By Mike Brannon
Once one half of the world renown Brecker Brothers and full time studio
legend, tenor saxophonist Michael Brecker relinquished that throne to form a
group and deliver his own material. Though the Coltrane influence is present
in spirit, its simultaneously transcended, skewered even, by the sheer
strength and personality of Brecker's tone and seemingly infinite
permutations of major seventh laden linear expressions.
Although he might disagree, it no longer seems strange to include Brecker's
name alongside those of his other influences:
Joe Henderson, Sonny Rollins and Wayne Shorter. A whole generation of
saxophonists who have copied his sound and solos has already grown up and
they're still coming. One listen and you can see why.
Formerly a fixture on "Saturday Night Live" and veteran of over 400
recordings, the list of those he's worked with is staggering, often requiring
last-name-only recognition: Lennon, Clapton, Zappa, Hancock, Metheny,
Pastorius, Mingus,
Corea, Tyner as well as the groups of Paul Simon, James Taylor, Steely Dan,
Dire Straits, Joni Mitchell, Parliment/Funkadelic, and many others.
Though typically found in the jazz bins, Brecker's music is truly eclectic,
pulling influence from many genres; improvisational, ethnic influenced
("Itsbynne Reel" from "Don' Try This at Home"), even rock approved at times.
He can groove any way you want, no sweat. The CD, "Two Blocks From the Edge",
dedicated to keyboardist Don Grolnick, was released in '98 on the Impulse
label, the company for which John Coltrane recorded his later material. His
latest, "Time is of the Essence" shows this to be true in triplicate; making
use of the unique time manipulations of three percussion greats: Elvin Jones,
Jeff Watts and Bill Stewart.
And supplanting the omnipresent bass chair w/ the footpedals and hard blues
groovin' of Larry Golding's B-3.
Rarely pictured without a horn, the seven time Grammy winner has never turned
his back on tradition, but chooses to use it in ever progressive ways while
retaining the music's integrity and originality, bringing life back to a
sometimes static idiom. Some of the most insightful dialogue regarding the 49
year old tenor's perspective comes from his Impulse! bio: "I'm not sure where
the full-tilt thing comes from in terms of my personality, because I'm often
told I'm fairly mild mannered. Its probably got something to do with the fact
that John Coltrane was such a tremendous influence, and I was attracted to
the emotional intensity of his playing. The power of his quartet was one of
the reasons I chose music as my life's endeavor."
I was surprised to hear that this was the first of his five CD's where he'd
played the music live before recording it, since its usually done that way
most of the time.
Mike's take on it: "Joey, 'Tain, James, Don and I played the new music live,
but only for a little while" he states. "I wanted us to know it, but not be
sick of it. Being familiar with a tune helps spark creativity, but being
overly familiar...well, you know.
Keeping it fresh was important".
Regarding the band put together to do the CD - "Two Blocks from the Edge" -
Brecker's says in his bio, "I've been with Joey (Calderazzo, the pianist)
since '86. We have a chemistry. He's able to read me well, and we have a
similar energy. Don's presence is great, too.", he continues, referring again
to Grolnick. "He has the ability to shift the mood, drive the band with
nuances." "James Genus (acoustic bass), has a great sound; his bass is really
limber." he continues. "About 'Tain
(drummer, Jeff Watts formerly with Wynton and Branford Marsalis) I can't say
enough-he's one of the greatest drummers around right now. He has the ability
to maintain a musical conversation while still swinging." A tall order and
available from a select few others. In addition, "He's constantly feeding
ideas into the mix". "Together they not only make a solid rhythm section, but
one that likes to take chances."
Very high praise from such an accomplished leader, composer and leading light
of contemporary improvisation in jazz. Brecker keeps an air of sincere
humility about him. Another clue that he's no ordinary front man. He seems to
use it to his
advantage, in that this attitude keeps him learning what he feels he doesn't
yet know and striving for what's around the next corner so he can then bring
it to us in his own way.
The title of "Two Blocks from the Edge" comes from a phrase coined by
Brecker's good friend, the late pianist and composer, Don Grolnick - who also
worked with James Taylor - that was that he liked living close to the edge,
as long as it was two or three blocks away.
"In jazz, the first takes are the best, the freshest and most open," Brecker
stresses. "Many times in the past, after recording new music I found that the
music would take on a new life on stage. I would find myself wishing I could
go back and re-record the new version. This time we had the chance to
fine-tune the material first."
"This record ("Two Blocks from the Edge") is different," he confirms "and
that's largely because this is the first time I've made an album after
playing the material live with my band". As a result, he continues, "this was
my most natural record".
And it comes across to the listener.
Furthermore, many tracks were first takes. Always a good sign, as jazz
recordings rarely have the luxury of a large budget as pop projects often do.
Case in point, John Coltrane has been known to literally record an album in
the time it would take to
later play it back. All first takes, all in the can. Not every time, but by
today's standards, unheard of. It just isn't done. Technology has marched on
since then but it hasn't brought us any closer to repeating that kind of
performance more often. When it does happen, its coming from the artist, not
the gear.
Though the current music is all acoustic, Mike previously performed and
recorded with a wind synthesizer known simply as the EWI (Electronic Wind
Instrument) capable a barrage of sensory overloading timbres as well as more
conventional, sax-like sounds. A few good examples include his work on
originals such as the tune, "Syzygy" (from the first CD, "Michael Brecker")
and a personal favorite, "Itsbynne Reel" from "Don't Try this at Home", a
quote often associated with David Letterman.
I had the chance recently to discuss Brecker's recordings and various other
facets of his lengthy and productive career. Though somewhat guarded at
first, when the questions pertained to the current music, he was more than
insightful and forthcoming about it.
AAJ: Do you plan to use the EWI again?
MB: Probably I would plan to use it. It could easily come back in a
different context.
AAJ: Did the EWI and performing that kind of music take you places you would
not have otherwise explored or later have an
impact on your acoustic material?
MB: Well, it certainly opened doors...sonically, that I never even
dreamed of. It opened doors in areas...synthesis....and the fact that it is such an
expressive instrument... previous to that I had tried to
electrify the saxophone. And it (the EWI) is a challenging instrument to play.
AAJ: Yeah, don't you have to keep your fingers off the keys?
MB: Yeah, just that alone
AAJ: Did that ever get overcome?
MB: It got overcome pretty quickly....I was willing to do whatever it
took...and as I said, it has certain sonic possibilities...and at the same
time it made going back to the saxophone seem fresh.
AAJ: Could you discuss what each player brings to the group?
MB: Well, you know, I've been playing with Joey Caldorazzo for many
years and he brings a very strong compositional
ability (to the band)...and is just a very broad player. And James Genus is
just a good bass player and, you know, just really
plays the bass (laughs), and assumes that function, and I like that. Jeff
Watts is great on the drums.
AAJ: Metheny's quoted as saying he 'hears music in everything'. Do you find
that's true for you?
MB: Sometimes. Most of the time I'm usually not looking at it that way
(laughs). Occasionally, I'll listen to the ...cicadas...
AAJ: They sound orchestral sometimes...
MB: They sound like they're talking...but, I wouldn't say I go around
thinking like that.
AAJ: The use of (graphic artist) Escher's "Sky and Water I" on "Now You See
It, Now You Don't" captured that concept in
a static image really well. Do you get involved in the presentation of your
product?
MB: I do. I did a tune on the "Now You See it, Now You Don't" album
called "Escher Sketch". It seemed to me to be
an aural adaptation of an Escher lithograph. It sort of presented a figure, a
sonic figure or relationship Its something I will
probably do more of in the future, in a different way.
AAJ: Coming out of his work?
MB: No. Its really not coming out of his work at all. It occurred to me
to be a similarity though, in other words, it wasn't
inspired by his work. A whole other place, but I realized there were certain
parallels between the two. I used one of his
lithographs which was a fairly famous one. Actually, I had chosen a different
one that had dogs, but the record company
thought that the dogs looked a little too rabid (laughs).
AAJ: (laughs)
MB: So we passed up on that one, but I'm generally involved, both my
manager and I.
AAJ: I'm sure that's a lot of fun
MB: It is a lot of fun.
AAJ: What are your considerations when composing new music? techniques,
concepts? Are there certain processes each time
or do you make it different each time?
MB: I kind of let the chips fall. I'll come in with certain ideas I
want to hear, a certain direction that I want to pursue. A
lot of it I kind of leave up to the muse. When I'm in writing mode I make
sure that I'm available to write everyday. And
certain days its going to work and certain days nothing's going to happen.
AAJ: Do themes, ostinatos, etc just kind of come to you?
MB: Sometimes...they'll come...there are many ways, it just depends.
AAJ: You sometimes credit Edgar Grana in the liners. Have you been studying
with him and how has he helped you?
MB: Well, he helped me to be able to focus on a certain aspect of
writing and also taught me a lot about counterpoint,
composition and to finish what I start.
AAJ: What do you work on?
MB: Work on a lot of things, harmonic things, intervals and just the
saxophone.
AAJ: You've developed and integrated so many different styles within your
playing, yet you still sound original and
recognizable, even to non-musicians. How do you feel you've been able to do
that, continue to be accessible, yet stay hip and
focused?
MB...I try to approach everything creatively, you know...
AAJ: Does the material change from show to show and from tour to studio?
MB: Yeah, it does change quite a bit, although on this past record we
had the chance to go out and play the music live,
for a little while, which I did on purpose; the first time I've ever done
that. Because often I would record - you know, write
music and then attempt the compositions and would record them first and then
go out and play. And then two or three months
down the line the music would've changed...
AAJ: Did it just get more open, more easy?
MB: Yeah. We knew the music by the time we went into the studio.
There's a fine line between knowing it and getting
bored with it. It had come together to such a degree we could really get it
going in the studio and not have to worry about it.
AAJ: Did you get a lot of rehearsal in before the sessions?
MB: We played the music a lot.
AAJ: I saw the quartet last summer with Adam Nussbaum on drums and at one
point you went from one tune into solos and
when Adam came out of his solo you went into another tune...
MB: You must have been in Northampton!
AAJ: No, it was at San Antonio.
MB: Ohhh my God! I do remember - that was actually a wacky gig.
AAJ: What was happening there?
MB: I forget. I actually don't remember. There were probably a lot of
things...we did do a couple of gigs without Jeff...
oh, that's why you asked if Jeff had replaced Adam.
AAJ: Well, yeah.
MB: Oh, no, Adam was actually subbing for Jeff. Jeff couldn't make a
couple gigs. And I don't think we had percussion
on that gig. A lot of ways we approach the music onstage... I try to keep it
really open. Its more fun that way.
AAJ: I guess I've always wanted to ask about certain recordings you've done,
could you comment on the "Word of Mouth" and
"Gaucho" sessions?
MB: They're all really memorable (laughs). "Gaucho" and of course, Jaco
Pastorius' "Word of Mouth" album is one of
my favorite records. Its an album that really hangs together...the writing. I
was pretty close to Jaco at that date. I watched. We
would hang quite a bit. (There was) a problem with the record company...and
then he also couldn't write the names of the
musicians on the original "Word of Mouth" record . I don't know if you
remember that, the original record had no musicians
listed. So, he was with two record companies at once. Somehow! (laughs) And I
don't know how he pulled that off! (laughs).
AAJ: Sounds like Jaco to me.
MB: Yeah, it was kinda classic Jaco. I think he was with Columbia and
Warner Brothers at the same time. Some kind of
thing...but the record was done over a short period of time, he was very
excited about it. Actually, we all were.
Note: Regarding the performance club Mike had co-owned with brother Randy -
7th Avenue South - there was a gig arranged
there by Jaco, but due to these contractual problems he couldn't advertize
it, but people found out anyway and packed the place
and the working band became known as "Word of Mouth".
AAJ: Then there was a tour...
MB: There was no tour that I was...I actually kind of stayed (in New
York).
AAJ: How about the "80/81" sessions?
MB: Pat (Metheny) and I knew each other from Joni Mitchell and got to
know each other real well. That was really how
I got to know Jaco really well. It was the first time I had played with Dewey
Redman and was also the first time I had played
with Jack (DeJohnette) and Charlie (Haden). And the rhythm section just
played... and just something clicked, something
changed, something shifted, I was never the same after that. And the time
changes...well, I had just never played with a
rhythm section like that....that open.
AAJ: Do you think all that came out of the Ornette (Coleman) thing?
MB: Definitely. We were all into Ornette's music.
AAJ: Have you heard John Medeski's trio?
MB: I have.
AAJ: Can you see yourself making use of the organ trio sound on your own stuff?
MB: Absolutely. I like a lot of it.
AAJ: Like that (John) Scofield record 'A Go Go' (with 'Medeski, Martin and
Wood')...
MB: Yeah, great record.
And as the new disc shows, he did. It's a true guitar/organ trio in the spirit
of those in the day with Jack McDuff and Benson, Jimmy Smith and Wes or Kenny
Burrell or Don Patterson and Pat Martino, then made a quartet with tenor out
front. The difference is heard in contemporary writing that keep the
traditions, guitarist Pat Metheny's modern touch (and as on the first disc
also contributes two tunes) and the redefinitions of three drum legends and
the stage is set. Keyboardist George Whitty produces and adds an original of
his own.
Regarding the new disc Brecker offers: "Great "time" is one of the most
essential elements in jazz. It was a privilege to record this CD with three
masters of time -
Elvin Jones, Jeff "Tain" Watts and Bill Stewart. Add greats Pat Metheny and
Larry Goldings - with their highly developed sense of rhythm and musicality -
and the result was a music lesson for me and an amazing experience that I
will never forget".
