By FREDERICO MONSALVE
Ask any jazz aficionado about contemporary tenor saxophonists and the answer will definitely include the dynamic duo of Coltrane-influenced chops: Joshua Redman and Michael Brecker.
The former because of timing innovation and compositions that would make even Coltrane scratch his head; the latter because of his rhythmic eclecticism and
a perfectionist - if not mathematical - approach to melodies that has made him one of the most studied sax players in today's music schools.
That is not to say Brecker's music is stiffened by technique, although a lot would disagree and see his academic training as an obvious element in the compact structures and conceptual tightness of his pieces.
"I began mostly as a studio musician, and just as things began to get hectic there, I had more freedom to collaborate with people, learn and start working on my own projects as well as with my brother [trumpeter Randy] as the Brecker Brothers," says the 55-year-old American from his home in New York.
He has had appearances as a sideman in tours and studios with the likes of Herbie Hancock, Charles Mingus, George Clinton, Paul Simon, Bruce Springsteen, Frank Zappa, and almost every 70s and 80s figurehead from jazz to pop.
Brecker admits his playing with various pop acts is not a conscious attempt to make jazz more approachable.
"I don't really know how to make the genre more agreeable to a wider audience, nor do I want to. I guess jazz appreciation takes a lot of music knowledge, it's a little bit more challenging than a lot of other styles, so it wouldn't have a wide audience to begin with.
"Also, the fact that in the USA you don't see any jazz performed on TV, it has an effect. But I'm in a time in my life where I don't care, really enjoy doing it and get personal and financial rewards for what I love doing," he says.
The 11-time Grammy award winner is a little puzzled and a tad defensive when asked what, if anything, he has had to compromise musically when switching from studio work for the likes of composer and bassist Charles Mingus to the musical simplicity of Lou Reed or John Lennon.
"That's a multi-fault question. Each context is quite different. I've naturally felt comfortable in lots of musical fields," he says, quoting his younger passion for R&B and quick at praising the cut-and-paste techniques of hip hop DJs as well as Radiohead's sound.
"But I must say I can't remember much about playing with Reed. There was nothing memorable about it, I guess. It was back in the 70s, I needed to put a roof over my head and it just happened."
It seems a lot is still just falling into Brecker's mouthpiece.
Aside from having Chick Corea and Herbie Hancock appear on his records, he is enjoying a hectic touring schedule combined with commissioned works and a steady shower of Grammy awards.
Even Wellington composer John Psathas has joined in on a bit of the sax phenomena.
Psathas wrote a saxophone concerto specifically for Brecker in 2000, and the chops master is quick at pointing out the everyday-ness of such musical honours.
"Oh, yeah, I forgot he was from New Zealand. I think he approached me with something already written. I remember playing it somewhere in Bologna, I think, with some Italian orchestra, learnt the piece in a couple of minutes, very experimental."
One of his most remarkable albums, Time is of the Essence, built its foundations on a funked-up rhythm section composed of organ and guitar, and brought together guitarist Pat Metheny and Larry Goldings.
"The main reasons behind that album are that I wanted to play with Larry, he is a great piano player, and I wrote music for the record with him in mind.
"Also, the organ is such a Philadelphia [Brecker's hometown] instrument that I felt somewhat connected to its sound."
By now, Brecker has had more than 520 performances as a back-up musician (including performing his own work in front of thousands during a tour with Paul Simon in the late 90s) and nine solo albums, most of which have gained a quick notoriety in jazz circles.
"While in New Zealand I look forward to soaking up the scenery and playing with the Rodger Fox Big Band. We'll be doing arrangements of my own pieces as well as standards."
As to the future: "It is too early to talk about my latest project, but I am really excited about it and it includes a large ensemble and sorry, but that's all I'm saying."
Performance
* Who: Michael Brecker
* What: The Rodger Fox Big Band 30th Anniversary Tour also featuring Diane Schuur (vocals), Bill Cunliffe (piano), Jon Papenbrook (trumpet)
* Where & when: Auckland Town Hall, Thurs May 27; Holy Trinity Church, Tauranga, Fri May 28; TSB Showplace, New Plymouth, Sat May 29; Founders Theatre, Hamilton, Sun May 30; St James, Wgtn, Thu June 3; Napier Municipal Theatre, Fri June 4; Regent Theatre, Palm Nth, Sat June 5. (Tickets $57)
Also: workshops at Massey University, Auckland, midday, Thurs May 27; Massey University, Wgtn, 5pm, Tues June 1
By FREDERICO MONSALVE
Ask any jazz aficionado about contemporary tenor saxophonists and the answer will definitely include the dynamic duo of Coltrane-influenced chops: Joshua Redman and Michael Brecker.
The former because of timing innovation and compositions that would make even Coltrane scratch his head; the latter because of his rhythmic eclecticism and
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