Meeting & Recording with michael brecker
Being a trombone player since I was eight years old, I have always been aware of all things involving trombone and brass instruments in general. Of course, I’ve habitually done the usual things like being a band geek, playing gigs, listening to recordings, noticing a trombone on the radio or in the grocery store, going to concerts in the area, reading about or transcribing a trombone master. However, all during my childhood and musical development, I found myself always interested in all kinds of music and all kinds of players, not just the trombone. The sound of music and the way it made me feel was always fun and special. I’ve always loved music. I’m very fortunate to have grown up in a musical family for many reasons, but mostly because concerts and records were abundant. My father’s albums of Jay & KaI were the first jazz trombonists I heard, but I was always just as excited to listen to Maynard Ferguson, Miles Davis, Woody Herman, Barbra Streisand, Mose Allison,Three Dog Night, Captain & Tennille Bee Gees, Van Halen, Led Zeppelin, EW&F, BS&T, and the list goes on.
Then sometime when I was about fifteen and playing in a local swing dance band called the “Arny Johnson Modernaires”, the trumpet player, Wes Hungett, was also an educator who lent me an album called “Heavy Metal Bebop” by The Brecker Brothers. I instantly liked the title and I loved the cover (yes actual large album cover) with these two hipsters on the front. Turns out I loved the music too! Super tight horns playing high energy jazz funk with complex harmonies and improvised solos. This was extraordinary to me and I was instantly hooked. In particular, several of the tenor sax solos on that album really intrigued me because of the intense sound, fast technique and melodic range of the instrument. Later, as my ear developed in high school and college, I would realize those solo techniques were much more complex and sophisticated than I first thought. There was much more content to these simple funk “sax solos” than all the others I had heard on Motown, soul or pop records. These solos were not exciting just because they were loud, fast and high, but rather because of the advanced bebop lines mixed with R&B soulful blues licks as well as intricate patterns and chromaticism played by an incredibly proficient sax player. This special kind of playing spoke to me on many levels and transcended any single-minded or limiting beliefs I might have had regarding swing jazz or the trombone. This music was alive and this musician was a true master of the tenor saxophone. His name was Michael Brecker.
Moral of the upcoming story:
Keep your ears and mind open no matter what particular instrument you play because it can change your life.
I’ve spent many hours listening, enjoying and studying the soloing and compositions of Michael Brecker and it has enriched my life in numerous ways. I can’t believe he brought his new group from his debut 1987 solo record to the University of Miami and played a free concert at the student union on Oct 1, 1987. EWI on “In A Sentimental Mood” and everything w Stern, Calderazzo :) I have a cassette recording of it to this day! I am still amazed at his mastery of not only the saxophone, but the maturity of his musicality in a myriad of musical situations. A quick glance through his very diverse complete discography will certainly gain one’s respect:
Herbie Hancock, Aerosmith, James Brown, Joni Mitchell, Steely Dan, Aretha Franklin,Pat Metheny, Paul Simon, Anne Murray, Cameo, Gonzalo Rubalcaba, Donny Osmond, Parliament, Eddie Palmieri, Claus Ogerman, etc
Not only did Michael perform and record in nearly every genre known to music, he consciously morphed his approach, style and vocabulary to fit in seamlessly with what the music required…like a chameleon…egoless. What really continues to inspire me was his ability and commitment to not just be a lifetime student of music, but to intentionally and consciously alter a motor-memory “lick” in realtime. As improvisers, we all have our favorite and well-rehearsed phrases and patterns, but Brecker just seemed to always strive to change the end of one of his “Brecker Licks” with a new twist, rather than just finish it like he had always done from practicing by rote. He seemed to be continually in that desired state of “relaxed concentration” where he could channel the energy and musical path he sought, but also be aware of his technical ability on a conscious “in the now” moment and alter it on command. Truly remarkable.
Favorite Brecker Recordings? Too many to list but certainly some top choices are:
Inside Out – Heavy Metal Bebop – The Brecker Brothers - A perfect solo which contains every melodic idea development you ever need! WATCH DKOLessons video breaking down the ingredients … https://youtu.be/bF92rN4RofI
Some Skunk Funk – Heavy Metal Bebop – The Brecker Brothers
Night Flight – Back To Back – The Brecker Brothers
African Skies – Out Of The Loop – The Brecker Brothers - A creative jazz masterpiece with afro-cuban influence.
In A Sentimental Mood – Magnetic – Steps Ahead - This modern approach of a classic jazz ballad has always haunted me because of the reharmonized progression and the pure sound, range and emotion of Brecker’s EWI. He was a master of successfully combining technique, technology and expressive passion. He most certainly had that “X” factor.
Magnetic Love (Reprise) – Magnetic – Steps Ahead - Love this progression and Brecker’s sophisticated negotiation of it.
Itsbynne Reel – Don’t Try This At Home - A creative improv masterpiece with country hoe-down influence.
Chime This – Don’t Try This At Home
Impressions – Infinity – McCoy Tyner - He even stepped up his game another notch to record this solo with Coltrane’s pianist.
Gotta Get Your Jollys – Hiram Bullock - Another perfect, albeit short solo….because it’s simple yet hip, appropriately R&B yet jazz influenced, esp altered licks during fade.
Maxine – The Nightfly – Donald Fagen
In The Now Pt. II & III – In The Now – DKO
Being a true fan, I saw Brecker many times in concert and clinics throughout the 80s and 90s and often would hang around to share my appreciation for his talent and art. One night in 1998 after his show at the NYC Blue Note, I hung around upstairs where fans buy CDs and sometimes meet the artists. I was pleased that I had another opportunity to meet one of my favorite musicians, but this time I gave him a cassette tape of my newly recorded CD master, as I had not yet pressed CDs of my debut recording simply entitled “DKO”. I told him I thought he’d enjoy it because it was funky, creative and was inspired by The Brecker Brothers plus the first track “Turbulent Altercation” featured Jerry Hey and Gary Grant on trumpets. We talked briefly about when Barry Rogers was playing with Randy and Michael, then I thanked him for the concert and opportunity. On the subway to my upper east side apartment, I reflected on the great night of music but I felt a bit like a schmuck for somewhat “forcing” my tape on him. Much to my complete surprise, I awoke to my answering machine picking up “…uh…hi, this is Michael Brecker…” and I lept out of bed and picked up the phone. (later I regretted not having him leave a message!) Anyhow, we spoke for a while and my recollection of the 7 min conversation was that he told me he loved the first track on the tape and that he had listened to it already about 20 times! When I asked why he actually listened to it at all (as we all know most artists would throw it away or leave it in dressing room) he said it was because my verbal description at the club made it intriguing, and then once he listened to it in his car on the drive home he was totally fascinated by its unique trombone pyramid effects. “Could you come down to the Blue Note again tonight and give a tape to record producer Carl Griffin?” I was like “…um…yeah!”. I of course did so, and it was fun meeting the band, especially Joey Calderazzo as I had been a longtime fan from my first Brecker concert at University of Miami student union Oct 1, 1987. One thing led to another and I asked if he’d write down some of his initial thoughts about my recording so I might use it as a testimonial to help my young career. He kindly agreed and wrote:
“Fresh, innovative funk by a brilliant upcoming trombonist and the tune “Turbulent Altercation” – WOW!”
I was of course overjoyed and printed it right on the cover of my debut CD cover. “DKO” CD on iTunes
Several years past while I kept occasionally inquiring about Brecker possibly recording a tune or two on my upcoming CD. Being an international artist, he was obviously busy and was always being asked this type of thing. Eventually in 2004 he agreed but then began experiencing some major health issues. He emailed me a few short sentences updating me about his situation and said he’d be in touch. Turns out he had to have back surgery and would be out of commission for a couple months. Then, once again to my surprise, I received an email simply stating “in nov we record?”. This was a great day and I immediately replied “YES, when and where?”
“Book a session sometime november 16 at Shelter Island with engineer Steve Addabbo, tell him it’s with me.”
“What if we can’t get booked?” I asked in case we needed an alternative date or option.
“We’ll get booked.” Brecker calmly replied. I clearly had a momentary lapse of who I was speaking with :)
November 16, 2004 – A fabulous afternoon producing the session and recording with Michael Brecker @ Shelter Island Sound in NYC with Recording Engineer Steve Addabbo.
I brought along my great friend and fellow trombonist Mike Turnbull so he could enjoy and video/photograph the experience. (Incidentally, I was staying in Mike’s hotel room with him at the Times Square Westin since he was in NYC on tour with Tom Jones that week, whom I handed off the TJ gig to when I was asked to put a horn section together for the Matchbox Twenty Mad Season Tour) Photo below is the only photo Mike and I took together that entire day…but no, that’s not Brecker, that’s David Sanborn! To top off an already amazing day, we went to see Sanborn at the NYC Blue Note just 6 hrs after recording with Brecker at Shelter Island Sound!
Nevertheless, this was the best day ever and it was all because of the magnificent talent and incredibly kind nature of Michael Brecker. I brought the ProTools files from DKO sessions at Mile High Studio in Denver and Michael recorded on the title track “In The Now” at Shelter Island Sound in New York City.
In fact, he played so many great solos that day (not a surprise) that I decided to include several takes on the album in a Pink Floyd sort of way by developing and renaming tracks “Part II” Part III” Part IV”. I also seized the opportunity to actually record with Michael on what turned out to be “In The Now Pt. III”…a short 3-min creative remix of all the varied styles used on the “In The Now” tracks, which can be described as “Middle Eastern Afro Cuban Flamenco Funk”! Take a listen to hear what I mean. DKO “In The Now” CD on iTunes
An interesting side note is that Michael’s health was not 100% from his back surgery about 10 weeks before and he had to sit down and rest between takes. (I didn’t mind as it gave me some time to chat with my musical hero). Nonetheless, I didn’t notice one speck of weakness in his sax technique or his tenor sound, despite not touching it for over two months, and I challenge you to point out any Brecker inadequacies on that recording. He’s a true master and an even more wonderful human being. Most people don’t know this but after we parted that day, he emailed once to inquire about the quality of our results in the studio “how did we do?”. After I thanked him profusely for kindly gracing my 3rd CD with his artistry, I inquired about his necessary monetary compensation. This was about the fourth time I’d asked about his fee, both on the phone and thru email, several months leading up to the recording date, and it was always the same answer from Michael…”Let’s just get the recording done”. This time, with the recording complete, I knew he couldn’t possibly have the same response, but like his ever evolving playing, he simply morphed his phrase into “Ah, go concentrate on getting a record deal or something, and if you do, pay me something then”. I pressed the issue several more times but he declined repeatedly in his kind soft voice (as anyone knows who has ever met Michael)
This obviously was an incredible musical experience for me, but more importantly, Michael’s health unfortunately continued to decline after this slight respite from back surgery. This recording session was, in my mind, the start of my career, but it was also the beginning of Michael’s terrible illness. I followed his progress very closely and I even registered and got tested to be his bone marrow donor, but unfortunately I was not a match. We never were in contact again after that last email following the session, and despite working tirelessly to finish the 13-track “In The Now” CD by July 2005, it pains me deeply that I don’t know if he ever actually heard the final mix. I like to think he would have been pleased.
The incredibly kind gesture of Michael Brecker driving down to Manhattan just after a serious operation to record for a random trombonist from Colorado is the kind of thing that brings me to tears at unexpected moments, but most expectedly on January 13.
From MichaelBrecker.com
In August 2004, Brecker was in a great deal of pain during a performance at the Mount Fuji Jazz Festival. Following an initial diagnosis of a cracked vertebra, Brecker was subsequently diagnosed with the bone marrow disorder myelodysplastic syndrome (MDS). Despite an exhaustive search for a matching bone donor (during which tens of thousands of new bone marrow donors registered at Brecker-sponsored donor drives throughout the world) and an experimental blood stem cell transplant, Brecker passed away from leukemia on January 13, 2007. As a result of his stylistic and harmonic innovations, Brecker is the most influential saxophonist of the last 30 years and is among the most studied contemporary instrumentalists in music schools throughout the world today. He is also a 13-time Grammy winner.
On Tuesday, January 20th, 2015 – Paul Simon, James Taylor and others will honor the memory of their friend and colleague, 15-time Grammy winning saxophonist Michael Brecker at “The Nearness of You” benefit concert in New York City. Hugh Jackman and wife, Deborra Lee Furness, will chair the benefit committee and host the post-concert reception. 100% of the proceeds will fund the cancer research of Drs. Siddhartha Mukherjee & Azra Raza at the Columbia University Medical Center (CUMC). http://www.michaelbrecker.com/
