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Michael Brecker (1949 - 2007) |
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by Matt Pivec
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The Musical Legacy of Michael Brecker
Saturday, January 13 2007 was an emotional day for me. I was riding high after spending two days at all-you-can-eat jazz buffet that is the IAJE annual conference. Two days rubbing elbows the greatest musicians, scholars, and teachers in the world, in the jazz capital! Particularly inspired by the Phil Woods set at 7:00pm, I approached my friend who I saw standing outside the room. After exchanging pleasantries and conversing about how great Phil sounded, he asked me, “Did you hear about Michael Brecker”? Judging by the tone of his voice, there could be only one thing that happened. Brecker had died of leukemia, which progressed from myelodysplastic syndrome.
Upon returning to California, I immediately began re-listening to his records. The sadness of his passing hit me as I was listening to “Evocations” from the 1994 Brecker Brothers album Out of the Loop. I was not fortunate enough to know the man personally. I had only shared the stage with him on one occasion while playing in a back-up band at a jazz festival in Eau Claire, WI. Yet, my sadness was real. That is the type of impact his music has. 
Anyone reading this article likely knows a great deal about Brecker’s general history. In case you missed it, here are some of his impressive career highlights: Beginning in 1987 he recorded nine albums as a leader on labels such as Impulse, Verve, and GRP. Brecker, along with his band mates, consistently created musical products of exceptionally high quality. He recorded several more albums as a co-leader of the Brecker Brothers and Steps (Ahead). In addition to being a mainstream jazz superstar, Brecker was the first-call studio saxophonist for pop artists from the late 1970’s until the 1990’s. One does not need to look far in any middle-aged person’s CD collection to find a Brecker contribution. He collaborated with James Taylor, Joni Mitchell, Frank Zappa, James Brown, John Lennon, and Chaka Khan, just to name a few. He was frequently recognized by music industry for his brilliant contributions, earning multiple Grammy awards.
The people who listen to his great solos on pop recordings will certainly not miss him to same degree as his jazz audience. It is we who understand and appreciate his artistry and will have the privilege of contemplating his musical legacy for many years. And I am convinced that we will still be talking about Brecker and his music fifty years from now. Here is why:
· First, he excelled at a number of musical styles. He was well-respected (if not revered) by jazz artists and popular musicians alike. This contribution should not be underestimated. It is very rare to find a jazz musician of his caliber that can convincingly execute various popular music styles. The converse is true as well. It is very rare to find a pop saxophonist who can burn with any person on the jazz stage. Brecker performed and recorded extensively with the best pop musicians (James Taylor, Joni Mitchell, etc.) and the best jazz musicians (Herbie Hancock, Elvin Jones, Jeff “Tain” Watts, etc.). Through his musical flexibility Brecker led listeners to musical styles they would not normally consider.
· Second, he furthered a number of musical techniques which became synonymous with his style. Some “Breckerisms” include false fingerings (generating harmonics using fundamental fingerings) that change the timbre, not the pitch, the use of harmonics as an expressive and melodic device, and rapid repetitive patterns in the middle saxophone register with stabs into the upper register.
· Third, his improvisations are packed with meaningful emotional content. Through his experience playing solos on pop records, Brecker gained the ability to make a compelling musical statement in a short amount of time. Each note or gesture was essential and nothing was wasted. This skill, when adapted to longer fusion or jazz solo sections, allowed him to fill improvisations with meaningful emotional content.
· Fourth, he was an impressive saxophone virtuoso. Simply put, Michael Brecker was most technically superior saxophonist of the past thirty years (perhaps ever). He possessed command over the entire range of the saxophone. He was able to leap between registers with ease. He had impeccable time and technical facility.
· Fifth, he developed his own instantly-recognizable saxophone tone. I would describe it as bright, yet not thin. It contained a great deal of richness and depth and was strong enough to power through the most aggressive rhythm sections. Furthermore, his tone was delivered with a soulful conviction. Countless saxophonists have offered Brecker the sincerest form of flattery through imitation of his saxophone sound.
I could go on for pages about ways in which he influenced the jazz scene in general and saxophonists in particular. Specifically, it might be worthwhile to consider his mastery of the late-Coltrane style or the harmonic innovations of his fusion bands. However, instead of asking you to read more, let me encourage you to pick out your favorite Brecker record and listen to it again. Tales from the Hudson is in my CD player as I write.
Thank you, Michael. I did not have the privilege of knowing you personally. Yet, your music had a profound impact on me.
For more information on Michael Brecker, visit www.michaelbrecker.com .
-Matt Pivec (January 2007)
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Matt Pivec |
| About the author: |
| Saxophonist Matt Pivec has performed with some of the great artists of jazz and popular music including: Ray Charles, The Temptations, Peter Erskine, Maria Schneider, the Rochester Philharmonic Pops Orchestra, and the national touring companies of Hairspray, 42nd Street, and The Producers. |
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