Michael Brecker - 2007 "Pilgrimage"

Pilgrimage is the final studio album, released in 2007, by the American jazz saxophonist Michael Brecker. In 2005, Brecker was diagnosed with myelogenous leukemia, and at the time of the recording in August 2006 he was already gravely ill. He recorded Pilgrimage with the knowledge that it would most likely be his last album; he died in January 2007. The album's personnel consists of Brecker, John Patitucci, Jack DeJohnette, Pat Metheny, Herbie Hancock, and Brad Mehldau.

Despite his losing battle with leukemia, Brecker fully commands each track on the album. His sound is rich, powerful, and strong, and his tone and vigor do not suggest any illness or affliction. The other musicians on the album were all aware of Brecker's condition, and used that knowledge to encourage him and make the album a success. Herbie Hancock said of Brecker:

"Michael now has reached a new level as a composer and musician. Despite his disease, or actually because of it, he managed to climb higher mountains and to walk ahead. The best way to take a poison is to change it into a medicine. At the moment, Michael experiences something very destructive and changes it into something extremely constructive."

Brecker's compositions on the album are some of his most complex and thoroughly composed music. His positive attitude toward his disease seems to rub off in the music, especially "Tumbleweed" and "The Mean Time", as they are full of high energy and intense interaction among the personnel. The title of the ballad "When Can I Kiss You Again?" is allegedly a quote from Brecker's son, who asked him that question while Brecker was in critical care and isolation after his stem cell transplant. The album won Brecker two posthumous Grammy awards for Best Jazz Instrumental Solo (for his solo on "Anagram") and Best Jazz Instrumental Album, Individual or Group.

The importance of saxophonist Michael Brecker's final recording, Pilgrimage, is densely multidimensional. The romantically inclined will attach significance to the fact that the nine compositions were conceived and recorded while Brecker was aware of the gravity of his final illness. Pilgrimage falls into an artistic/musical category that includes such disparate music as Mozart's Requiem, Puccini's Turandot, Billie Holiday's Lady In Satin and Johnny Cash's American Recordings, Volumes 5 & 6. All of these examples were conceived during the artists' autumnal periods and, in these cases, represent something of pinnacles in their outputs.

High art in the face of destiny is not always the case, however. June Carter Cash's final Wildwood Flower, while heartfelt, did the singer disfavor because she was obviously ill during the recording. Anita O'Day's final recording, Indestructible, similarly sincere, was recorded much too far past the singer's prime, and the aesthetic value of trumpeter Chet Baker's final recordings remains up for debate. So, what of Michael Brecker's final output?

In 2005, Brecker was diagnosed with myelodysplastic syndrome, a diverse collection of hematologic disease all sharing in common the inappropriate production of blood cells and their propensities for transforming into acute myelogenous leukemia. Unable to find a suitable stem-cell donor, Brecker passed away on Saturday, January 13, 2007. While Brecker did remain active during the period of his illness, appearing on Beatle Jazz's With A Little Help From Our Friends and Leni Stern's Alu Maye (Have You Heard), he had been inactive a year before these recordings.

Thus, the artist's largest late effort was reserved for Pilgrimage. He is joined by pianists Herbie Hancock and Brad Mehldau, guitarist Pat Metheny, bassist John Patitucci and drummer Jack DeJohnette, all sacred to Brecker's generation of jazz musicians. The notable absence of Randy Brecker is acknowledged for the life-long collaboration he had with his brother in their various music endeavors (noting that Randy Brecker never appeared on his brother's solo projects). Save that, Brecker chose his group wisely as the results of the recording reveal.

Brecker's tenor tone is strong and muscular. His composing is the best of his career. His melodic head-lines are organic, approximating a flock of small birds flying scattered one second and then in unison the next. Brecker and Metheny share a Bill Evans-Scott LaFaro empathy throughout the recording, both buoyed by the impressionistic piano of Hancock and Mehldau. The heart of the disc exists in its center with the pieces "Tumbleweed and "When Can I Kiss You Again. On the former, Brecker sets up a fast rolling theme and harmonics over which the soloists take quick flight including an aggressively distorted Metheny solo that gives way to one by Brecker. The rhythm section of Patitucci and DeJohnette creates a funky tonk with powerful momentum. No matter what, Brecker is in complete command.

"When Can I Kiss You Again is Brecker's introspective lullaby to his children, whom he could not see while in medical isolation. Again, his superior composing provides a carefully complex melodic introduction with a modal concept over which to solo. Composition and improvisation weave in and out of one another; constructing a silken fabric over which Metheny gives one his most inspired and introverted solos. Hancock provides his trademark abstraction as solo, depicting anxiousness as music. Brecker's solo is middle to low register and impeccably structured (as are all of his solos). The disc's title cut is a moody, Coltrane-esque meditation over electric piano with bass and drums occupying all sonic spaces. The piece grows in density and freedom as an open improvisation develops over the barest harmonic structure. And that was just the extended introduction. Brecker pulls all involved into an extended obbligato that is serpentine and seamless.

How does history view Michael Brecker? Many consider him to be the most important tenor saxophonist since John Coltrane. This is at the expense of Sonny Rollins and Wayne Shorter, though Rollins and Shorter generationally overlap Coltrane. I would come closer to declaring John Coltrane, Sonny Rollins, Wayne Shorter and Michael Brecker the quaternary apex of the tenor saxophone since the previous generation of Lester Young, Coleman Hawkins, Ben Webster, and Wardell Gray. That excludes a lot and that exclusion is necessary. Brecker's importance specifically lies in his universality. When I listen to Oliver Nelson's The Blues And The Abstract Truth (Impulse, 1961), I think of that music as a jazz soundtrack of the 1960s. It had that sound that listeners would immediately identify as jazz: so with Pilgrimage and the opening of the 21st Century. Michael Brecker's final recording is a finely crafted jazz soundtrack for a new millennium, a hyperbright quazar, serving in honor of the late saxophonist and all of jazz.

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Track listing:

All music composed by Michael Brecker.

1. "The Mean Time" 6:55
2. "Five Months from Midnight" 7:40
3. "Anagram" 10:09
4. "Tumbleweed" 9:36
5. "When Can I Kiss You Again?" 9:42
6. "Cardinal Rule" 7:31
7. "Half Moon Lane" 7:17
8. "Loose Threads" 8:34
9. "Pilgrimage" 10:02

Personnel:

Michael Brecker – tenor saxophone, EWI
Pat Metheny – guitars, guitar synthesizer
Herbie Hancock – piano (tracks 1, 5, 8, 9)
Brad Mehldau – piano (tracks 2, 3, 4, 6, 7)
John Patitucci – double bass
Jack DeJohnette – drums

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.

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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

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

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)

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

Michael Brecker - 1996 "Tales from the Hudson"

Tales from the Hudson is Michael Brecker's fourth album as a leader. It was recorded at the Power Station in New York City. It was recorded in 1996. The album also won Brecker two Grammy awards for Best Jazz Instrumental Solo (for his solo on "Cabin Fever") and Best Jazz Instrumental Album, Individual or Group.

Michael Brecker, a major influence on today's young saxophonists, shows off his own influences a bit throughout this fine modern straight-ahead set. Brecker sounds surprisingly like Stanley Turrentine on parts of "Midnight Voyage," and otherwise displays his roots in Ernie Watts and John Coltrane. With the exception of Don Grolnick's "Willie T.," the music on the CD is comprised of group originals (five by the leader) and falls into the 1990s mainstream of jazz. While the tenor saxophonist has plenty of blowing space (really letting loose on the exciting closer, "Cabin Fever"), Pat Metheny is mostly pretty restrained (in a Jim Hall bag) except for his wild solo on guitar synth during "Song for Bilbao." Pianist Joey Calderazzo starts out sounding a bit like McCoy Tyner on "Slings and Arrows" before his own musical personality is revealed. When Tyner himself plays on "Song for Bilbao" (one of two guest appearances), one can certainly tell the difference between master and pupil. All of Michael Brecker's recordings as a leader (as opposed to his cameos as a sideman on pop records) are easily recommended and show why he is considered a giant by many listeners.

In the crowded field of excellent tenor players, Michael Brecker rises to the top of my list. I think the thing that gives Brecker an edge over the others is the fact that he is a master of so many genres of jazz. Many people are no doubt familiar with the electric, funky side of Michael Brecker as the co-leader of the Brecker Brothers and former member of Steps Ahead. He has done significant pop dates with Paul Simon, Carly Simon, and Joni Mitchell. One could easily fill a CD collection with albums on which he has performed as a sideman in many jazz contexts.

Yet this is only his fourth CD as a leader. All of them have been in the modern, progressive, straight-ahead jazz vein. This one is, to my ears, his most successful outing yet. I think the difference is that this one is a little less "progressive" or "outside." The melodies here are a little more accessible and memorable, yet the soloing is just as creative and adventuresome as we have come to expect from Brecker and the other jazz luminaries on this CD. The top-notch team of sidemen here are Pat Metheny on guitar, Jack DeJohnette on drums, Dave Holland on bass, and Joey Calderazzo on piano. Pianist McCoy Tyner and percussionist Don Alias are added on two tunes.

Six of the nine compositions are Brecker's. They are varied, thoughtful, and provide great vehicles for improvisation. Metheny contributes "Bilbao" from his Travels album, Calderazzo contributes a medium tempo swinger, and "Willie T." comes from the late pianist Don Grolnick, who produced Brecker's first two solo albums and performed with Brecker frequently.

I would especially recommend this album to those who have come to jazz through the "new adult comtemporary" door and are ready to take the next step towards discovering what real jazz is all about.

Brecker, whose tenor saxophone has graced pop performances by James Taylor and Paul Simon as well as plenty of straight-ahead jazz sessions, can be as exciting as any jazzman alive. His solos have a way of rising to a quick boil and catching you up in their immediacy. This happens several times on this album, an all-star date with guitarist Pat Metheny, pianist Joey Calderazzo or McCoy Tyner, bassist Dave Holland, drummer Jack DeJohnette and guest percussionist Don Alias. It happens on Metheny’s “Song for Bilboa,” where Brecker chomps at the chord changes in a manner reminiscent of John Coltrane on “Out of This World” (from the album, Coltrane). It happens on “Willie T.” as he sweeps up to a swirling, raspy-toned climax with the drums knocking heatedly underneath. And it happens on “Cabin Fever,” an uptempo tour de force with Brecker cruising like a high-speed steamroller.

The tenor man’s estimable sidemen are in aggressive jazz form. They, too, seem caught up in the electric

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Track listing:
All tracks composed by Michael Brecker; except where indicated

01 "Slings and Arrows" – 6:19
02 "Midnight Voyage" (Joey Calderazzo) – 7:17
03 "Song for Bilbao" (Pat Metheny) – 5:44
04 "Beau Rivage" – 7:38
05 "African Skies" – 8:12
06 "Introduction to Naked Soul" (Michael Brecker, Dave Holland) – 1:14
07 "Naked Soul" – 8:43
08 "Willie T." (Don Grolnick) – 8:13
09 "Cabin Fever" – 6:59

Personnel:

Michael Brecker – tenor saxophone
Pat Metheny – guitar, guitar synthesizer
Joey Calderazzo – piano
Dave Holland – double bass
Jack DeJohnette – drums
McCoy Tyner – piano (tracks 3 and 5)
Don Alias – percussion (tracks 3 and 5)

McCoy Tyner Trio [Feat. Michael Brecker] - 1995 "Infinity"

Infinity is an album by McCoy Tyner released on the Impulse! label in 1995. It was recorded in April 1995 and features performances by Tyner with Michael Brecker, Avery Sharpe, Aaron Scott and Valtinho Anastacio. The album won the 1996 Grammy for Best Jazz Instrumental Performance (Individual or Group), while Michael Brecker won the Grammy for Best Jazz Instrumental Solo for the track "Impressions".

It seems only fitting that the initial new release on the latest revival of the Impulse label features McCoy Tyner and Michael Brecker. When Impulse started out in 1960, John Coltrane and Tyner were the first artists to be signed, and when Impulse was briefly brought back by MCA in the 1980s, two of its most important albums were recordings by Brecker. There are not a lot of surprises on this quartet matchup (with bassist Avery Sharpe and drummer Aaron Scott) except perhaps for how well Tyner and Brecker mesh together. The music is somewhat similar to a set by the pianist's regular trio with a solo piece ("Blues Stride"), a generous amount of Tyner originals and colorful versions of Thelonious Monk's "I Mean You" and "Good Morning Heartache," but Brecker's presence and consistently powerful playing does inspire Tyner and his sidemen. For a strong example as to why today's saxophonists have such a high opinion of Michael Brecker, his roaring statement on the extended "Impressions" will suffice. Highly recommended.

This is one of my favorites when in the mood for high intensity tenor sax. While I like the entire album (great musicians, good mix of songs) two particular cuts simply blow me away: Flying High (another fine McCoy Tyner composition) and Impressions (Coltrane classic). On those two cuts Michael Brecker shows why he is one of the best all-time tenor sax players. His incredible tone, phrasing, and intensity on those songs are some of the best sax work I have ever heard. I find myself sitting with jaw dropped in disbelief at Brecker's solos. Tyner as always provides beautiful backup for his sax bandmate as well as fine solo work. I can't imagine any fan of real jazz that wouldn't like this album.

There are so many great McCoy Tyner albums (I have about 25, am impressed by all of them, and still feel as if I'm missing a bunch of classics) that it can be a challenge to choose among them. A couple of early Blue Note titles are universally-acknowledged classics -- 1967's The Real McCoy, in a quartet with Joe Henderson, and 1968's Time for Tyner, a quartet with Bobby Hutcherson. Other than that, his best-known albums are probably from his time making high-energy Afrocentric music on the Milestone label during the 1970s -- albums like Sahara (1972), Enlightenment (1973), and the dazzling solo testament Echoes of a Friend (1972) are frequently recommended to Tyner beginners.

This one is from 1995 and it finds Tyner back "home," on Impulse Records where he started his career, and in a quartet format modeled on the one that brought him to fame, with John Coltrane in the early '60s. The comparison is further invited by the presence of the late Michael Brecker, a player of awesome power and unparalleled technical excellence for whom Coltrane was the obvious main influence. Brecker first came to notice playing breezy funk with his brother Randy in the '70s,and then as a session musician; he had a slow road to carving out the edgy jazz credentials that he's now best remembered for. Although his high register sound and sweeping figures unmistakably evoke Coltrane, his snub-nosed tone in the middle register suggests a close study of Dexter Gordon.

Brecker more or less steals the show here. Brecker plays some of the best solos I've heard by him on "Flying High," the Monk chestnut (one of Tyner's favorites) "I Mean You," the grooving "Mellow Minor," and of course Coltrane's "Impressions." Tyner brings some nice original compositions to the table -- "Mellow Minor" in particular is up there with his classics, somewhat reminiscent of "Fly with the Wind" -- and a couple that are a little more rote, such as "Happy Days" (amusingly, or annoyingly, based on "Deck the Halls").

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Track listing
All compositions by McCoy Tyner except where noted.

1. "Flying High" - 10:14
2. "I Mean You" (Hawkins, Monk) - 7:19
3. "Where Is Love" - 5:31
4. "Changes" - 9:46
5. "Blues Stride" - 3:38
6. "Happy Days" - 9:42
7. "Impressions" (Coltrane) - 11:13
8. "Mellow Minor" - 5:26
9. "Good Morning Heartache" (Drake, Fisher, Higginbotham) - 9:21

Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ, April 12 (track 1 & 6), 13 (tracks 4, 7 & 8) and 14 (tracks 2, 3, 5 & 9), 1995

Personnel:

McCoy Tyner – piano
Michael Brecker – tenor saxophone
Avery Sharpe – bass
Aaron Scott – drums
Valtinho Anastacio – congas, percussion

Jack Wilkins - 2001 "Reunion"

Reunion is just that.

And for jazz listeners who missed Jack Wilkins' outstanding 1977 release, Merge, the first time out, or for those who are too young to remember it, Reunion brings back that group for a brief moment in time.

It wasn't easy. Schedules conflicted and everyone was busy, but they found a slot when they could record. Try as they might, Wilkins and the producer weren't able to pin down saxophonist Michael Brecker for more than two tracks. But the "what if" questions about the addition of Michael Brecker are answered on Reunion, for the Brecker brothers do team up on "Kiwi Bird" and Horace Silver's "Break City." The remainder of the CD consists of the personnel who created such a pearl 24 years before, one that awaited discovery by a guitarist who recorded too infrequently as a leader.

The original group grew incrementally, at first consisting of Wilkins and bassist Eddie Gomez when they played at Sweet Basil. Later, Jack DeJohnette and Randy Brecker joined in. The result was/is a distinctive group, each member with his own personal sound. Yet, they all intuitively understand the value of interaction and spontaneity. In fact, this group is one case where the rhythm section leads the horn, so recognizable are their styles. Gomez' full virtuosic sound in instantly recognizable, no matter where he performs. DeJohnette developed his own individual approach to the drums that, like all great drummers', enlarges the meaning of each tune through texture and pulse.

Often, the genre of choice is bop, which makes sense due to the influence of musicians like Horace Silver upon members of the group. Recalling their work in his group, the Brecker brothers perform Silver's "Break City," and Michael in particular stretches out in full command of his instrument.

But Wilkins had more in mind than a re-creation of his previous album. "Reunion" the song is a minor-keyed excursion that invites close listening as the musicians improvise over its modal structure. Wilkins develops the tune as through successive choruses of atmospheric embellishment, which are notable in addition for Gomez' and DeJohnette's irresistible rhythmic drive that they build.

The slower tunes include Gomez' "Scott," a 3/4 tribute to his son that he bows in introduction before Wilkins joins in to break out the melody. Gomez' and Wilkins' solos are the highlights of the tune as they demonstrate mastery of their instruments that has only improved over the years. Wilkins ends the CD with the standards "But Beautiful" and "All The Things You Are," "But Beautiful" being a trio setting that lets Wilkins relax as he explores the tunes harmonic richness.

After all of these years, the Wilkins group is intact and inspiring. If their now-busy careers prevent the opportunity for them to perform live, at least we have Reunion to document the group's natural ability to perform, and to communicate, as if 1977 were only yesterday.

This disc reunites the musicians-guitarist Jack Wilkins, saxophonist Michael Brecker, trumpeter Randy Brecker, bassist Eddie Gomez, and drummer Jack DeJohnette-featured on Merge, recorded for Chiaroscuro in 1977. Since then, more than 20 years later, each has become one of the most respected players on his instrument. And while Wilkins is the leader of this date, the other players get plenty of blowing room, and Wilkins, Gomez and Randy Brecker all contribute original material.

On Wilkins’ grooving, upbeat “Kiwi Bird” the Breckers step up with dynamic, searching solos that set the stage for a guitar excursion that includes myriads of beautifully conceived and executed phrases. And on the title track, a moody, anthemic ballad, Wilkins wields an electric nylon-string whose sonic properties heighten the overall feel. Gomez’s “Cheeks,” a salute to Dizzy Gillespie, relentlessly bops along, providing a nice vehicle for a grooving solo by Wilkins, who particularly excels in this type of setting, and a burning outing by Randy Brecker, whose nuances and phrasing frequently acknowledge Birks. Balancing the program’s originals are readings of three standards, including “All the Things You Are,” whose melody is chucked aside in favor of a novel, uptempo, kinetic treatment that supports an array of adventurous blowing by Wilkins and a masterfully expansive solo by DeJohnette.

While this date could have been recorded better (the guitar sounds like it went straight into the board instead of being miked, which influences its tone and presence), it only slightly detracts from the typically brilliant compositions and performances.

Back in 1977, guitarist Jack Wilkins led a very rewarding recording date, Merge, that featured trumpeter Randy Brecker and tenor saxophonist Michael Brecker playing straight-ahead jazz. For this reunion date, Wilkins, bassist Eddie Gomez, and drummer Jack DeJohnette are joined throughout (except for the guitarist's feature on "But Beautiful") by Randy Brecker, although brother Michael is unfortunately only on two selections. Wilkins and Randy Brecker have many fine solos, and the repertoire consists of five group originals, Horace Silver's "Break City," and three standards. Although not reaching the heights of Merge (it is a pity that Michael Brecker was not along for the whole project), this is mostly a high-quality quartet outing of fine post-bop jazz. Worth exploring.

Track Listing:

1. Kiwi Bird (6:46) [Jack Wilkins]
2. Reunion (8:30) [Jack Wilkins]
3. Break City (6:03) [Horace Silver]
4. Moontide (8:31) [Randy Brecker]
5. Yours Is My Heart Alone (7:24) [Lehar]
6. Scott (8:27) [Eddie Gomez]
7. Cheeks (7:42) [Eddie Gomez]
8. But Beautiful (4:42) [Burke, VanHeusen]
9. All The Things You Are (7:23) [Hammerstein, Kern]

Personnel:

Jack Wilkins (guitar);
Michael Brecker (tenor saxophone);
Randy Brecker (trumpet, flugelhorn);
Eddie Gomez (bass);
Jack DeJohnette (drums).

The Brecker Brothers - 1978 [2007] "Heavy Metal Be-Bop"

Heavy Metal Be-Bop is a live album by the American jazz fusion group, the Brecker Brothers that was released by Arista Records in 1978. The album also includes the studio track "East River", which reached number 34# in the UK singles chart in November 1978.

Recorded live in New York, this explosive set of jazz, funk, and rock material was without question ahead of its time. Michael and Randy's use of electronically altered saxophone and trumpet sounds is amazing.

This is just an absolute JEWEL. Zappa fans will recognize Terry Bozzio in addition to the Brecker brothers themselves, and MAN, what a combo! Michael Brecker just shreds on every solo, and Randy finds nuances with the "electric trumpet" that have never been heard before or since. Some will want this for the novelty of the electric tenor sax and trumpet, but there are FINE examples of modern BeBop solos here, over a high-powered rhythm section that kicks and jumps all over everything the soloists lay down. This is the kind of rhythm section that can make ANYBODY sound good, but the Brecker brothers talent is unmatched; a combination that presents an order of magnitude. Bass players NEED to hear Neil Jason, and guitar players NEED to hear Barry Finnerty on this. Blistering tight unison lines will prove once again why Zappa saved his most intricate horn passages for these guys, and why you won't hear them at tempo with anybody else. I sincerely hope for more of this largely unexplored flavor of jazz. I haven't found anything else that quite measures up to this.

"Heavy Metal Be-Bop" is a land mark fusion recording. The first tune is from the studio and the rest are recorded from a smoking live set. "East River" is the studio tune and is vocal. The song has a funky bassline and is fun but compared to the rest of the disc it is out of place. The rest of the disc is unreal. The band consists of Neal Jason on bass, Barry Finnerty on guitar, Terry Bozzio on drums, Michael Brecker on Sax, and Randy Brecker on trumpet. "Inside Out" is a Randy Brecker tune and Randy, Michael and Barry all have some fun with it. The tune is basic (For the Brecker Brothers) and they all play over the groove set by Bozzio/Jason. "Some Skunk Funk" is another Randy Brecker composition and a classic. This is one of the funkiest tunes that I have ever heard and the brothers play some of the greatest horn lines that you will ever hear. There are also some unison lines and the power of the band is on par with metal. "Sponge" is another funky piece and it features the explosive drumming of Bozzio. The band trades fours throughout Bozzio's rhythmic wizardry. "Funky sea, Funky Dew' is a Michael Brecker extravaganza. He takes the studio version and improves on it. Not only is his playing during the song great but there is a solo at the end that is amazing and then he is joined by just the bass of Jason which elevates him to a level that is beyond words. "Squids" is the closer to this set and has the brothers ,once again, playing over some serious funk. This disc is one of the greatest I've ever heard and is the greatest Horn orientated fusion disc ever. I only wish that there were more than five live songs but those five are worth any price. As highly recommended as anything can be.

This is the most incredible music ever, no BB album has surpassed this. A live album with Terry Bozzio having just joined the band after leaving Frank Zappa. The version of Some Skunk Funk is worth the whole price. Phenomenal! Will leave you out of breath and panting for more. One studio track kind of ok, an attempt at top 40, but the rest is - wow! Line up is guitar, bass, drums and Breckers. Randy plays some organ and uses a harmonizer to add 5ths and 4ths to his trumpet, so it sounds like more than just 2 horn players. Just hard to imagine what this would have been like to see live. Too bad it wasn't a double album when it was released in the late 70's. I want more of this!

While artists more often than not look for an album title that in some way reflects the music contained within, few have come up with a name that, in three simple words, says it all as much as today's Rediscovery: The Brecker Brothers' Heavy Metal Bebop. A positively incendiary live recording (barring bassist Neil Jason's funkified, studio-recorded, set-opening vocal anthem, "East River"), it sports a completely revamped lineup from the group's Don't Stop the Music (Arista), released the previous year. While this album was reviewed as part of Legacy Recordings' 2012 box set, The Complete Arista Albums Collection, its sheer power and raw energy demanded inclusion as a Rediscovery.

And, as expected, it sounds absolutely tremendous through my Tetra Speaker rig. This is an album that—featuring a core quintet where saxophonist Michael Brecker and trumpeter Randy Brecker are joined, in addition to Jason, by guitarist Barry Finnerty and drummer Terry Bozzio, with additional percussion and overdubs added in post-production—rips through some of the best material from the group's earlier albums, including a light speed version of "Some Skunk Funk" and slightly faster, even more nuclear-infused take on "Sponge," both from the group's 1975 Arista debut, The Brecker Bros.

A slight breather comes with Don't Stop the Music's generally mellower "Funky Sea, Funky Dew," Michael's only compositional contribution to the set. Still, an extended a cappella and heavily processed saxophone outro is both an album highlight and demonstration of why Michael was already one of the most influential saxophonists of his generation...and would go on to become even more so in the decades leading to his untimely passing in 2007 at the too-young age of 57. A closing "Squids," from the same record, also feels less wholly unfettered than the album's first three live tracks, but still possessed more attitude and energy per square inch at a time when fusion was, in general, slowly morphing its way into the easier-on- the-ears predecessor to what would ultimately become smooth jazz. The album's only previously unheard live track is also its first live one: Randy's potently altered blues, "Inside Out," played with a greasy shuffle from Jason and Bozzio that, quite simply, means it.

Throughout this 42-minute set—all but three of them recorded live at My Father's Place in Roslyn, NY—the entire band plays as if its life depended on it. Michael Brecker soars, while older brother Randy (similarly processing his horn with a harmonizer, envelope filter and more) matches his younger sibling's energy note for searing note, the pair seemingly unable to play anything but the right note at the right time—except, occasionally, when they played the wrong note at precisely the right time...because with music this unshackled, there are no wrong notes, just ones that drive the player(s) in unexpected directions. While rarely featured, Jason and Bozzio keep the pulse at a fever pitch throughout, thundering where necessary—especially on the high octane "Sponge" where, with a new solo section, a three-way trade-off between the two Breckers and Finnerty represents the album at its most reckless, raw and relentless—but laying back as required with equal aplomb.

The surprise of the set is, however, Finnerty. Having first heard the guitarist on a live radio broadcast of the Crusaders, playing a solo to the title track of keyboardist Joe Sample's Rainbow Seeker (ABC, 1978) that remains memorable to this day, it was clear that he may have had big shoes to fill in replacing Larry Carlton in that group but—clearly imbued with similar chops and linguistic command—the guitarist brought an edgier New York vibe and completely different kind of lyricism to the successful Texan-centric West Coast group.

So, when finally hearing Heavy Metal Bebop for the first time—a little late to the game, a couple years after it was first released—I already knew he had all he needed to not just match the two Breckers, but to actually up the ante. While the Breckers take the lion's share of the solo space, every time Finnerty is featured it's a revelation...and all the more a crime that, despite remaining active in the ensuing years, the guitarist has never managed to garner the broader acclaim he deserves—if nothing else based on his contribution to Heavy Metal Bebop but, with Miles Davis, Billy Cobham, Hubert Laws and Eliane Elias also in his résumé, clearly possessing even more.

Tracks Listing

1.East River (3:38)
2.Inside Out (9:32)
3.Some Skunk Funk (7:01 )
4.Sponge (6:24)
5.Funky Sea,Funky Dew (8:03)
6.Squids (7:57 )

Total Time 41:55

Personnel:

- Randy Brecker / electric trumpet, keyboards
- Michael Brecker / electric tenor sax
- Barry Finnerty / guitars, GuitarGanizer, background vocals
- Terry Bozzio / drums, background vocals
- Neil Jason / bass, lead vocals

Additional Musicians

- Sammy Figueroa / percussion
- Rafael Cruz / percussion
- Kask Monet / handclaps, percussion, background vocals
- Jeff Schoen / background vocals
- Roy Herring / background vocals
- Paul Schaeffer / fender rhodes
- Victoria / tambourine
- Alan Schwartzberg / drums
- Bob Clearmountain & friends / handclaps

Michael Brecker - 1988 "Don't Try This At Home"

Don't Try This at Home is the second album by American jazz saxophonist Michael Brecker, that was released on Impulse! records in 1988. In 1989, the album won a Grammy Award for Best Improvised Jazz Solo.

Michael Brecker's second album as a leader is almost the equal of his first. Surprisingly, only one song ("Suspone") uses his working quintet of the period (which consists of guitarist Mike Stern, pianist Joey Calderazzo, bassist Jeff Andrews and drummer Adam Nussbaum) although those musicians also pop up on other selections with the likes of pianists Don Grolnick and Herbie Hancock, bassist Charlie Haden, drummer Jack DeJohnette and violinist Mark O'Connor. Brecker (on tenor and the EWI) is in superb form, really ripping into the eight pieces (mostly group originals). Recommended.

This is the album that made me want to play jazz. It's a fantastic album, but it's definitely a product of its time. All of the people complaining about the use of the EWI fail to take into account that this album was made in 1987, and the EWI was accepted as a good instrument for fusion playing. Yes, it sounds a bit dated now, but at the time, it was a revelation. And for all of you who think that the EWI sucks, go try and play one. It's very difficult, much more so than a standard tenor saxophone, so it makes the playing that much more remarkable.

Mr. Brecker's playing is absolutely mind-boggling on this CD. The opening track, "Itsbynne Reel" incorporates Irish folk music and an absolutely incredible solo. His use of the "super mixolydian" mode and phrasing put his playing a few levels above most of his contemporaries.

If you are one of those people that either subscribe to the Wynton Marsalis theory of jazz ("Swing+Blues=Jazz") or are only interested in the "head/solo/head/end" hard bop style of, say, Joe Lovano or Jerry Bergonzi, should probably look elsewhere. This is a Fusion album, and should be looked at as such.

From the first track, with the EWi instrument emulating bagpipes to the Monk like final track, this terrific album combines Brecker's incredibly creative, complex magnifcently skilled Coltrane like solos with a great ensemble that, often creates a big band sound, particularly on the seventh track, with its freedom song type basic lines combined with Brecker's magnificent solos. This album was an earlier demonstration of why the meaningful history of late modern jazz csn virtually start and stop with Micheal Brecker.

Track listing:

  1.  "Itsbynne Reel" (Michael Brecker, Don Grolnick) – 7:41
  2.  "Chime This" (Grolnick) – 7:50
  3.  "Scriabin" (Vince Mendoza) – 4:59
  4.  "Suspone" (Mike Stern) – 4:59
  5.  "Don't Try This at Home" (Brecker, Grolnick) – 9:30
  6.  "Everything Happens When You're Gone" (Brecker) – 7:11
  7.  "Talking to Myself" (Grolnick) – 5:10
  8.  "The Gentleman & Hizcaine" (Jim Beard) – 5:19

Personnel:

    Michael Brecker – tenor saxophone, EWI
    Herbie Hancock – piano
    Joey Calderazzo – piano
    Don Grolnick – piano
    Jim Beard – synthesizer, piano
    Judd Miller – synthesizer
    Mike Stern – guitar
    Mark O'Connor – violin
    Charlie Haden – bass
    Jeff Andrews – bass
    Jack DeJohnette – drums
    Peter Erskine – drums
    Adam Nussbaum – 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.

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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

Arista All Stars - 1978 [2014] "Blue Montreux"

A sweet session of 70s electric jazz – recorded as a unique live all-star outing by a group of Arista's best jazz players at the time! The group's an octet, but plays together in differing formations throughout the record – with Warren Bernhardt on keyboards, Michael Brecker on saxes, Randy Brecker on trumpet, Steve Jordan on drums, Steve Khan and Larry Coryell on guitars, Tony Levin on bass, and Mike Maineri on vibes – the last of which really make for some of the best numbers on the album! Bernhardt's keyboards are pretty good too – stepping out with a spacious, fluid feel that's never jamming – and more in the open-ended Bob James side of the spectrum, although his overall sound is a lot different than Bob's!

At the 1978 Montreux Jazz Festival, a variety of artists (including keyboardist Warren Bernhardt, tenor-saxophonist Michael Brecker, guitarists Steve Khan and Larry Coryell, trumpeter Randy Brecker and vibraphonist Mike Mainieri) recorded a dozen funky selections which were originally released on two Arista LPs. This single CD has the eight top performances from these important fusion stylists; Michael Brecker in particular is in good form. The results are not essential but offer listeners a time capsule of where R&B-oriented fusion was in 1978.

Both CDs are absolute fantastic recordings. Mike Mainierie and especially Mike Brecker are at their best. For me the highlight came one year later in the recording of Jun Fukamachi & New York All SAtars. Joined by David Sanborn, Steve Jordan replaced by Steve Gadd and Steve Khan on guitar. Tuines are mainly identical but I think they have more drive than the Montreux ones.

Personally, Larry Coryell IS one of my favorite guitarists, and since he covered Rocks on his Planet End album it's fitting he guests here. The other stellar guitar moment is Steve Khan's awesome solo on Magic Carpet. Other than that it's about the horns and what horns!!. While this is not straight ahead jazz, it's not fusion like either. Electric instruments mixed into an acoustic setting with taste. If you like the Breckers, buy this if you can find it. It's a gem.

What a line-up! An incredible performance by legends in their own time. I was particularly surprised to find Tony Levin here. His playing on "Rocks" is unbelievable. This is an album to be reckoned with. Sometimes fast and aggresive, lots of feeling when called for. The Breckers tear the CD player apart! They pull out all the stops on "Rocks". Michael's opening line in "I'm Sorry" shows the sensibilities he's capable of rendering. Just an amazing album by an amazing bunch!

This recording is the beginnings of what was to become Steps. Michael Brecker, God rest his soul never made a bad recording and this is worth buying for the tune, "I'm Sorry" alone. The intro still brings tears to me eyes. There's a little bit everyone's compositions including Randy Brecker's eccentric funk, and Manieri's lyricism. I believe that drummer, Steve Jordan was around 19 or 20 at the time of this concert and still a phenom in the world of jazz-fusion. Tony Levin holds down the bottom and Warren Bernhardt contributes nicely on keyboards.

Track listing:

Blue Montreux (8:47)
Rocks (7:54)
I'm Sorry (8:38)
Magic Carpet (5:34)
Buds (4:58)
Floating (7:54)
The Virgin And The Gypsy (8:24)

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

The Brecker Brothers - 1978 [2007] "Heavy Metal Be-Bop"

Heavy Metal Be-Bop is a live album by the American jazz fusion group, the Brecker Brothers that was released by Arista Records in 1978. The album also includes the studio track "East River", which reached number 34# in the UK singles chart in November 1978.

Recorded live in New York, this explosive set of jazz, funk, and rock material was without question ahead of its time. Michael and Randy's use of electronically altered saxophone and trumpet sounds is amazing. 

This is just an absolute JEWEL. Zappa fans will recognize Terry Bozzio in addition to the Brecker brothers themselves, and MAN, what a combo! Michael Brecker just shreds on every solo, and Randy finds nuances with the "electric trumpet" that have never been heard before or since. Some will want this for the novelty of the electric tenor sax and trumpet, but there are FINE examples of modern BeBop solos here, over a high-powered rhythm section that kicks and jumps all over everything the soloists lay down. This is the kind of rhythm section that can make ANYBODY sound good, but the Brecker brothers talent is unmatched; a combination that presents an order of magnitude. Bass players NEED to hear Neil Jason, and guitar players NEED to hear Barry Finnerty on this. Blistering tight unison lines will prove once again why Zappa saved his most intricate horn passages for these guys, and why you won't hear them at tempo with anybody else. I sincerely hope for more of this largely unexplored flavor of jazz. I haven't found anything else that quite measures up to this.

"Heavy Metal Be-Bop" is a land mark fusion recording. The first tune is from the studio and the rest are recorded from a smoking live set. "East River" is the studio tune and is vocal. The song has a funky bassline and is fun but compared to the rest of the disc it is out of place. The rest of the disc is unreal. The band consists of Neal Jason on bass, Barry Finnerty on guitar, Terry Bozzio on drums, Michael Brecker on Sax, and Randy Brecker on trumpet. "Inside Out" is a Randy Brecker tune and Randy, Michael and Barry all have some fun with it. The tune is basic (For the Brecker Brothers) and they all play over the groove set by Bozzio/Jason. "Some Skunk Funk" is another Randy Brecker composition and a classic. This is one of the funkiest tunes that I have ever heard and the brothers play some of the greatest horn lines that you will ever hear. There are also some unison lines and the power of the band is on par with metal. "Sponge" is another funky piece and it features the explosive drumming of Bozzio. The band trades fours throughout Bozzio's rhythmic wizardry. "Funky sea, Funky Dew' is a Michael Brecker extravaganza. He takes the studio version and improves on it. Not only is his playing during the song great but there is a solo at the end that is amazing and then he is joined by just the bass of Jason which elevates him to a level that is beyond words. "Squids" is the closer to this set and has the brothers ,once again, playing over some serious funk. This disc is one of the greatest I've ever heard and is the greatest Horn orientated fusion disc ever. I only wish that there were more than five live songs but those five are worth any price. As highly recommended as anything can be.

This is the most incredible music ever, no BB album has surpassed this. A live album with Terry Bozzio having just joined the band after leaving Frank Zappa. The version of Some Skunk Funk is worth the whole price. Phenomenal! Will leave you out of breath and panting for more. One studio track kind of ok, an attempt at top 40, but the rest is - wow! Line up is guitar, bass, drums and Breckers. Randy plays some organ and uses a harmonizer to add 5ths and 4ths to his trumpet, so it sounds like more than just 2 horn players. Just hard to imagine what this would have been like to see live. Too bad it wasn't a double album when it was released in the late 70's. I want more of this! 

Tracks Listing

1.East River (3:38)
2.Inside Out (9:32)
3.Some Skunk Funk (7:01 )
4.Sponge (6:24)
5.Funky Sea,Funky Dew (8:03)
6.Squids (7:57 )

Total Time 41:55

Personnel:

- Randy Brecker / electric trumpet, keyboards
- Michael Brecker / electric tenor sax
- Barry Finnerty / guitars, GuitarGanizer, background vocals
- Terry Bozzio / drums, background vocals
- Neil Jason / bass, lead vocals

Additional Musicians

- Sammy Figueroa / percussion
- Rafael Cruz / percussion
- Kask Monet / handclaps, percussion, background vocals
- Jeff Schoen / background vocals
- Roy Herring / background vocals
- Paul Schaeffer / fender rhodes
- Victoria / tambourine
- Alan Schwartzberg / drums
- Bob Clearmountain & friends / handclaps