Michael Brecker
Michael Brecker

Our great saxophonist Maurizio Giammarco said this about him: "Technically, he seems to be the most prepared of all. Moreover, he possesses the quality of the great saxophonists of the past: you recognize him after two notes. However, his way of playing is extremely linear, offering little to mental adventure." A very fitting analysis. To this, we add his presence as a session musician on dozens of records, so that his torrential and polished saxophonic eloquence, well known to most, has also become a bit tiresome - of the series: "Oh no, another Michael Brecker solo..."

The most prestigious critics have never been gentle with this musician, perhaps because of the inherent commerciality in many projects led by him (Steps Ahead first and foremost). Yet, it was precisely the changing sound of Steps Ahead that brought many listeners to jazz. And it was precisely the sales of Steps Ahead's records that transformed a broke jazz musician into a wealthy gentleman...

In the midst of this clash of opposing factions, Brecker's premature death arrived, hypocritically uniting everyone. And then came the obituaries: a well-rounded musician, a great continuer of Coltrane's teachings, a soloist to study for his impeccable mastery of the instrument, and so on.

Let's try to make a small contribution to his memory by reviewing his first solo album released in 1987, one of those I consider among his most successful. A success due in large part to the choice of collaborators, musicians particularly suitable to him with whom he had intensely worked previously: the monumental rhythm section formed by Charlie Haden, an exquisite bassist, and the imaginative drummer Jack Dejohnette. A great, great pianist who (alas) has also left us too soon: Kenny Kirkland. As a solo alter ego, the highly acclaimed guitarist Pat Metheny, who like Brecker lived and lives the Hamlet-like dilemma of having one foot in jazz and the other in quality commercial music: rich and famous, and for this reason, snubbed by the most intransigent critics.

Few tracks, long and well-thought-out, in which the quintet swims like a fish in water. It starts with a waltz, "Sea Glass," with a relaxed sax solo over a keyboard background, nothing special, but the musicians are just warming up in anticipation of the following "Sygyzy," a captivating track that begins with a rapid sax/drum dialogue, introducing a futuristic and exhilarating theme, in which Brecker pairs his tenor with the EVI, a kind of sax-synthesizer. Kirkland's solo is superbly calibrated, then it resumes until the climax, when the rhythm magically stops to give way to Metheny's ecstatic solo.

"Choices" is an oblique and syncopated track, entrusted to Kirkland's pounding accompaniment, with a beautiful solo from the leader. It continues with a Brecker strong piece, "Nothing Personal," in which Metheny reminds us that, besides being a cheerful fellow full of zest for life, he is also capable of delivering a solo with dark and thoughtful tones. "The Cost Of Living" is the saddest and most introspective piece on the album, an excellent mood for a Haden solo.

And finally, like the cherry on top, "Original Rays," the track that will delight all Metheny fans and Steps Ahead fans put together. While in "Sygyzy" the EVI was used only as a reinforcement for the sax, here it takes the lead role, transforming into a virtually unlimited timbral palette, used with taste and notable imagination. For the rest, everything follows the script, Metheny's solo in "Metheny style," Brecker's solo in "Steps Ahead style," a feeling of "happy end," and peace descends in the heart. What more could you desire?

A great, honest craftsman of jazz and music in general. Not an indispensable genius, but an artist without whom the music of his years would have been less intriguing and engaging. And pardon me if that's little...