Michael Brecker Quindectet Blue Note, Tokyo, Japan - February, the 2nd 2004

Michael Brecker (ts), Gil Goldstein (e-p, acc), Alex Sipiagin (tp), Peter Gordon (frh), Robin Eubanks (tb), Bob Sheppard (ss), Dan Willis (double reeds), Roger Rosenberg (bcl), Joyce Hammann (vl), Meg Okura (vla), Lois Martin (vla), David Eggers (vlc), Adam Rogers (g), Boris Kozlov (b), Antonio Sanchez (dr), Danny Sadownick (perc) Syzygy — Broadband — Scylla — Timbuktu — Itsbynne Reel — Angel Of Repose recorded at Blue Note, Tokyo, Japan, February 12, 2004 Michael Brecker was truly one of the most known tenor saxophone players of his generation. His incredible technical knowledge, the imaginative control of his instrument and the lightness with what he was able to adapt to any musical surrounding gave him exceptional development opportunities. For over thirty years, until his death in 2007 he was one of the most in demand session musicians. His name can be found on more than 800 jazz, pop and rock albums. At the same time the ten times Grammy award winner developed to one of the most passionate and most dynamic jazz soloists, an incredible improviser and imaginative composer. With his 15-person ensemble “Quindectet, a chamber orchestra with a brass and woodwind section and string players (Grammy award in 2004 for the album “Wide Angles”) he wrote brilliant arrangements where the single orchestral sections that have been put in layers over the guitar, bass, drums and percussion containing rhythmic group could be clearly and precisely recognized. The whole ensemble plays with the agility of a considerably smaller group and gives the compositions an additional dynamic and expressivity.

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Michael Brecker Quindectet Wide Angles

Wide Angles is a 70-minute suite spotlighting Michael Brecker’s electrifying tenor saxophone accompanied by a 15-piece chamber jazz group. Each of the 10 compositions (all by Brecker except one cowritten with George Whitty and one by Don Grolnick) serves as an extended showcase for Brecker’s tenor in its various manifestations-at times driving and fiery, at times poignant and gentle, always emotion-charged and technically prodigious.

Along with moments of genuine creativity many of the tenorist’s signature phrases are present, for sure. But after all, they are his own creations, copied by countless others. Brecker’s sophisticated compositions cover a wide range of moods, from the reflective to the frenetic, including some infectious, toe-tapping funk. With four strings, trumpet, trombone, French horn, flute/alto flute, oboe/English horn and clarinet/bass clarinet over a rhythm section of guitar, bass, drums and percussion, arranger/orchestrater Gil Goldstein had a broad palette with which to produce a variety of fascinating and engaging settings, some of which suggest contemporary classical influences. And the consummate ensemble performers execute the sometimes-difficult arrangements flawlessly, with bass clarinetist Iain Dixon especially impressive. Except for an occasional improvised solo by an orchestra member (bassist John Patitucci, trumpeter Alex “Sasha” Sipiagin, trombonist Robin Eubanks, guitarist Adam Rogers), the ensemble is there simply to provide a backdrop for Brecker’s horn.

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