Missing Michael Brecker

If you’ve read my blog or carried on any conversation about jazz with me, I make it no mystery that I have a certain affection for the late saxophonist Michael Brecker.

It is rare that much time goes by where I don’t drag fellow jazz host Robin Lloyd in to hear a track that I recently found that features Brecker, or that I don’t go on a massive hunt for a missing DAT that holds an interview I did with him at Jazz Alley before one of his concerts.

The response I get from some isn’t always positive. When I chose to name Brecker as one of the tenors in my “Dream Big Band” along side John Coltrane over the likes of Wayne Shorter, Stan Getz, or Branford Marsalis (see Building a Dream Big Band Part III: The Sax Section) many scoffed and suggested that I was choosing a commercial studio sax player over a “true legend”.

The purpose of this entry is not to try and justify my reasons for my favoritism of Michael Brecker. Instead, I simply want to continue to remember a musician that had such an increadible impact on me, nearly three years after he lost his battle with MDS.

It is true that, for much of his career, Michael was a studio musician. There are those out there that feel that you are less of a jazz musician if you spent time as a studio musician recording for large commercial rock albums. Brecker is credited on hundreds and hundreds of recordings, including Paul Simon’s Still Crazy After All These Years, Aerosmith’s Get Your Wings, and Bruce Springsteen’s Born To Run, some of the most legendary albums in history. Does this make him less of a jazz musician because he worked for rock stars?

Of course not. But recording for these records is not what Brecker will be remembered for.

Michael Brecker, as far as I am concerned, should be best remembered for making it clear to a generation of musicians, my generation, that jazz is not your grandparents music. Furthermore, young musicians, not just sax players, had a model musician not only to inspire them, but to show them that they didn’t need to be a jock to be cool.

And that is what Michael Brecker did. He, like Coltrane, would routinely rip mind-blowing solos that were so intense and complex that it might overwhelm you, but were so impressive that you couldn’t help but smile and shake your head in disbelief when hearing them. And, like Coltrane, there was a suggestion that Brecker wasn’t a “ballad guy”, until of course, he recorded ballads, and put that rumor to rest. Let’s not forget, he is also credited with 14 Grammy awards.

There are still great tenor saxophonists recording today. Branford Marsalis might be the most artistic musician in jazz, and along side trumpeter Terrance Blanchard, Joshua Redman is easily the coolest musician in jazz, both in personality and sound.

But I remember during an interview I conducted with Joshua Redman, I asked him to play a game with me. I would name a saxophonist, and he would say the first word that came to his mind. When I sad “Sonny Rollins”, Redman said “Colossus”. When I said “Michael Brecker”, his response was over 100 words.

Brecker doesn’t have to be your favorite sax player. But give him a listen. Try Tumbleweed of the album Pilgrimage, perhaps the best jazz album of the last 20 years. Or find a live recording of Some Skunk Funk. My hope is that you will respond the same way my old roommate, a huge rap fan did after hearing Brecker. His only word, after picking his jaw up of the ground, was “wow”.

Below, a solo that earned him one of his Grammy Awards.

1,000 Jazz Albums You Should Hear Before You Die (301-320)

Here is another 20 to add to the list.

Remember that there is no ranking system here, and if you don’t see your favorite jazz album yet, it doesn’t mean it won’t show up.

Every week I will offer up twenty more, in no particular order and with no ranking system or common theme (other than jazz of course).

Hopefully these lists will inspire you to seek some of these albums out that perhaps you haven’t heard before, or revisit an old favorite. And as always, we want your thoughts on any or all of these albums. Either way, let’s get started with this week, and in no particular order, albums 301 through 320.

301. Red Clay – Freddie Hubbard (CBS, 1970)

302. The Jody Grind – Horace Silver (Blue Note, 1966)

303. Where Were You? – Joey DeFrancesco (Columbia, 1990)

304. Contrasts – Bucky & John Pizzarelli (Arbors, 1999)

305. Sunday at the Village Vanguard – Bill Evans (Riverside/OJC, 1961)

306. Red Alone – Red Garland (Original Jazz Classics, 1960)

307. Hot Fives, Vol. 1 (compilation) – Louis Armstrong (1925-26 recording dates, 1988 release date)

308. Off the Record: The Complete 1923 Jazz Band Recordings (compilation) – King Oliver (1923 recording tates, 2007 release date)

309. I Remember – Dianne Reeves (Blue Note, 1992)

310. Mood Changes – Grace Kelly (Pazz, 2008)

311. Back at the Chicken Shack – Jimmy Smith (Blue Note, 1960)

312. I Can’t Help It – Betty Carter (GRP, 1961)

313. Benny Golson’s New York Scene – Benny Golson (1957)

314. Anita Sings the Most – Anita O’ Day (Verve, 1957)

315. Krupa and Rich – Gene Krupa (Verve, 1955)

316. Just You Just Me, Live in 1959 – Roy Eldridge and Coleman Hawkins (Stash, 1959)

317. Yes, The Blues – Clark Terry (Pablo, OJC, 1981)

318. Seven Steps to Heaven – Ray Brown (Telarc, 1995)

319. April in Paris – Count Basie (Verve, 1956)

320. Reunion – Paquito D’ Rivera with Arturo Sandoval (Messidor, 1990)

1,000 Jazz Albums You Should Hear Before You Die (1-20)

1,000 Jazz Albums You Should Hear Before You Die (281-300)

Here is another 20 to add to the list.

Remember that there is no ranking system here, and if you don’t see your favorite jazz album yet, it doesn’t mean it won’t show up.

Every week I will offer up twenty more, in no particular order and with no ranking system or common theme (other than jazz of course).

Hopefully these lists will inspire you to seek some of these albums out that perhaps you haven’t heard before, or revisit an old favorite. And as always, we want your thoughts on any or all of these albums. Either way, let’s get started with this week, and in no particular order, albums 281 through 300.

281. After Hours with Miss D – Dinah Washington (1954)

282. Ellington Uptown – Duke Ellington (Sony, 1953)

283. Jam Session – Clifford Brown (Emarcy, 1954)

284. Blue Rose – Rosemary Clooney (Columbia, 1956)

285. Brilliant Corners – Thelonious Monk (Riverside/OJC, 1957)

286. Cherokee – Charlie Barnet (Bluebird, 1958)

287. Mingus Revisited – Charles Mingus (Emarcy, 1960)

288. Q Live in Paris Circa 1960 -Quincy Jones (Warner Bros., 1960)

289. Really Big! – Jimmy Heath (Riverside/OJC, 1960)

290. Genius + Soul = Jazz – Ray Charles (DCC, 1960)

291. The Centaur and the Phoenix – Yusef Lateef (Riverside/OJC, 1961)

292. Smooth as the Wind – Blue Mitchell (Original Jazz Classics, 1961)

293. Down Home – Sam Jones (Original Jazz Classics, 1962)

294. Letter from Home – Eddie Jefferson (Riverside/OJC, 1962)

295. Hobo Flats – Jimmy Smith (Verve, 1963)

296. Live at Newport – McCoy Tyner (Impulse!, 1963)

297. You Better Know it!!! – Lionel Hampton (Japanese Import, 1964)

298. Joyride – Stanley Turrentine (Blue Note, 1965)

299. The Further Adventures of Jimmy and Wes – Jimmy Smith and Wes Montgomery (Verve, 1966)

300. Every Day I have the Blues - Jimmy Rushing (Impulse!, 1967)

1,000 Jazz Albums You Should Hear Before You Die (261-280)

1,000 Jazz Albums You Should Hear Before You Die (241-260)

1,000 Jazz Albums You Should Hear Before You Die (221-240)

1,000 Jazz Albums You Should Hear Before You Die (201-220)

An Afternoon with Eldar

Last Tuesday, I had the opportunity to interview 22 virtuoso pianist, Eldar, who also performed live during the interview. Eldar talked about his family’s move from Kyrgyzstan to Kansas City as a child, and how much he learned from that city’s veteran jazz musicians. Eldar also showcased his improvisational and compositional skills with three solo piano pieces, I Should Care, Insensitive and his own Vanilla Sky/Exposition.

Eldar turned out to be one of the nicest, most enthusiastic musicians that I have interviewed to date (especially for someone who had just flown in from Ireland the day before). And as you might expect, his playing was amazing.

Below is a video of his performance of a medley of his tunes Vanilla Sky/Exposition. To hear the entire interview and performance, click here.

1,000 Jazz Albums You Should Hear Before You Die (261-280)

Here is another 20 to add to the list.

Remember that there is no ranking system here, and if you don’t see your favorite jazz album yet, it doesn’t mean it won’t show up.

Every week I will offer up twenty more, in no particular order and with no ranking system or common theme (other than jazz of course).

Hopefully these lists will inspire you to seek some of these albums out that perhaps you haven’t heard before, or revisit an old favorite. And as always, we want your thoughts on any or all of these albums. Either way, let’s get started with this week, and in no particular order, albums 261 through 280.

P.S. All of these albums this week have a common theme – see if you can figure out what it is!

261. Jacknife - Jackie McLean (Blue Note, 1966)

262. Tetragon – Joe Henderson (Milestone/OJC, 1968)

263. The Song is You – Stan Getz (Laserlight, 1969)

264. Super Nova – Wayne Shorter (Blue Note, 1969)

265. Joe Farrell Quartet – Joe Farrell Quartet (CTI, 1970)

266. Live at the Lighthouse - Lee Morgan (Blue Note, 1970)

267. First Light – Freddie Hubbard (CTI, 1971)

268. Next Album – Sonny Rollins (Milestone/OJC, 1972)

269. On The Corner – Miles Davis (Columbia/Legacy, 1972)

270. Power to the People – Joe Henderson (Universe, 1969)

271. The Out-of-Towners – Keith Jarrett Trio (ECM, 2004)

272. Nearness of You: The Ballad Book – Michael Brecker (Verve, 2001)

273. Number Two Express – Christian McBride (Polygram, 1995)

274. Reaching Up – Ernie Watts (Samson Music, 1993)

275. Song X – Pat Metheny & Ornette Coleman (Geffen, 1985)

276. Word of Mouth – Jaco Pastorius (Warner Bros. 1981)

277. 13th House – McCoy Tyner (Original Jazz Classics, 1981)

278. Lenox Avenue Breakdown – Arthur Blythe (Koch Jazz, 1978)

279. Trance – Steve Kuhn (ECM, 1974)

280. Round Trip – Sadao Watanabe (Vanguard, 1974)

1,000 Jazz Albums You Should Hear Before You Die (241-260)

1,000 Jazz Albums You Should Hear Before You Die (221-240)

1,000 Jazz Albums You Should Hear Before You Die (201-220)

1,000 Jazz Albums You Should Hear Before You Die (241-260)

Here is another 20 to add to the list.

Remember that there is no ranking system here, and if you don’t see your favorite jazz album yet, it doesn’t mean it won’t show up.

Every week I will offer up twenty more, in no particular order and with no ranking system or common theme (other than jazz of course).

Hopefully these lists will inspire you to seek some of these albums out that perhaps you haven’t heard before, or revisit an old favorite. And as always, we want your thoughts on any or all of these albums. Either way, let’s get started with this week, and in no particular order, albums 241 through 260.

241. After Midnight (with Bonus Tracks) – Nat King Cole & His Trio (Capitol, 1956 recording dates, 2001 release date)

242. Sweets at the Haig – Harry “Sweets” Edison (Import, 1953)

243. This One’s For Basie – Buddy Rich and His Orchestra (Verve, 1956)

244. Frank Rosolino Quintet – Frank Rosolino (VSOP, 1957)

245. A Boy Named Charlie Brown – Vince Guaraldi (Fantasy, 1964)

246. With the Oscar Peterson Trio – Lester Young and The Oscar Peterson Trio (Verve, 1952)

247. Some Like it Hot – Barney Kessel (Contemporary/OJC, 1959)

248. Live in Tokyo – Brad Mehldau (Nonesuch, 2004)

249. Facing You – Keith Jarrett (ECM, 1971)

250. Ballads – John Coltrane (Impulse, 1962)

251. The Swingin’ Miss “D” – Dinah Washington (Emarcy, 1956)

252. Swell & Super - Charlie Barnett and His Orchestra (Drive Archive, 1949)

253. Top Percussion – Tito Puente (BMG, 1957)

254. All the Sad Young Men – Anita O’Day (Polygram, 1961)

255. Perceptions – Dizzy Gillespie (Verve, 1961)

256. Big Bags – Milt Jackson (Riverside/OJC, 1962)

257. Big Band Bossa Nova – Stan Getz (Verve, 1962)

258. Jazz – Tony Bennett (Columbia, 1954-67 recording dates, 1987 release date)

259. The Hi-De-Ho Man – Cab Calloway (Sony, 1935-47 recording dates)

260. Crazy People Music – Branford Marsalis (Columbia, 1990)

1,000 Jazz Albums You Should Hear Before You Die (221-240)

1,000 Jazz Albums You Should Hear Before You Die (201-220)

1,000 Jazz Albums You Should Hear Before You Die (221-240)

Here is another 20 to add to the list.

Remember that there is no ranking system here, and if you don’t see your favorite jazz album yet, it doesn’t mean it won’t show up.

Every week I will offer up twenty more, in no particular order and with no ranking system or common theme (other than jazz of course).

Hopefully these lists will inspire you to seek some of these albums out that perhaps you haven’t heard before, or revisit an old favorite. And as always, we want your thoughts on any or all of these albums. Either way, let’s get started with this week, and in no particular order, albums 221 through 240.

221. Swing 47 – Django Reinhardt (Indigo, Recorded 1947, 1999 compilation release date)

222. Journey to the One – Pharoah Sanders (Evidence, 1980)

223. House of the Rising Sun – Idres Muhammad (Kudu, 1976)

224. Never Make Your Move Too Soon – Ernestine Anderson (Concord Jazz, 1980)

225. The Oscar Peterson Trio at Zardi’s – Oscar Peterson (Pablo, 1955)

226. The Incredible Kai Winding Trombones – Kai Winding (Universal, 1960)

227. Conversations with Myself – Bill Evans (Verve, 1963)

228. Porgy and Bess – Miles Davis/Gil Evans (Columbia/Legacy, 1958)

229. Somethin’ Else – Cannonball Adderley (Blue Note, 1958)

230. The Eminent Jay Jay Johnson, Vol. 1 – J.J. Johnson (Blue Note, 1953)

231. Jazz Giant – Benny Carter (Contemporary/OJC, 1958)

232. Free Jazz (A Collective Improvisation) – Ornette Coleman (Rhino, 1960)

233. Out to Lunch! – Eric Dolphy (Blue Note, 1964)

234. Quartet West – Charlie Haden Quartet West (Polygram, 1986)

235. The Struggle Continues - Dewey Redman (ECM, 1982)

236. Bird: The Complete Charlie Parker on Verve (10-CD box set) – Charlie Parker (Verve, 1946-1954 recording dates, box set released 1990)

237. Everybody Knows – Johnny Hodges (GRP/Impulse!, 1964)

238. 1939-1941 – Pete Johnson (Classics, 1939-41 recording dates, 1996 compilation release date)

239. Billy’s Best! – Billy Eckstine (Mercury, 1958)

240. Hot House - Arturo Sandoval (N2K, 1998)

1,000 Jazz Albums You Should Hear Before You Die (201-220)

Clash of the College Jazz Bands

I am a big sports fan, and an even bigger fan of college sports. Moreover, I could gladly sit in front of the TV the last week of December and early January watching bowl game after bowl game, or catch all 63 games of the NCAA basketball tournament in March without feeling the need to do anything else.

As a (former) musician and a (former) athlete, I wish for the same sort of intense, national tournament-style competition among college jazz bands as I do with college sports.

First of all, I know that we would never see a national college jazz band tournament on ESPN. And I also acknowledge that yes, there are college competitions around the country, but I feel that some are regional, and in some cases some bands may not have the funds or time to participate in larger competitions. Therefore we may have not seen the ultimate college band competition among the top college bands in the nation.

I want to see it. But the reality of seeing an event like this live is not all that likely.

So here is what I want to do. I want to collect nominations from you, the readers, for the top college and university bands in the country over the next month or so. After that, I will come up with a way to narrow it down to the “Sweet 16″, and create a bracket with these college bands going head to head. I will pick one song from each band, post the audio, you can listen, and you will vote on which band in each head to head match up you like better. The band receiving the most votes will move on to the next round, until one band is crowned national champion.

So here is what I need from you: College or University jazz big band nominations. In the comment box, just write the name of the college that the band is from. The band gets bonus points if you can include a link to current audio from the band or where I can track down the bands most recent CD.

The only rule is that the band nominated, and the audio suggested, is from the last year or so. So please don’t suggest the University of Nebraska Jazz Band from 1977, or something like that. Below is an example of what I am looking for (and officially the first nomination):

I would like to nominate:

The University of North Texas One O’Clock Lab Band

Their website is:

http://www.jazz.unt.edu/

Their latest CD is:

Lab 2009

You can hear them play on YouTube here:

http://www.youtube.com/watch?v=KySqDcw-gGg

You don’t have to submit all of the above information, but it will earn the band bonus points when it comes time to design the tournament. At the very least you have to send me the band name.

I think this will be fun…so let the games begin. All nominations will be considered, and nominate as many schools as you like.

1,000 Jazz Albums You Should Hear Before You Die (201-220)

Here is another 20 to add to the list.

Remember that there is no ranking system here, and if you don’t see your favorite jazz album yet, it doesn’t mean it won’t show up.

Every week I will offer up twenty more, in no particular order and with no ranking system or common theme (other than jazz of course).

Hopefully these lists will inspire you to seek some of these albums out that perhaps you haven’t heard before, or revisit an old favorite. And as always, we want your thoughts on any or all of these albums. Either way, let’s get started with this week, and in no particular order, albums 201 through 220.

201. Bass Hit! – Ray Brown (Verve, 1956)

202. This is How I Feel About Jazz – Quincy Jones (Paramount, 1956)

203. Rights of Swing – Phil Woods (Candid, 1960)

204. The Opener – Curtis Fuller (Blue Note, 1957)

205. Thinking of Home – Hank Mobley (Blue Note, 1970)

206. Rosewood – Woody Shaw (Columbia/Legacy, 1977)

207. Page One – Joe Henderson (Blue Note, 1963)

208. Whistle Stop – Kenny Dorham (Blue Note, 1961)

209. One in Two, Two in One – Max Roach with Anthony Braxton (hatHUT, 1979)

210. Virtue – Eldar (Masterworks Jazz, 2009)

211. Gumbo Nouveau – Nicholas Payton (Verve, 1995)

212. Song for My Father – Horace Silver (Blue Note, 1964)

213. Some Skunk Funk (live) – Randy Brecker/Michael Brecker (BHM, 2005)

214. That’s What I Say: John Scofield Plays the Music of Ray Charles – John Scofield (Verve, 2005)

215. Dinah Jams – Dinah Washington (Polygram, 1954)

216. The One and Only – Maynard Ferguson (Maynard Ferguson Trust, 2007)

217. Enchance – Billy Hart (A&M, 1977)

218. Ray Sings, Basie Swings – Ray Charles/Count Basie Orchestra (Concord, 2006)

219. Monk’s Dream – Thelonious Monk (Columbia, 1962)

220. Alto Madness – Richie Cole (Muse, 1977)

Up in the Cotton Club

Did anyone ever suspect that someone would mix Beyonce with Duke Ellington and his band? I can safely say I didn’t see this one coming. My music director called me into his office to give this a listen, and I truly couldn’t believe it. I must have heard Single Ladies by Beyonce a million times, but even though she is singing the lyrics, I didn’t even recognize it because of the way it was mixed with Duke.

Anyway, you’ve got to give this a listen – just for fun.