Two Blocks From The Edge

A remarkable technician and a highly influential tenor-saxophonist (the biggest influence on other tenors since Wayne Shorter), Michael Brecker took a long time before getting around to recording his first solo album. He has spent much of his career as a top-notch studio player who often appeared backing pop singers, leading some jazz listeners to overlook his very strong improvising skills.

Michael Brecker originally started on clarinet and alto before switching to tenor in high school. Early on he played with rock and R&B-oriented bands. In 1969 he moved to New York and soon joined Dreams, an early fusion group. Brecker was with Horace Silver during 1973-74, gigged with Billy Cobham and then co-led the Brecker Brothers (a commercially successful funk group) with his brother-trumpeter Randy Brecker for most of the 1970's. He was with Steps (later Steps Ahead) in the early '80's, doubled on an EWI (electronic wind instrument) and made a countless number of studio sessions during the 1970's and '80's, popping up practically everywhere (including with James Taylor, Yoko Ono and Paul Simon). With the release of his first album as a leader in 1987 (when he was already 38), Brecker started appearing more often in challenging jazz settings. He recorded additional sets as a leader (in 1988 and 1990), teamed up with McCoy Tyner on one of 1995's most rewarding jazz recordings and toured with a reunited Brecker Brothers band. Two Blocks from the Edge followed in 1998.

— Scott Yanow, All-Music Guide

Although Michael Brecker made his initial reputation as a greatly in-demand studio player able to play quite credibly in commercial settings, his recordings for Impulse! have all been strictly straight-ahead. Displaying his roots in John Coltrane and Ernie Watts, Brecker has developed his own approach to sheets-of-sound playing while not being shy about playing quite lyrically. From the opening medium-tempo blues "Madame Toulouse" and the catchy "Bye George" (which could almost have been written by Horace Silver) to the funky and slyly humorous closer, "Delta City Blues," this is a particularly strong outing. With pianist Joey Calderazzo (often emulating McCoy Tyner to at least a small degree) and an alert and intuitive rhythm section (bassist James Genus, drummer Jeff "Tain" Watts, and percussionist Don Alias), Brecker often creates fiery solos that linger to their optimum length before the mood changes. Recommended.

—Scott Yanow