The Brecker BrothersHeavy Metal Bebop
While artists more often than not look for an album title that in some way reflects the music contained within, few have come up with a name that, in three simple words, says it all as much as today's Rediscovery: The Brecker Brothers' Heavy Metal Bebop
. A positively incendiary live recording (barring bassist Neil Jason
's funkified, studio-recorded, set-opening vocal anthem, "East River"), it sports a completely revamped lineup from the group's Don't Stop the Music
(Arista), released the previous year. While this album was reviewed as part of Legacy Recordings' 2012 box set, The Complete Arista Albums Collection
, its sheer power and raw energy demanded inclusion as a Rediscovery.
And, as expected, it sounds absolutely tremendous through my Tetra Speaker rig. This is an album thatfeaturing a core quintet where saxophonist Michael Brecker
and trumpeter Randy Brecker
are joined, in addition to Jason, by guitarist Barry Finnerty
and drummer Terry Bozzio
, with additional percussion and overdubs added in post-productionrips through some of the best material from the group's earlier albums, including a light speed version of "Some Skunk Funk" and slightly faster, even more nuclear-infused take on "Sponge," both from the group's 1975 Arista debut, The Brecker Bros.
A slight breather comes with Don't Stop the Music
's generally mellower "Funky Sea, Funky Dew," Michael's only compositional contribution to the set. Still, an extended a cappella
and heavily processed saxophone outro is both an album highlight and demonstration of why Michael was already one of the most influential saxophonists of his generation...and would go on to become even more so in the decades leading to his untimely passing in 2007 at the too-young age of 57. A closing "Squids," from the same record, also feels less wholly unfettered than the album's first three live tracks, but still possessed more attitude and energy per square inch at a time when fusion was, in general, slowly morphing its way into the easier-on- the-ears predecessor to what would ultimately become smooth jazz. The album's only previously unheard live track is also its first live one: Randy's potently altered blues, "Inside Out," played with a greasy shuffle from Jason and Bozzio that, quite simply, means
Throughout this 42-minute setall but three of them recorded live at My Father's Place in Roslyn, NYthe entire band plays as if its life depended on it. Michael Brecker soars, while older brother Randy (similarly processing his horn with a harmonizer, envelope filter and more) matches his younger sibling's energy note for searing note, the pair seemingly unable to play anything but
the right note at the right timeexcept, occasionally, when they played the wrong note at precisely
the right time...because with music this unshackled, there are
no wrong notes, just ones that drive the player(s) in unexpected directions. While rarely featured, Jason and Bozzio keep the pulse at a fever pitch throughout, thundering where necessaryespecially on the high octane "Sponge" where, with a new solo section, a three-way trade-off between the two Breckers and Finnerty represents the album at its most reckless, raw and relentlessbut laying back as required with equal aplomb.
The surprise of the set is, however, Finnerty. Having first heard the guitarist on a live radio broadcast of the Crusaders
, playing a solo to the title track of keyboardist Joe Sample
's Rainbow Seeker
(ABC, 1978) that remains memorable to this day, it was clear that he may have had big shoes to fill in replacing Larry Carlton
in that group butclearly imbued with similar chops and linguistic commandthe guitarist brought an edgier New York vibe and completely different kind of lyricism to the successful Texan-centric West Coast group.
So, when finally hearing Heavy Metal Bebop
for the first timea little late to the game, a couple years after it was first releasedI already knew he had all he needed to not just match the two Breckers, but to actually up the ante. While the Breckers take the lion's share of the solo space, every time Finnerty is featured it's a revelation...and all the more a crime that, despite remaining active in the ensuing years, the guitarist has never managed to garner the broader acclaim he deservesif nothing else based on his contribution to Heavy Metal Bebop
but, with Miles Davis
, Billy Cobham
, Hubert Laws
and Eliane Elias
also in his résumé, clearly possessing even more.