Tales From The Hudson

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

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.

—Scott Yanow