy Awards for Best Contemporary Jazz Performance (now known as Best Contemporary Jazz Album) and Best Instrumental Composition (for Michael Brecker's "African Skies").

On Out of the Loop, Randy and Michael Brecker stepped up to the plate with their second long-player of the '90s, 20 years after their first foray into the jazz-funk-fusion realm. The album is surprisingly strong, and any fears of a paint-by-numbers attempt to cash in on past glories are quickly dispelled with the opening "Slang," which is reminiscent of Amandla-era Miles. Here, as throughout the disc, Michael's sax solo burns with abandon, while brother Randy's trumpet glides across a tastefully smooth and melodic terrain. "African Skies" has a decidedly Yellowjackets feel, with Michael again turning in a remarkably energetic solo turn. The set-closing "And Then She Wept" features Randy's attractive flügelhorn, as does the Eliane Elias-produced "Secret Heart," where Michael's soprano sax and EWI share the spotlight. "Scrunch" is a funky piece of programmed hip-hop over which the brothers Brecker play a riff similar to those they and the Average White Band delivered in the mid-'70s. Both Randy and the late Michael Brecker went on to make names for themselves in the jazz world after fronting their brotherly band in the '70s, earning the respect of critics and jazz fans alike. With Out of the Loop, they made a solid musical statement in a contemporary format, one they helped create and in which they proved to be masters.

Track listing:

1.    "Slang"    Michael Brecker    6:11
2.    "Evocations"    Chris Botti, Michael Brecker    5:16
3.    "Scrunch"    Randy Brecker, Michael Brecker, Maz Kessler, Robbie Kilgore    4:28
4.    "Secret Heart"    Randy Brecker, Eliane Elias    5:03
5.    "African Skies"    Michael Brecker    7:46
6.    "When It Was"    Brecker, Brecker, Kessler, Kilgore    4:29
7.    "Harpoon"    Randy Brecker    7:43
8.    "The Nightwalker"    Michael Brecker    8:44
9.    "And Then She Wept"    Randy Brecker    4:53

Personnel:

    Randy Brecker – trumpet, flugelhorn, arranger
    Michael Brecker – soprano saxophone, tenor saxophone, EWIs, arranger
    Chris Botti – trumpet
    Maz Kessler – keyboards, rhythm programming, arranger, producer, mixing
    Robbie Kilgore – guitar, keyboards, rhythm programming, arranger, producer, mixing
    Andy Snitzer – bass, drums, keyboard programming, arranger, producer
    George Whitty – bass, keyboards, percussion programming, arranger, producer
    Eliane Elias – keyboards, vocals, arranger, producer
    Dean Brown – guitar
    Dennis Brown – acoustic guitar
    Larry Saltzman – acoustic guitar
    James Genus – bass
    Armand Sabal-Lecco – bass, vocals
    Mark Ledford – backing vocals
    Rodney Holmes – drums
    Steve Jordan – drums
    Shawn Pelton – drums
    Dave Weckl – drums
    Steve Thornton – percussion

Mark Varney Project - 1990 "Truth In Shredding"

 

Truth in Shredding is the first studio album by the Mark Varney Project (MVP), released in 1990 through Legato Records and reissued on November 4, 2003, through Tone Center Records. MVP was a short-lived collaborative project put together by Mark Varney, brother of Shrapnel Records founder Mike Varney. Mark founded Legato in the 1980s, which served as a jazz-oriented counterpart to the rock stylings of Shrapnel. This incarnation of the group features guitarists Frank Gambale and Allan Holdsworth. Besides one track written by Gambale, the rest are covers of existing jazz fusion compositions.

1990 Legato Records release of MVP (The Mark Varney Project), "Truth In Shredding", offers "a relentless, thrill-a-minute, Indiana Jones of instrumental music! The guitar work by two Guitar Player Magazine Reader's Poll winners is staggering!" Those two winners happen to be none other than Allan Holdsworth (guitar, synthaxe) and Frank Gambale (rhythm guitar, lead guitar), who also produced the album of seven instrumentals - 99% of which was tracked live! Intense, mind-numbing, intimidating - all have been used to describe the music on "Truth In Shredding" - recommended for fans ranging from fusion to progressive to metal.

MVP stands for the Mark Varney Project. He has been a longtime recruiter of guitar speed demons such as Yngwie Malmsteen and Tony Macalpine. Here he brings together accomplished and established players. It is a very intense fusion recording that can be an intimidating listen both in terms of technique and the consistent intensity maintained throughout. The metal-influenced Frank Gambale is one of the pioneers of the sweep-picking technique that allows him to generate mind-numbing speed. Allan Holdsworth proves a good counterpoint, as his unique approach also produces lightning-quick runs. Guitar fans, especially the younger crowd, will appreciate the extended solos and lack of any commercial hooks here. It is basically a blowing date. This is not to say that the musicians don't deserve credit for their playing -- quite the contrary. Out of the two, Holdsworth seems a bit more inspired and more comfortable in this setting. Tommy Brechtlein turns in a fine performance on drums, especially when given some space on "Bathsheba." If taken in short doses, the impact of this recording is more effective. Recommended for fans ranging from fusion to progressive to metal.

Track listing:

1. "Rocks"    Randy Brecker    7:01
2. "Humpty Dumpty"    Chick Corea    6:31
3. "The Fall"    Wayne Shorter    8:15
4. "Not Ethiopia"    Michael Brecker    9:36
5. "New Boots"    Frank Gambale    6:24
6. "Ana Maria"    Shorter    9:15
7. "Bathsheba"    M. Brecker    8:16
Total length:    55:08

Personnel:

Frank Gambale – guitar, engineering, mixing, production
Allan Holdsworth – guitar, SynthAxe, overdub engineering
Freddy Ravel – keyboard
Tom Brechtlein – drums
Jimmy Earl – bass
Steve Tavaglione – saxophone, EWI

David Garfield - 2018 "Jazz Outside The Box"

 

Well known as musical director of George Benson keyboardist David Garfield pursues his own dream as a solo artist. His debut album was a homage to the late drummer Jeff Pocaro Tribute to Jeff (1997).

Next albums were I Am The Cat...Man (1997), Music From Riding Bean (2001), Giving Back (2003), Seasons Of Change, The State of Things, Tribute To Jeff Revisited (2005). His newest project is Jazz Outside The Box (2018).

Garfield performs on the new album piano, Fender Rhodes and synthesizers. Further players are trumpeter Wallace Roney, percussionist Poncho Sanchez and drummer Steve Jordan. Guest musicians are Randy Brecker, Michael McDonald, Tom Scott, Eric Marienthal, Pete Christlieb, Bennie Maupin, Brian Auger, Will Lee, Airto Moreira, the Charlie Bisharat String Quartet, an orchestra conducted by John Clayton, the late guitarists Chuck Loeb and Larry Coryell, and John Densmore, who plays drums and orates on a spoken word segment.

Sting has written with Fragile from his album Nothing Like the Sun (1988) an emotional highlight of music history. Garfield creates with great passion to the affecting structure of the theme an arrangement which is an outstanding example of musicianship. Harvest Time evokes associations with the homeland of the Midwest with its infinite expanses.

In a Sentimental Mood, a jazz composition by Duke Ellington (1935), has inspired generations of musicians. Garfield adds some Latin flavor to his version which revels in a rich horn arrangement with Walt Fowler on trumpet in the lead. Garfield gives the song Roxanne by the group Police a jazzy finish.

Song for My Father by the Horace Silver Quintet (1965), is re-interpreted by Garfield in a sophisticated way.  John Densmore cites the original lyrics by Horace Silver. The bass line was used by Steely Dan for the song Rikki Don’t Lose That Number, Garfield quotes Rikki on his cover in returned tribute and merges it with motifs of The Doors and other composers.

Late keyboardist Joe Sample (The Crusaders) wrote Rainbow Seeker in 1978. This rendition features late guitarist Chuck Loeb and Steve Jordan on drums. Oliver Nelson created Stolen Moments for the 1960 album Trane Whistle by Eddie "Lockjaw" Davis and replayed it on his album The Blues and the Abstract Truth in 1961. Since then a jazz standard Garfield continues this tradition of bebop.

Voodoo Gumbo/Citizen Coryell features guitarist Larry Coryell, to whom Garfield has dedicated this tune. The jazz fusion piece East Lou Brew is inspired by Miles Davis and features Wallace Roney on trumpet, Bennie Maupin on sax and Larry Coryell on guitar.

Sophisticated Lady is a jazz standard, composed as an instrumental in 1932 by Duke Ellington. Irving Mills wrote later the lyrics, whose words were added to the song by Mitchell Parish. On this rendition vocalist Leslie Smith delivers with his timbre an authentic feeling.

Drummer Billy Cobham wrote Red Baron for his solo debut album Spectrum in 1973. A milestone in the fusion jazz genre it surely deserves Garfield's revisit featuring an all star band with Randy Brecker (trumpet, flugelhorn), Brian Auger (organ), Oz Noy & James Harrah (guitars), Leland Sklar (bass) and more.

The visits to the Saturday Mass of Operation Breadbasket inspired Joe Zawinul to write Country Preacher, which is explicitly dedicated to Jesse Jackson. From this developed finally the idea for the album of the same name by the Cannonball Adderley Quintet in 1969. Mike Finnigan excels on organ and Eric Marienthal on sax on this perfectly arranged interpretation.

Prophecy is a composition that David Garfield developed quite melody consciously, but also with the impetus to create as much space as possible for expansive solos. David is not the only one to grab his keys. Vinnie Colaiuta sets stimulating accents on his drum set. The recognizable Arabic structure in rhythm and melody structure intensifies towards the end of the piece before it rises in the final chord.

My Favorite Things is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music. In the same named 1965 musical drama film the main actor and singer was Julie Andrews. Garfield mingles in his orchestral and heavily instrumented version genially elements of musical, jazz and Latin to an inspiring and lasting musical experience.

Final tune on this album is an abbreviated version of Song for My Father. Alternate versions of Red Baron and Harvest Time are available as download. According to reports from well-informed sources Garfield expects this project to be expanded into a trilogy with the album Jamming Outside the Box and the upcoming album Vox Outside the Box. If Garfield's creative power allows it, Outside The Box could even become an ongoing series. Garfield has already hinted that on Facebook.

David Garfield's Jazz Outside The Box is without no doubt worthy of a Grammy Award. Musical performance, artistic expressiveness, sophisticated arrangements down to the last detail, the overall stylistic concept, a superior grasp of the intricacies of melody, to summarize in short a reference project of contemporary music.

Personnel:

    Acoustic Bass – Carlitos Del Puerto
    Acoustic Guitar – Diego Figueiredo
    Alto Saxophone, Alto Flute, Soprano Saxophone – Marty Ehrlich
    Backing Vocals – Lisa Branly
    Bass – Chuck Berghofer, Darryl Jones, Jimmy Earl, Jimmy Johnson (5), John Peña, Leland Sklar, Neil Stubenhaus
    Congas – Poncho Sanchez
    Drums – Curt Bisquera, Jimmy Branly, Joe Porcaro, Steve Ferrone, Steve Jordan, Vincent Wilburn, Vinnie Colaiuta
    Drums, Drum Programming – Bennie Rogers III
    Drums, Voice – John Densmore
    Guitar – Chuck Loeb, Dean Parks, Denny Dias, James Harrah, Larry Coryell, Marvin Home, Michael Landau, Michael Thompson, Oz Noy, Steve Sykes, Tony Pulizzi
    Keyboards – David Garfield
    Organ – Brian Auger, Mike Finnigan (2)
    Organ, Vocals – Bill Champlin
    Percussion – Airto Moreira, Joey De Leon, Jr., Kevin Ricard, Lenny Castro, Luis Conte, Richard Tokatz, Richie Gajate-Garcia
    Piano – Terry Trotter
    Saxophone – Eric Marienthal, Jim Stevens (7), Larry Klimas, Pete Christlieb, Steve Tavaglione, Tom Scott
    Saxophone, Bass Clarinet – Bennie Maupin
    Steel Drums – Robert Greenidge
    Strings – Charlie Bisharat
    Strings [Arrangement] – John Clayton
    Tres – San Miguel Perez
    Trombone – Francisco Torres (3), Nick Lane
    Trumpet – Chuck Findley, Dan Fornero, Wallace Roney, Wayne Bergeron
    Trumpet, Flugelhorn – Randy Brecker, Walt Fowler
    Vibraphone – Emil Richards
    Violin – Dayren Santamaria
    Vocals – Bruce Hamada, Carmen Grillo, Leslie Smith, Michael McDonald, Robbie Wyckoff
    Vocals, Bass – Jason Scheff, Will Lee

Track listing:
 
01 Fragile (feat. Michael McDonald, Bruce Hamada & Diego Figueiredo) 5:40
02 Harvest Time (feat. Eric Marienthal & Airto Moreira) [Acoustic] 5:51
03 In a Sentimental Mood (feat. Poncho Sanchez & Larry Klimas) 5:53
04 Roxanne (feat. Robbie Wyckoff & Joe Porcaro) 4:25
05 Song for My Father (feat. John Densmore, Denny Dias & Randy Brecker) [Full-Length] 7:13
06 Rainbow Seeker (feat. Chuck Loeb & Steve Jordan) [Acoustic] 5:47
07 Stolen Moments (feat. Tom Scott & Joe Porcaro) 4:55
08 Voodoo Gumbo/Citizen Coryell (feat. Larry Coryell & Airto Moreira) 2:24
09 East Lou Brew (feat. Bennie Maupin, Wallace Roney & Larry Coryell) 5:46
10 Sophisticated Lady (feat. Poncho Sanchez, Leslie Smith & Pete Christlieb)6:16
11 Red Baron (feat. Randy Brecker & Brian Auger) 4:08
12 Country Preacher (feat. Eric Marienthal & Mike Finnigan) 4:59
13 Prophecy (feat. Michael Landau & Vinnie Colaiuta) 4:33
14 My Favorite Things (feat. Robert Greenidge & Terry Trotter) 5:33
15 Song for My Father (feat. John Densmore, Denny Dias & Randy Brecker) [Radio Version] 4:41
16 Red Baron (feat. Oz Noy & James Harrah) [Alternate Version] 4:07
17 Harvest Time (feat. Eric Marienthal & Airto Moreira) [Extended Version] 6:52

Charles Mingus - 1979[2002] "Me, Myself an Eye"

 

Charles Mingus did not perform on the final sessions he made for Atlantic toward the end of his life. Too ill with ALS to pick up his bass, he nonetheless was a powerful presence in the studio. The arrangements and orchestrations were realized by trumpeter Jack Walrath based on Mingus's tapes and piano sketches. The huge band can get a bit unwieldy, and the arrangements, which feature a solo from Larry Coryell, do tend to pander a bit to the fusion audience. In spite of these drawbacks, the half-hour "Three Worlds of Drums" is great.

Among jazz's all-time greats, Charles Mingus made seminal contributions to the music as a bassist, bandleader and composer. Released 40 years ago this month, ME MYSELF AN EYE was recorded near the end of Mingus' career, when the ravages of ALS left him unable to play. But his forceful personality was ever-present in the studio, bringing the best out of the big band assembled for these sessions, and his tapes and piano sketches provided the basis for Jack Walrath's arrangements. Opening the set is the side-long “Three Worlds Of Drums,” on which longtime Mingus band member Danny Richmond is joined by fellow drummers Steve Gadd and Joe Chambers. With guitar and electronic instrumentation in places, the Atlantic collection touches on fusion, and axeman Larry Coryell is another luminary heard on the superb ME MYSELF AN EYE.

The following was published in Chords and Dischords section of the Downbeat magazine in June 21, 1979:

    In the review of the Charles Mingus record Me, Myself An Eye the reviewer was understandably vague as to what my contribution was in regard to the writing credits on the album. The quote, "all arrangements and orchestrations were realized by Jack Walrath under the supervision of and as dictated by Charles Mingus, in person and through the use of tapes and piano sketches," seems to imply that I was simply the copyist. In view of such descriptions of the music in media as "lasting work of genius," "monumental," etc., I think I should set the record straight as to what I actually did.

    I told Mingus that all I wanted was credit for arranging and orchestration.

    For Three Worlds Of Drums, Charles gave me a tape of himself noodling on a Moorish-sounding scale and said to me, "Pick out some of my notes, organize a melody and write an arrangement on it." This I did, plus wrote an introduction of my own invention, a background which is a four-part fugue, set the form and wrote the ensembles for the drum solos. The shout chorus was a melody which Mingus wrote and to which I kept adding counter lines until at one point the music breaks into five-part counterpoint. The trumpet-soprano melody near the end was organized the same as the initial melody, "take some of my notes...", etc., the funeral ending I transcribed from a piano tape. He visualized the work as a bebop tune, which when played in rehearsal was a disaster, so I had the band play the quasi-Latin-rock-bellydance rhythm as is heard. All in all Mingus supplied me with one lead line, loose sketches for two more, a six bar ending and a basic chord consisting of two perfect 5th's a half-step apart sounded simultaneously. I wrote 75 score pages of music or approximately 95% of the compositon.

    Carolyn "Keki" Mingus was orchestrated practically verbatim from his piano score except the out chorus which are my voicings and arrangement.

    Wednesday Night Prayer Meeting was written according to his instructions except the out chorus which are my voicings and arrangement.

    Devil Woman was totally my arrangement and was written while Charles was in Woodstock and I was in Manhattan. He said he wanted a slow blues. Neither did he hear the arrangement nor did he even know that I picked Devil Woman until two days before the session.

    I am in no way trying to discredit the talent of one of the great composers of any kind of music of any era, but I think that I have shown more fairness to Mingus, his executors, and the record company than they did to me. I was denied entrance to the mix, which would probably have been better had I been there, since I was the only one who really knew what was happening in the music.

    Jack Walrath, New York City.

Track listing:

1. Three Worlds Of Drums    30:21
2. Devil Woman    9:24
3. Wednesday Night Prayer Meeting    9:50
4. Carolyn ''Keki'' Mingus    7:44

Personnel:

    Alto Saxophone – Akira Ohmori, Lee Konitz (tracks: B1 to B3), Yoshiaki Malta* (tracks: B1 to B3)
    Alto Saxophone, Soprano Saxophone – Ken Hitchcock
    Baritone Saxophone – Craig Purpura, Pepper Adams, Ronnie Cuber
    Bass – Eddie Gomez, George Mraz (tracks: A)    
    Drums – Dannie Richmond, Joe Chambers, Steve Gadd (tracks: A)
    Guitar – Jack Wilkins, Larry Coryell, Ted Dunbar
    Percussion – Ray Mantilla (tracks: A), Sammy Figueroa (tracks: A)
    Piano – Bob Neloms
    Tenor Saxophone – Daniel Block, George Coleman (tracks: A), John Tank (tracks: B1 to B3), Michael Brecker, Ricky Ford
    Trombone – Jimmy Knepper, Keith O'Quinn (tracks: B1 to B3), Slide Hampton (tracks: A)
    Trumpet – Jack Walrath, Mike Davis (49), Randy Brecker

Tony Williams - 1996 "Wilderness"

 

A full orchestra joins Tony Williams, Herbie Hancock, Michael Brecker, Pat Metheny and Stanley Clarke in this collection of tone poems that compare and contrast several takes on the meaning of wilderness. The leader provides a glimpse of the moods being portrayed through his choice of titles, as well as by supplying in the liner notes several familiar quotations about mankind and the natural world. Drummer Williams, who led the fusion band Lifetime in decades past, opts to contrast the natural sounds of an orchestra with the electronic sounds from keyboard synthesizers, electric bass, and electric guitar. Three distinct thoughts on wilderness present themselves through the musical moods being portrayed. The full orchestra, with its natural sounds, supplies pastoral scenes of the outdoors. The fusion quintet, through its "China Town" trilogy, expresses the brash rhythmic attitude of city life. Several pieces are special in that they employ thoughtful and soulful improvisation, which of course comes from that other wilderness lying deep within the mind.

One of drummer Tony Williams' final studio projects, this adventurous effort alternates selections by an all-star quintet (which includes tenor saxophonist Michael Brecker, guitarist Pat Metheny, pianist Herbie Hancock and bassist Stanley Clarke) with string orchestra tracks (usually using the rhythm section). Williams wrote most of the music (there is one song apiece from Metheny and Clarke), and despite the general unpredictability of the music (which ranges from melancholy to fiery), there is a surprising unity throughout the CD. Highlights include the pretty opener for strings "Wilderness Rising," a lyrical quintet number, "The Night You Were Born," the rockish freakout "China Moon" and the heated "Gambia"; only guitarist Lyle Workman's guest spot on his droning "Machu Picchu" is a minus. Otherwise, this is intriguing music that rewards repeated listenings, making one further appreciate the great loss suffered as a result of Tony Williams' premature death.

"The Night You Were Born" features Michael Brecker with a challenging tenor sax outing that shows off his technique and deep, ringing tone. Hancock on piano and Metheny on guitar blend to produce an image of some smoky dance hall late at night with only a few customers left standing around. Hancock stretches out in "Gambia" to share his unique mix of energetic and blues-based piano stylings; Metheny follows that with some of his delicate and fluid solo guitar work. Finally, "Cape Wilderness" sums it all up with fine solo work and group interplay from the quintet. Recommended.

This is the Tony's authoral last work, if i'm not wrong.
As he said in a 1997 interview to modern drummer, he was very proud with this album. He composed almost all musics. He was feeling himself more mature as a composer. This album is about a travel. Something like an imigrant in the new world travelling across the new land by train. This work is a movie in music format. The arrangement have an harmonic orchestration. For him, one album is a complete history, not a fragmented number of peaces. This songs are linked, musical, peacefull, not a drum show in first plane (this he made as a master in all his life). It's a beautyfull and poetical goodbye from one of the greatest master of the music. And, defying simple categorization, right to the end. Tony William's last album (?) and in many ways a synthesis of more new beginnings for him - jazz meets the orchestra - neo-fusion - funk - latin - swing - classical. If anything, I was only disappointed he didn't throw in some hard bop - but his own compositional leanings were more toward jazz-rock-fusion, and in some ways that has become mainstream - only because Mr Williams was one of the key innovators of these genre, and we are appreciating his work from a post-Williams, post-Zappa perspective, if you get my drift. Anyway, it's a fantastic album - with great synergy between all players - all giants of jazz!! Highly recommended.

Track listing:

01 Wilderness Rising     7:35
02 China Town     8:33
03 Infant Wilderness     2:31
04 Harlem Mist '55     4:03
05 China Road     2:46
06 The Night You Were Born     8:05
07 Wilderness Voyager     2:07
08 Machu Picchu     6:42
09 China Moon     3:24
10 Wilderness Island     2:49
11 Sea Of Wilderness     3:06
12 Gambia     6:13
13 Cape Wilderness     7:15

Personnel:

    Drums – Tony Williams*
    Piano – Herbie Hancock
    Bass – Stanley Clarke
    Guitar – Lyle Workman (tracks: 8), Pat Metheny
    Bassoon – John Steinmetz (tracks: 1, 3, 4, 7, 11), Rose Corrigan (tracks: 1, 3, 4, 7, 11)
    Cello – Armen Ksajikian (tracks: 1, 3, 4, 7, 11), Steve Erdody (tracks: 1, 3, 4, 7, 11)
    Clarinet – Charles Boito (tracks: 1, 3, 4, 7, 11), Ralph Williams (4) (tracks: 1, 3, 4, 7, 11)
    Double Bass – Chuck Berghoffer* (tracks: 1, 3, 4, 7, 11)   
    Flute – Gerri Rotella* (tracks: 1, 3, 4, 7, 11), Susan Greenberg (tracks: 1, 3, 4, 7, 11)
    French Horn – David Duke (tracks: 1, 3, 4, 7, 11), Rick Todd* (tracks: 1, 3, 4, 7, 11)
    Harp – Katie Kirkpatrick (tracks: 1, 3, 4, 7, 11)
    Oboe – Chris Bleth (tracks: 1, 3, 4, 7, 11), Earle Dumler* (tracks: 1, 3, 4, 7, 11)
    Percussion – Bob Zimmitti (tracks: 1, 3, 4, 7, 11)
    Percussion [Additional] – David Garibaldi (tracks: 2)
    Tenor Saxophone – Michael Brecker
    Trombone – Alan Kaplan (tracks: 1, 3, 4, 7, 11)
    Trumpet – Walt Fowler (tracks: 1, 3, 4, 7, 11)
    Viola – Alexis Carreon (tracks: 1, 3, 4, 7, 11), Brian Dembow (tracks: 1, 3, 4, 7, 11), Ken Burward-Hoy* (tracks: 1, 3, 4, 7, 11), Margot Maclaine (tracks: 1, 3, 4, 7, 11)
    Violin – Karen Jones (2) (tracks: 1, 3, 4, 7, 11), Kathy Lenski* (tracks: 1, 3, 4, 7, 11), Ken Yerke* (tracks: 1, 3, 4, 7, 11), Liane Mautner (tracks: 1, 3, 4, 7, 11), Margaret Wooten (tracks: 1, 3, 4, 7, 11), Mario De Leon* (tracks: 1, 3, 4, 7, 11), Ralph Morrison (tracks: 1, 3, 4, 7, 11), Sheryl Staples (tracks: 1, 3, 4, 7, 11)
    Orchestrated By – Tony Williams* (tracks: 1), John Van Tongeren (tracks: 3, 7, 11), Stanley Clarke (tracks: 4)
    Producer – Tony Williams*

Joe Henderson Quintet - 1970 [2006] "At the Lighthouse"

Joe Henderson Quintet at the Lighthouse is a live album recorded at the Lighthouse Café, Hermosa Beach, California, between September 24, 1970 and September 26, 1970. Personnel include Woody Shaw on trumpet and flugelhorn, George Cables on electric piano, Ron McClure on acoustic bass (electric bass on track 8 only), and Lenny White on drums. Tony Waters plays congas on tracks 1, 8 and 9 only.

This is a live album from the famous Lighthouse in Hermosa Beach CA. This venue has hosted many live albums over the years by Lee Morgan & Cannonball Adderley to name two of my favorite albums recorded there.
This recording is special in my opinion due to the presence of trumpeter Woody Shaw as Henderson's frontline partner and George Cables on Fender Rhodes EP and acoustic piano. Lenny White on drums is in inspired form.

This music is similar in style and content to the music Freddie Hubbard composed for his Cti album "Red Clay" that Henderson and White played on so its not a big surprise to me to hear him coping Red Clay's sound for his group. The sound if I had to label it would be hard bop with subtle traces of R&B and early fusion especially on the track "If you're not part of the problem you're part of the solution". The group performs several of Henderson's most well known tunes that have become jazz standards & jam session favorites in the many years after this was recorded such as "Blue Bossa", Recorda Me and "The Shade of Jade" If you're a fan of live albums and jazz in general then you should have this album in your collection.

I cut my musical teeth back in the 1960s and 1970s, soaking up the Rock, Pop, and Soul sound of that era, and I didn't hear a lot of jazz growing up. So, I've somewhat belatedly been discovering some of the great jazz artists of the past several decades, and Joe Henderson ranks as one of those that I enjoy very much. I can't really pinpoint what it is about his syle of playing that appeals to me, but it just does. The tone, the mood, the vibe, whatever you want to call, it works for me.

In addition to Henderson, I've also become a fan of Woody Shaw, and both of those great musicians feature prominently on this live recording. And a good, clean recording it is, not even sounding like a typical noisy club show. You can read the other rave reviews for a rundown of the songs and who does what. If you've heard any Joe Henderson albums from this period (this was recorded in 1970) I think you'll dig it.

The CD comes with a booklet that includes the original liner notes written by Orrin Keepnews. It also includes a newer essay about Henderson and this recording, written by Jeff Kaliss for the reissue of the CD in 2004. I love the description of the music in liner notes: "... the dominant mood is effervescent, with the soloists at the tops of their respective games." Indeed, these guys are all in top form. A jazz treat!

If you're new to Joe Henderson, you need to check him out and this is a fine place to start.

I hear his improv style as a blend of Parker (master of changes), Rollins (exploits the tenor range and grabs the unexpected, but right note) and Coltrane (great intensity and lots of notes when he cuts loose.) In other words, he plays lots of well chosen notes, plays very quickly and clearly, has great intensity and can make very musical noise. I think of him as an earthier (more authentic?) sounding Michael Brecker.

On this disk, he covers a lot of stylistic territory. There's a lot of hard bop, bossa nova, some free blowing, modern jazz standards interpretation, even one cut ("If You're Not Part of") that is fusion...this CD is like a jazz sampler playlist all in one.

Regarding the other players, Woody Shaw is fine in the style of Freddie Hubbard. He's a very good match for Joe, so you get a lot of great trumpet at no extra charge.

The rhythm section is very tight. For the most part, Lenny White plays straight ahead drums here (vs. his better known fusion style with Return to Forever.) Ron McClure mostly plays the string bass. He has a very clear and harmonically informed touch. So no worries on the bottom end of the band. (The exception, of course is the "If You're Not Part of" cut where Lenny and Ron funk and Fender out.)

For me the electric piano is a nice touch throughout the CD. It gives the tunes a little of the original Chick Corea/Return to Forever sound (i.e. back when Chick played with Joe Farrell; prior to adopting an electric guitar into the band.) So, if you're worried that this is a dreaded "jazz fusion" album, you can relax.

George Cables is the pianist and he does a fine job when given the opportunity. Unlike Chick on Return to Forever, he's much less intense, which fits his supporting player role.

To wrap up, I can only say that I wish I was in the audience when Joe and co. were blowing the roof off.

I took a few lessons from the late great Joe Henderson in the mid 70's when he resided up north in the San Francisco bay area near Colma. In my opinion, he was one of the best of the post-Coltrane saxophonists along with Wayne Shorter. This set culled from his performances at the Lighthouse in Hermosa Beach, 22 miles from L.A., represent one of his best live performances along with the "Live in Japan" date. The greatly under-rated trumpeter Woody Shaw, George Cables on Rhodes electric keyboard, Ron McClure on bass and Lenny White on drums composed a power house group with some Henderson originals (Isotope, Inner Urge, Recorda-Me) and some of the Blue Note tunes like "Blue Bossa", "Mode for Joe" and standards like "Round Midnight", "Invitation" ( a tune I've heard Joe play many times live and on record). If you're a fan of Joe Henderson or a hard bop buff, do get this one--it smokes!!

https://jazz-rock-fusion-guitar.blogspot.com/search?q=joe+henderson

 Track listing:

01     Caribbean Fire Dance     5:37
02     Recorda-Me     8:18
03     A Shade Of Jade     10:28
04     Isotope     4:28
05     'Round Midnight     9:02
06     Mode For Joe     8:34
07     Invitation     7:32
08     If You're Not Part Of The Solution, You're Part Of The Problem     11:29
09     Blue Bossa     9:43
10     Closing Theme     0:47

Personnel:

Saxophone – Joe Henderson
Trumpet, Flugelhorn – Woody Shaw
Bass – Ron McClure
Congas – Tony Waters (tracks: 1, 8, 9)
Drums – Lenny White
Electric Bass – Ron McClure (tracks: 8)
Electric Piano – George Cables

Randy Brecker - 1968 [2002] "Score"

Score is the debut album by American jazz trumpeter Randy Brecker recorded in 1969 and originally released on the Solid State label. Randy Brecker's debut album features the trumpeter leading two distinct all-star small groups, each with younger brother Michael (who was only 19 when this was recorded) on tenor sax, Larry Coryell on guitar, and Hal Galper on piano. The tunes alternate between jazz-rock (a style the Brecker Brothers were later to successfully exploit) and modern mainstream jazz. There are the customary fades, popular at the time, and a light, though constant, beat throughout that makes the music both accessible and even danceable, an impressive feat considering that virtually all the tunes are originals. The Brecker Brothers exhibit a command of their horns and a maturity that was to serve them well for many years. The recording has weathered the years well, in part because even the fusion pieces never lose their focus, nor do they compromise artistry for popular fads. "The Weasel Goes Out to Lunch" is a cute, though very short, take on the childhood theme, with the remaining tracks fine examples of late-'60s popular jazz. With well-constructed arrangements, strong soloing, and catchy melodies, Brecker knew he was onto something, and this album was the first of several successful ventures.

Born in 1945 in Philadelphia to a musical family, Randy's musical talent was nurtured from an early age. He attended Indiana University from 1963-66 and later moved to New York where he landed gigs with such prominent Jazz bands as Clark Terry's Big Band. Randy also began his foray into jazz-rock by joining Blood, Sweat and Tears. Randy left BS&T to join the Horace Silver Quintet. In 1968, Randy recorded his first album, "Score", featuring a young, then unknown 19 year-old tenor saxophonist named Michael Brecker.
In the early 1970s, Randy played with many prominent artists such as Larry Coryell, Stevie Wonder and Billy Cobham. By 1975, Randy and Michael were ready to front their own band, the Brecker Brothers. The band was to become a band of immeasurable influence and impact. They went on to record a total of six albums and garner seven Grammy nominations between 1975 and 1981.
In 1992, exactly ten years after they disbanded, Randy and Michael joined forces again featuring a world tour and the triple-Grammy nominated GRP recording, "The Return of the Brecker Brothers". In the fall of 1994, the Brecker Brothers released the double-Grammy winning "Out of the Loop".
Randy released his CD for ESC, "34th n' Lex," in 2003 and this CD also brought him his third Grammy for "Best Contemporary Jazz Album."
In 2007 he was awarded his fourth Grammy for "Randy Brecker Live with the WDR Big Band". In the same year, tragically, his brother Michael passed away on Jan 13th.
Randy's CD, "Randy in Brazil," was recorded in Sao Paulo with a full complement of great Brazilian musicians and released in 2008 and the CD won the Grammy for "Best Contemporary Jazz Album," bringing Randy's Grammy total to five.

Track listing:

All compositions by Randy Brecker except where noted

"Bangalore" – 4:34
"Score" (Hal Galper) – 7:17
"Name Game" (Galper) – 5:14
"The Weasel Goes Out to Lunch" (traditional) – 1:21
"Morning Song" – 4:09
"Pipe Dream" – 4:33
"The Vamp" (Galper) – 5:14
"The Marble Sea" – 5:44

Personnel:

Randy Brecker – trumpet, flugelhorn, arranger
Michael Brecker – tenor saxophone
Jerry Dodgion – alto flute
Larry Coryell – guitar
Hal Galper – piano, electric piano, arranger
Eddie Gómez – bass
Chuck Rainey – Fender bass
Bernard Purdie, Mickey Roker - drums

The Brecker Brothers - 2012 "The Complete Arista Albums Collection" [8 CD Box]

The Brecker Brothers -- Michael and Randy -- were one of the most successful of the jazz/fusion groups that arose in the 1970s, recording 6 best-selling albums for Arista between 1975 and 1981. Musicians on the records make a jazz/fusion hall of fame including David Sanborn, Steve Gadd, Will Lee, Harvey Mason, Marcus Miller, George Duke, and many more. In 1979 they also participated in all-star shows at the Montreux Jazz Festival. The band was Steve Khan, Tony Levin, Mike Mainieri and Steve Jordan. These two albums are included here as bonuses. None of these albums have ever been released on CD in the U.S.
Randy Brecker contributes liner notes to the set which also includes full discographical info. and rare photos.
The Brecker Bros. have reunited as The Brecker Brothers Reunion Band-- with excellent Italian saxophonist Ada Rovatti keeping it in the family (she is Randy s wife) and ably filling the late Michael's role -- for an all-new studio recording of new material, featuring David Sanborn, Mike Stern, Dave Weckl, and Will Lee (to be released in September).
A new Brecker Bros. Reunion live DVD from the Blue Note jazz club will also be released. Both new releases are on Half Note Records, the label of The Blue Note Jazz club in New York, which will sponsor a record release show the week of Sept. 11-18 in New York. The band will be playing major jazz festivals in the U.S., Europe, and Japan. Randy s own profile at the moment is very high. He received 3 Grammy nominations this year.

Trumpeter Randy Brecker and saxophonist Michael Brecker had already shared the bandstand and logged plenty of studio time together before they formed The Brecker Brothers. The siblings stood as a team with Horace Silver s hard bop ensemble, the proto-fusion unit Dreams, and Billy Cobham's early Crosswinds band, as well as on myriad studio dates for a panoply of artists from James Taylor to Parliament.

By 1975 it was time for them to make their own mark. Gathering together some of the cream of the studio players that they were spending considerable time with, including saxophonist David Sanborn and bassist Will Lee, the brothers formed a tight combo that would integrate their taste for jazz, fusion, R&B, funk and pop. Right out of the box, they garnered a hit single, "Sneakin' Up Behind You," from their debut recording, Brecker Brothers, which also included the emblematic "Some Skunk Funk."

Subsequent albums saw name players like guitarists Steve Khan and Hiram Bullock, keyboardist George Duke, bassist Marcus Miller and vocalist Luther Vandross making vital contributions. No matter how commercially oriented the music might veer, the solid playing of both Randy and Michael could be heard. On such albums as the live recordings, Heavy Metal Bebop and the special project Blue Montreux, the brothers fully displayed their extraordinary technical skills and gutsy phrasing. Combining jazz chops and R&B seasoning, both of the Breckers became important stylistic influences on their respective horns.

In retrospect, the Brecker Brothers can be seen as dashing heroes, unafraid to follow wherever their muse lead them no matter what straight-laced critics objected to. From today's eclectic viewpoint, their up front blend of jazz and outright pop sounds was not only ahead of the curve, it was right up to the minute.

This 8 cd box set was a collection I have always hoped would be released.The Brecker Brothers have always been favorites of mine and this set captures the history of the brothers musically. It was during this period that Michael Brecker really grew and developed his style. Any fan of funky jazz and rock influenced jazz will love this release. The last 2 discs of the collection are of live recordings at Montreux Jazz festival in 1978 and I love the collaboration of the Breckers with Mike Maineri, Eddie Gomez and Larry Coryell. The Collection features so many great players in modern jazz from an early standpoint, Will Lee and David Sanborn and many others. This collection is truly a piece of modern jazz history. So thankful that Randy Brecker put this collection together. I love listening to these albums. It brings back so many memories and musically much of the tracks are still fresh today (especially on the album "Detente"). The loss of Michael Brecker a few years ago, definitely left a huge hole in the jazz world. This collection definitely helps to to remember one of the greatest tenor players ever.

In 2001, the Brecker Brothers' Arista releases were reissued on CD by the One Way label, but the discs quickly went out of print. French and Japanese reissues surfaced toward the end of the decade, but this box set from Sony's Legacy division makes them easy to obtain in the U.S. -- that is, if you're willing to shell out for an eight-disc box, priced around $60 at the time of its September 2012 release. The discs are in durable LP replica sleeves, though they are not as high quality as a standard Japanese reissue. All-original artwork, front sleeve and back sleeve, is reproduced, and there's a booklet as well. The set contains not only each one of the Breckers' 1975-1980 Arista releases (The Brecker Bros., Back to Back, Don't Stop the Music, Heavy Metal Be-Bop, Détente, and Straphangin') but the two Blue Montreux releases from 1979 as well. At the time of release, each one of the Brecker titles here (neither Blue Montreux nor Blue Montreux II) was available separately as a digital download.

CD's Included in Box Set:
1) The Brecker Brothers (Arista 1975)
2) Back To Back (Arista 1976)
3) Don't Stop The Music (Arista 1977)
4) Heavy Metal Be-Bop (Arista 1978)
5) Detente (Arista 1980)
6) Straphangin' (Arista 1981)
7) Blue Montreux (Arista 1979)
8) Blue Montreux II (Arista 1979)

Track Listings:

Disc: 1

The Brecker Brothers

  1. Some Skunk Funk
  2. Sponge
  3. A Creature of Many Faces
  4. Twilight
  5. Sneakin' Up Behind You
  6. Rocks
  7. Levitate
  8. Oh My Stars
  9. D.B.B.

Personnel:

    Randy Brecker – trumpet, flugelhorn, vocals on "Oh My Stars"
    Michael Brecker – tenor saxophone
    David Sanborn – alto saxophone
    Don Grolnick – keyboards
    Bob Mann – guitar
    Will Lee – bass, vocals on "Sneakin’ up Behind You"
    Harvey Mason – drums
    Chris Parker – drums on "Sneakin’ up Behind You"
    Ralph MacDonald – percussion

Disc: 2

Back To Back

  1. Keep It Steady (Brecker Bump)
  2. If You Wanna Boogie...Forget It
  3. Lovely Lady
  4. Night Flight
  5. Slick Stuff
  6. Dig a Little Deeper
  7. Grease Piece
  8. What Can a Miracle Do
  9. I Love Wastin' Time with You

Personnel:

    Randy Brecker – trumpet, electric trumpet, flugelhorn
    Michael Brecker – tenor saxophone, flute
    David Sanborn – alto saxophone
    Don Grolnick – keyboards
    Steve Khan – guitar
    Will Lee – bass, lead vocals
    Chris Parker – drums
    Steve Gadd – drums (4, 9)
    Ralph MacDonald – percussion
    Sammy Figueroa – percussion (4)
    Rafael Cruz – percussion (4)
    Lew Del Gatto – baritone saxophone (2)
    David Friedman – marimba (6)
    Dave Whitman – synthesizer programmer
    Patti Austin – background vocals (9)
    Allee Willis – background vocals (9)
    Luther Vandross – vocals, vocals arrangement
    Robin Clark – vocals
    Diane Sumler – vocals

Disc: 3

Don't Stop The Music

  1. Finger Lickin' Good
  2. Funky Sea, Funky Dew
  3. As Long As I've Got Your Love
  4. Squids
  5. Don't Stop The Music
  6. Petals
  7. Tabula Rasa

Personnel:

    Randy Brecker – trumpet, flugelhorn, electric trumpet
    Michael Brecker – tenor saxophone, flute
    Will Lee – bass
    Don Grolnick – keyboards
    Doug Riley – keyboards
    Steve Khan – guitar, 12-string guitar
    Jerry Friedman – guitar (1, 5)
    Sandy Torano – guitar (1, 3)
    Hiram Bullock – guitar (2, 3, 4, 6)
    Chris Parker – drums
    Steve Gadd – drums (4, 6)
    Lenny White – drums (7)
    Ralph MacDonald – percussion
    Sammy Figueroa – congas (7)
    Doug and Beverly Billard – background vocals (3)
    Will Lee, Christine Faith, Robin Clark, Josh Brown – background vocals
    Horn Section
        Lou Marini – alto sax
        Alan Rubin – trumpet
        Randy Brecker – trumpet
        David Taylor – bass trombone
        Barry Rogers – trombone
        Michael Brecker – tenor sax
        Lew Del Gatto – baritone sax
    String Section
        Aaron Rosand, Guy Lumia, Paul Gershman, Harry Lookofsky, Sanford Allen, Ariana Bronne, Harold Kohon, Matthew Raimondi, Peter Dimitriades – violins
        Lamar Alsop, Richard Maximoff, Alfred Brown – violas
        Jesse Levy, Richard Locker – cellos

Disc: 4

Heavy Metal Be-Bop

  1. East River
  2. Inside Out
  3. Some Skunk Funk
  4. Sponge (Live Version)
  5. Funky Sea, Funky Dew (Live Version)
  6. Squids (Live Version)

Personnel:

    Randy Brecker – Trumpet and Keyboards
    Michael Brecker – Tenor Saxophone
    Barry Finnerty – guitars, guitorganiser, background vocals
    Terry Bozzio – drums, background vocals
    Neil Jason – bass, lead vocals
    Sammy Figueroa – percussion
    Rafael Cruz – percussion
    Additional musicians on "East River"
        Kash Monet – handclaps, percussion, backing vocals
        Paul Shaffer – Fender Rhodes
        Victoria – tambourine
        Jeff Schoen – backing vocals
        Roy Herring – backing vocals
        Allan Schwartzberg – drums
        Bob Clearmountain – handclaps

Disc: 5

Detente

  1. You Ga (Ta Give It) - The Brecker Brothers feat. D.J. Rogers & Carl Carlwell
  2. Not Tonight - The Brecker Brothers feat. Carl Carlwell
  3. Don't Get Funny With My Money
  4. Tee'd Off
  5. You Left Something Behind
  6. Squish
  7. Dream Theme
  8. Baffled
  9. I Don't Know Either

Personnel:

    Michael Brecker – tenor saxophone, flute
    Randy Brecker – trumpet, flugelhorn
    Airto Moreira – percussion
    Hiram Bullock – guitar
    Paulinho Da Costa – percussion
    Steve Gadd – drums
    Mark Gray – keyboards
    Don Grolnick – keyboards
    Neil Jason – bass
    Steve Jordan – drums
    Ralph MacDonald – percussion
    Marcus Miller – bass
    Jeff Mironov – guitar
    D.J. Rogers – vocals
    David Spinozza – guitar
    Carl Carlwell – vocals

Disc: 6

Straphangin'

  1. Straphangin'
  2. Threesome
  3. Bathsheba
  4. Jacknife
  5. Why Can't I Be There
  6. Not Ethiopia
  7. Spreadeagle

Personnel:

    Randy Brecker – trumpet, flugelhorn
    Michael Brecker – tenor saxophone
    Barry Finnerty – guitar
    Mark Gray – keyboards
    Marcus Miller – bass
    Richie Morales – drums
    Don Alias – percussion
    Manolo Badrena – percussion

Disc: 7

Blue Montreux

  1. Blue Montreux - Arista All Stars
  2. Rocks - Arista All Stars
  3. I'm Sorry - Arista All Stars
  4. Magic Carpet - Arista All Stars
  5. Buds - Arista All Stars
  6. Floating - Arista All Stars
  7. The Virgin And The Gypsy - Arista All Stars

Personnel:

Guitar – Steve Khan (tracks: 1-6), larry Coryell (tracks: 2)
Tenor Saxophone – Michael Brecker (tracks: 1-3, 5-6)
Trumpet – Randy Brecker (tracks: 1,2,5-7)
Vibraphone, Synthesizer [Oberheim] – Mike Mainieri
Bass – Eddie Gomez (tracks: 1-6)
Bass, Chapman Stick – Tony Levin (tracks: 1-6)
Drums – Steve Jordan (tracks: 1-6)
Piano, Electric Piano [Fender Rhodes], Keyboards – Warren Bernhardt

Disc: 8

Blue Montreux II

  1. Funky Waltz - Arista All Stars
  2. Candles - Arista All Stars
  3. Uptown Ed - Arista All Stars
  4. Love Play - Arista All Stars
  5. Cloud Motion - Arista All Stars

Personnel:

    Acoustic Bass – Eddie Gomez (tracks: A3)
    Drums – Steve Jordan
    Electric Bass – Tony Levin (tracks: A2, B1, B2)
    Electric Bass [Electric Stick] – Tony Levin (tracks: A1)
    Electric Guitar – Steve Khan (tracks: A1, A2, B1, B2)
    Electric Guitar, Soloist – Larry Coryell (tracks: A1)
    Keyboards – Warren Bernhardt (tracks: A2, B1, B2)
    Percussion – Mike Mainieri (tracks: A2)
    Piano – Warren Bernhardt (tracks: A1, A3)
    Saxophone – Michael Brecker (tracks: B2)
    Soprano Saxophone – Michael Brecker (tracks: A2)
    Synthesizer [Mini-moog] – Mike Mainieri (tracks: B1)
    Synthesizer [Synthe-vibe] – Mike Mainieri (tracks: B1)
    Tenor Saxophone – Michael Brecker (tracks: A1, A3)
    Trumpet – Randy Brecker (tracks: A1, B2)
    Vibraphone [Electric] – Mike Mainieri (tracks: A2, A3, B1, B2)

Super Funky Sax - 1980 [2014] "Super Funky Sax"

Couldn't find a lot of information on this CD except a 4.5 rating and all titles were written and arranged by David Matthews but he does not play on it.

Track listing:

01 - Super Groove (David Matthews)
02 - Mika (David Matthews)
03 - Noches Calientes (David Matthews)
04 - Seditty (David Matthews)
05 - Black River Rhapsody (David Matthews)
06 - The Return Of Zorro (David Matthews)

Musicians :

David Sanborn : Alto Saxophone
Michael Brecker : Tenor Saxophone
Ronnie Cuber : Baritone Saxophone
David Spinozza : Electric Guitar
Don Grolnick : Electric Piano
Clifford Carter : Synthesizer
Neil Jason : Electric Bass
Andy Newmark : Drums
Sammy Figueroa : Percussion

Michael Brecker - 1987 "Michael Brecker"

Michael Brecker is the debut album by American saxophonist Michael Brecker. It was released on the Impulse! record label in 1987.

Although he had been a major tenor saxophonist in the studios for nearly 20 years and was quite popular for his work with the Brecker Brothers, this MCA/Impulse set was Michael Brecker's first as a leader. Playing in a quintet with guitarist Pat Metheny, keyboardist Kenny Kirkland, bassist Charlie Haden, and drummer Jack DeJohnette, Brecker performs three of his originals, two by producer Don Grolnick, and Mike Stern's "Choices." The music in general is straight-ahead but far from predictable; the tricky material really challenges the musicians and Michael Brecker is in consistently brilliant form, constantly stretching himself. Highly recommended.

I had this record on vinyl when it came out in 1986. Just added it to my collection on disc and it has me wondering where I've been all this time. This was the first solo release by Brecker, and he can only be termed a GIANT of the tenor sax. I saw him live four or five times, and all his genius is on display here. So sorry to say that Brecker succumbed to cancer last year, and that brilliant pianist Kenny Kirkland, who is all over this record, succumbed to a heroin overdose in 1998. The musicians, also including guitarist Pat Metheny and drummer Jack DeJohnette, are uniformly stupendous on this record, but more than that, the compositions are simply inventive jazz genius. Curious about jazz? Want to check out a great saxophone record? BUY IT. Robert Orme.

A truly unbelievable album - wow! And what a band - Methemy, Haden, Dejohnette, Kirkland.. every piece is exceptional. And Cost of Living - my favorite - powerful! MJJ.

I hadn't heard this recording in a long while and lost sight of how awesome a player Michael Brecker was. This is one of the best examples of a recording that is simultaneously contemporary and tradition-rooted. It still sounds as special as it did when I walked in a record store and stopped in my tracks to listen to the entire recording. Alan R.

Michael Brecker's Tenor playing is so rich and warm. His speed and clarity are extraordinary.

The line up on this album top notch. It is really a "best of the best" with Jack de Johnette on Drums, Charlie Haden on Bass, Kenny Kirland on Piano and Pat Metheny on Guitar. I always enjoy Jack de Johnette's fast and sweet drumming; a particular feature on the album for me. The entire group is really "tight" and it is really impossible to say anyone is better than the other. It works!

I enjoyed a very interesting rendition of "My One and Only Love" which is on Track 7. On this track there is a solo by Pat Metheny that is sublime. Track 5 The Cost Of Living is a slower number, but is a nice change of pace that is well performed and allows Charlie Haden to shine.

This is a terrific album. It showcases Michael Brecker's virtuoso sound. Frizzante.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=michael+brecker

Track listing:

1.    "Sea Glass" (Michael Brecker)    5:49
2.    "Syzygy" (Brecker)    9:44
3.    "Choices" (Mike Stern)    8:06
4.    "Nothing Personal" (Don Grolnick)    5:29
5.    "The Cost of Living" (Grolnick)    9:04
6.    "Original Rays" (Brecker, Grolnick, Stern)    9:04
7.    "My One and Only Love" (Robert Mellin, Guy Wood)    8:16
Total length:    53:02

Personnel:

    Michael Brecker – tenor saxophone, EWI
    Pat Metheny – guitar
    Kenny Kirkland – keyboards
    Charlie Haden – double bass
    Jack DeJohnette – drums

Steps Ahead - 1984 "Modern Times"

Steps Ahead is a jazz fusion group formed by vibraphonist Mike Mainieri in the 1970s. The lineup consisted of Mainieri, Michael Brecker, Don Grolnick, Eddie Gómez, and Steve Gadd and would change often over the years. Steps Ahead fused elements of rock, funk, jazz, and rhythm and blues.

By 1984, Steps Ahead's personnel had stabilized with original keyboardist Warren Bernhardt rejoining the group and teaming up with tenor saxophonist Michael Brecker, bassist Eddie Gomez, drummer Peter Erskine, and vibraphonist Mike Mainieri; guitarist Chuck Loeb guests on one selection, as does Tony Levin, who is heard on the Chapman stick. This outing is very electronic and does not quite reach the heights of Steps Ahead's earlier Elektra album, but it certainly has plenty of spirit and power.

Michael Brecker formed Steps Ahead (originally Steps) with fellow New York masters vibraphonist Mike Mainieri and bassist Eddie Gomez, put together initially for the Japanese market. Steve Gadd was their original drummer, replaced in the early ’80s by Weather Report man Peter Erskine.

Steps Ahead’s self-titled debut album showcased a mostly-acoustic fusion sound, but the follow-up Modern Times embraced all sorts of ’80s technology to intriguing effect. Of course such tinkering opens it up to sounding somewhat dated these days, but at least the album has ambition, quality compositions and the kind of attention to detail that makes it an interesting companion piece to key mid-’80s works like The Flat Earth, Hounds Of Love, Boys And Girls and So.

Opener ‘Safari’ kicks off with a vaguely Caribbean/reggae groove featuring a multitude of synths and sequencers and a tribal, almost Zawinulesque melody. With repeated listens there are many pleasures to be found; Brecker’s typically incisive tenor solo, Erskine’s subtly-building groove work, the slinky bass line which rumbles on throughout.

Equally arresting is pianist Warren Bernhardt’s title track, a modal piece built over another serpentine, sequenced line, developing into a series of lovely vignettes featuring Brecker’s solos and some very Steely Dan-ish chord progressions. Mainieri’s composition ‘Old Town’ features King Crimson/Peter Gabriel sideman Tony Levin playing some menacing Stick over the sort of exotic, ambient groove Bryan Ferry would utilise on Boys And Girls a year later. And ‘Radio-Active’ taps into some of the World vibes Peter Gabriel investigated throughout the ’80s.

Unfortunately a few tunes let the side down, drifting uncomfortably into smooth jazz territory. Mainieri’s composition ‘Self Portrait’ is almost saved by a lyrical Brecker solo but far too saccharine for my tastes, while Erskine’s ‘Now You Know’ features a melody line (Brecker on soprano) which, though memorable, veers scarily towards Kenny G.

And it has to be said that Eddie Gomez’s role in the band was diminishing very fast, so anonymous is his contribution. He would be gone by the next album Magnetic, replaced by ex-Weather Report man Victor Bailey.

In Modern Times‘ liner notes, Peter Erskine thanks someone for their help with click tracks, and that concept in itself would probably turn off a big section of the ‘jazz’ audience. But some arresting compositions, tribal grooves and typically tasty Brecker solos ensure that one’s attention never strays for long. Modern Times is a key jazz album of the ’80s, albeit one that would probably have given most of the Young Lions nightmares…

Released in 1984, Modern Times, the group's second album as Steps Ahead, was a radical departure from their self-titled debut. Unlike the first album's mostly acoustic textures, Modern Times is a high-tech, futuristic, jazz-of-tomorrow fusion masterpiece. While many have used sequencers, throbbing synth-bass, and programmed percussion in a jazz context, to this day no one has done it better than this group on this album. Strong compositions, impassioned performances, and early DDD production are married to otherworldly yet urban atmospheres to create one of the best albums any of these distinguished players has ever appeared on.

Steps Ahead were always Mike Mainieri's group, and he is the only player to appear on every album. "Oops" and "Self Portrait" are classic Mainieri compositions: long-lined unforgettable melodies, loud/soft contrasts, quirky bridges, outstanding solos over synth splashes, and sudden endings. His two other songs on this album are a bit more eclectic. "Radio Active" is mostly programmed (special guest: Craig Peyton) and showcases Michael Brecker's multi-tracked licks and best soloing on the album. "Old Town" includes drumbox, gurgling synth loops, Tony Levin on the Chapman Stick, and Mainieri's marimba solo. Ubiquitous drummer Peter Erskine contributes the smooth "Now You Know" with guest (and future band member) Chuck Loeb on guitar, an exquisite Warren Bernhardt piano solo, and Brecker making a rare appearance on soprano sax. Brecker's only composition, "Safari", also features his soprano work before moving to the tenor and a brilliant Mainieri vibraphone solo. Bernhardt's "Modern Times" opens with intricate synth patterns and includes an Eddie Gomez bass solo that's almost drowned in the mix. In the interest of full disclosure, it should be mentioned here that while credited as a full band member, Gomez can only be heard on "Oops", "Modern Times", and "Now You Know". Not surprisingly, he has not appeared on another Steps Ahead album since.

While the shock of high-technology no doubt alienated some listeners, the gamble has paid off in that this album still sounds very, well, MODERN and contemporary over 30 years after its original release. Future Steps Ahead albums would never recapture the innovative, imaginative quality of Modern Times, and would add vocals and a revolving-door line-up that could never hold a candle to this original jazz "supergroup". If you're at all familiar with the players, Modern Times will provide a lifetime's worth of listening pleasure.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=steps+ahead

Track listing:

1     Safari     6:58
2     Oops     6:20
3     Self Portrait     6:02
4     Modern Times     6:17
5     Radio-Active     8:49
6     Now You Know     6:25
7     Old Town     6:19

Personnel:

    Bass – Eddie Gomez
    Chapman Stick – Tony Levin (tracks: 7)
    Drums, Percussion, Electronic Drums [DMX] – Peter Erskine
    Guitar – Chuck Loeb (tracks: 6)
    Keyboards – Warren Bernhardt
    Synthesizer [Additional] – Michael Brecker (tracks: 1), Michael Mainieri* (tracks: 2, 3, 7)
    Synthesizer, Electronic Drums [DMX], Bass [Pro 1] – Craig Peyton (tracks: 5)
    Tenor Saxophone, Soprano Saxophone – Michael Brecker
    Vibraphone [Vibes], Marimba, Synthesizer [Synthi-vibe] – Mike Mainieri

Randy Brecker with Michael Brecker - 2005 "Some Skunk Funk" (Live)

Some Skunk Funk is an album, recorded live in 2003, by Randy Brecker and Michael Brecker. In 2006 it won Grammy Awards for Best Jazz Instrumental Solo (Michael Brecker) and Best Large Jazz Ensemble Album.

The 2003 performance documented on Some Skunk Funk may be credited to trumpeter Randy Brecker, but his brother, saxophonist Michael, joins in for a Brecker Brothers reunion with the added oomph of Germany's WDR Big Band. And if ever a band's repertoire was custom-made to be retrofitted with a larger horn section, it's that of the Brecker Brothers. Some of the material comes from Randy Brecker's solo career: "Shanghigh" and "Let It Go" from 34th N Lex (ESC, 2003), "Wayne Out" from Hanging in the City (ESC, 2001), and a new tune, "Let It Go." But what's remarkable is how comfortably these tunes fit in with Brecker Brothers material on Brecker Bros. (Arista, 1975) through Out of the Loop (GRP, 1994).

The Brecker Brothers emerged as a distinct alternative to the muscular athletics of other fusion bands during the 1970s. As virtuosic as any such group, they played a swaggering downtown New York funk that differentiated them from the higher-octane Mahavishnu Orchestra, the progressive rock leanings of Return to Forever, and the increasingly world music-driven Weather Report. Even the band closest to the Breckers' brand of groove-driven music—Herbie Hancock's Headhunters—occupied a different space.

Maybe it's because the brothers didn't feel it necessary to desert the more jazz-centric harmonies they'd learned playing with artists like Horace Silver. As electric and funky as the Brecker Brothers have always been, their jazz aesthetic has also distinguished them from peer fusion bands, making their best material truly timeless. Three of the ten tunes on this album—the fiery title track, the greasier "Sponge" and the balladic "Levitate"—are taken from their 1975 debut, and they sound as relevant today as they did then.

Credit, of course, goes to Vince Mendoza—who arranged and conducted the tracks for this expanded Brecker Brothers Big Band. The Breckers' writing has always been characterized by rich orchestration—sometimes feeling much bigger than their small ensemble size would suggest. Mendoza's unique voice takes Michael's viscerally funky "Strap-hangin,'" for example, and layers more colors where appropriate, still twisting the arrangement into a new shape that feels like a logical extension, rather than an extensive rewrite.

But with a crack core group featuring keyboardist Jim Beard, bassist Will Lee and drummer Peter Erskine, Mendoza also lets the ensemble collapse into smaller, more interactive units where appropriate during the solo sections. Solos from both brothers build on their own. Mendoza reintroduces the horn section at just the right time, pushing them to even greater extremes. And when the two brothers trade off during the song's outro, they remind us of just how powerful shared genetics can be.

The Brecker Brothers join forces for a set of mostly high-powered originals at a concert in 2003. Their post-bop music is generally funky (although "Freefall" is an uptempo cooker) and sometimes a bit bombastic yet is never predictable. Trumpeter Randy Brecker and tenor saxophonist Michael Brecker take many fiery solos while also sounding warm on ballads. They are supported by a particularly strong rhythm section. In addition, the WDR Big Band contributes 14 horns and a guitar to accompany the core group. The individual songs may not be overly memorable (although "Some Skunk Funk" has been getting covered by other musicians) but the Breckers' solos are full of exciting moments.

The rare blood disorder that has kept Michael Brecker on the sidelines for nearly two years makes Some Skunk Funk a bittersweet experience.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=michael+brecker

https://jazz-rock-fusion-guitar.blogspot.com/search?q=randy+brecker

Track listing:

All tracks written by Randy Brecker except where noted.

01.    "Some Skunk Funk"    5.51
02.    "Sponge"    4.05
03.    "Shanghigh"    6.40
04.    "Wayne Out"    4:56
05.    "And Then She Wept"    6:07
06.    "Strap Hangin'" (Michael Brecker)    8:18
07.    "Let It Go"    8:02
08.    "Freefall"    6:17
09.    "Levitate"    4:58
10.    "Song for Barry" (Michael Brecker)    10:32

Personnel:

    Michael Brecker – tenor saxophone
    Randy Brecker – trumpet
    Vince Mendoza – conductor, arranger
    Will Lee – bass guitar
    Jim Beard – piano, synthesizer
    Peter Erskine – drums
    Marcio Doctor – percussion
    Koji Paul Shigihara – guitar

    WDR Big Band:
    Rob Bruynen – trumpet
    Andy Haderer – trumpet
    Rick Kiefer – trumpet
    John Marshall – trumpet
    Klaus Osterloh – trumpet
    David Horler – trombone
    Bernt Laukamp – trombone
    Ludwig Nuss – trombone
    Mattis Cederberg – bass trombone
    Harold Rosenstein – alto saxophone
    Heiner Wiberny – alto saxophone
    Olivier Peters – tenor saxophone
    Rolf Römer – tenor saxophone
    Jens Neufang – baritone saxophone