🎵
Artist: Michael Brecker

Now You See It...(Now You Don't)

🏷️ Jazz 📅 1990 💿 CD ⭐ ****

Field
Jazz
Recorded
1990
Label
GRP
Pressing
Am
Rating
****
Discs
1
Media
CD
Bought
22-Jan-2006
Cost
¤0.00

📜 Artist Biography

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

✍️ Record Review

For Now You See It, Michael Brecker's third recording as a leader, the tenor great uses different personnel on most of the selections but plays consistently well. Jim Beard's synthesizers are utilized for atmosphere to set up a funky groove or to provide a backdrop for the leader. Some of the music sounds like updated John Coltrane (Joey Calderazzo's McCoy Tyner-influenced piano helps) while other pieces could almost pass for Weather Report, if Wayne Shorter rather than Joe Zawinul had been the lead voice. Most of the originals (either by Brecker, Jim Beard or producer Don Grolnick) project moods rather than feature strong melodies, but Michael Brecker's often-raging tenor makes the most of each opportunity.

—Scott Yanow