Michael Brecker

Year of Release: 1987

Liner Notes:

More so than most mortals, a musician can be measured by the company he keeps. In the case of this tenor saxophonist, that company has included Chick Corea, Quincy Jones, Charles Mingus, Frank Zappa, Joni Mitchell, Herbie Hancock, Paul Simon, Bruce Springsteen, Parliament/Funkadelic, Frank Sinatra, John Lennon, Eric Clapton, Freddie Hubbard, Chaka Kahn, Dire Straights, James Taylor, Steely Dan, and Billy Joel - to name but a few.

They were all inspired to require Brecker's services because of his renowned virtuosity - as incandescent soloist, seamless ensemble player, and innovative composer. And now Brecker's gifts are being put on their most conspicuous and compelling display with the release of his first solo album, Michael Brecker, for MCA/Impulse.

Born in Philadelphia of a musical family, Brecker began listening to Cannonball Adderly, Miles Davis, Clifford Brown, and John Coltrane while still in his teens. Initially trained on the clarinet, Michael's jazzy leanings led him to switch to alto saxophone and then to tenor, where he finally found his instrument. Committed to a career in music at an early age, he attended Indiana University only briefly before pulling into New York at 18.

From there, the climb was rapid and dramatic. In the late 60's, Brecker joined with Billy Cobham, John Abercrombie, Will Lee, and others in Dreams, a band considered almost visionary for deploying a horn section on top of rock rhythms - melding electronic instruments to jazz riffs. "There was no term for fusion back then," recalls Brecker. "We were just searching for new ways to break the barriers. Indeed, Dreams' two albums are now seen as seminal documents in the cross-feriltilization of rock and jazz.

The early 70's brought stints with Horace Silver and, later, Billy Cobham, touring and recording all over the world. Brecker then invaded the studio scene, quickly emerging as the preeminent studio saxophonist of his generation. His appearance on nearly 400 albums constitutes a virtual pantheon of popular sound.

In 1975, and continuing for six years, Michael and his brother, trumpeter Randy Brecker, formed The Brecker Brothers, releasing six albums that earned strong sales and consistent critical acclaim. During this time the brothers Brecker also opened Seventh Avenue South, a world renowned centerpiece of the late-night downtown Manhattan jazz scene from 1977 to '85.

At Seventh Avenue South in 1979, Brecker and some friends got together for informal gigs "to have a little fun." One evening, a Japanese producer was in the audience, liked what he heard, and invited the group to play in his country. Thus was born Steps Ahead, the quintet that Brecker still co-leads with vibraphonist Mike Manieri. The group's acoustic genesis has taken an ironic twist in that Steps Ahead is now known - through its albums and international tours - as tireless innovators in the use of synthesized instruments. This transformation dates from Brecker's discovery of the EWI, an electronic wind instrument with extraordinary adaptability and an eight-octave range. "It was during my first experience with the EWI that I immediately became enthralled with it," he says. Indeed, the EWI has become an integral component of Brecker's sonic palatte.

For his first solo project, Michael Brecker is again shifting gears by returning to his jazz roots: straight-ahead grooves with a rich variety of improvisation. With the support of Kenny Kirkland, Charlie Haden, Jack DeJohnette, and Pat Metheny, Brecker has put together an all-star ensemble capable of swinging both prodigiously and soulfully. "Steps Ahead is taking care ot the electric area for me," he observes, "and I felt it was time to return to something that's a big part of me - playing acoustically in a freer setting."

These freedoms are immediately apparent in the lead-ff tune, "Seaglass," a refracted waltz with Brecker's tenor riding above DeJohnette's cymbals. "Syzygy," in contrast, begins with forceful tenor and drum work, before a solid bass ostinato sets the stage for imrprovisation: Kirkland swings and sparkles on the piano, Brecker displays his mastery of the EWI, and Metheny haunts with the edgy melodicism of his guitar.

Despite its shifting syncopations, "Choices," written by guitarist Mike Stern, is in 4/4 time; it's darting rhythms prompt playing from Brecker that is variously graceful, expansive, and hard edged. "Nothing Personal," by pianist and co-producer of thi album, Don Grolnick, charges forward atop DeJohnette's firece cymbal work - but even with its drive, there is elegance to be found in Metheny's solo and Kirkland's support.

"The Cost Of Living" is a dark ballad lit by Haden's characteristic passion. And with "Original Rays," Brecker creates a showcase for the EWI, playing chordal structures and contrapuntal lines without overdubs; jumping to tenor, he displays that instrument's lyricism in his hands.

With this line-up of musicians, the record's instrumental brilliance comes as no suprise; what may prove startling is the groups sly interaction, the sense of an ensemble as one. "I tried to make a record with some mystery," says Brecker. "One that bears more than one listening."

(written by Steve Schneider, regular contributor to the New York Times)