Michael Brecker Quindectet
Wide Angles

Michael Brecker, one of the most prominent figures in the contemporary jazz scene, was a tenor saxophonist with extraordinary technical skills, a soloist with endless creativity and expressiveness, and an eclectic composer. From the mid-seventies to our days, he made a significant contribution to enriching the jazz music heritage of the last 30 years.

His mastery of the instrument, combined with unique eclecticism and sensitivity, allowed him to be a sought-after musician from the very beginning of his career. This explains the many solo participations he was often invited to make, even in the "pop" and "rock" fields; Frank Zappa, Joni Mitchell, and Pat Metheny are just a few of the musicians to whom the saxophonist lent his talent even before beginning an interesting solo career full of brilliant peaks, often reaching the limits of excellence.

"Wide Angles," released in 2003, four years after the premature death of the musician, immediately presents itself as a complex and articulated work, splendidly played and wonderfully arranged; with the aid of an orchestra composed of 14 musicians, including strings, horns, drums, and percussion, Michael Brecker churns out his most ambitious work under the pure banner of "experimental" jazz.

In "Broadband," you will savor the sax notes gliding through the intricate accompaniments of the musicians and the tribal rhythms of Antonio Sanchez (drums) and Daniel Sadownick (percussion); the ballad "Angle of repose" will fill your heart with sweetness, so splendidly supported by violin, cello, viola, oboe, flute, and guitar, and after Brecker's solo, Patitucci with his double bass will gift us moments of great intensity. The flute solo introduces the very Latin "Timbuktu," which will become a true "swing" in the theme variation, among the best tracks on the album where the protagonist of this session offers us one of his best improvisations.

Excursions into Funk could not be missing from an "incurable fusionist" like Michael Brecker, so with "Night Jessamine" and "Modus operandy," we feel the "Brecker brothers" vibe; both are strong compositions, but the second stands out more for greater variety in the structure of the piece and a particular inspiration of the soloists in their sessions. I absolutely must mention the ballad "Evening faces," which is immediately appreciated thanks to a moving orchestral introduction; a suitable and intense melody is the star of this irresistible "swing"; the same goes for the last track "Never alone," where it is, however, the oriental-tinged melody of the clarinet that introduces the piece.

I think I've written enough about this artist, who too often today is still considered by some as merely a performer of great technical preparation. I hope listening to this album will dispel any doubts about the real value of this musician; "Wide Angles" is an "epic jazz journey" that must be listened to.