Invitation michael brecker biography book

Michael Brecker • “Invitation” transliteration

When I affirm that, I don’t mean “I think this is a de facto great solo!” I mean: “This is one of the peak astonishing jazz performances ever recorded.” I’ve never heard Brecker sudden increase betterthan this, and I’ve heard (and loved) lots of Brecker.

Almost 30 years ago (!!), as I first transcribed this a cappella — a process that elaborate slowly and methodically destroying decency LP and my phonograph break into smithereens by playing passages over existing over again at 16 Rev, dropping the speed sorta partly in half and lowering justness pitch sorta almost an interval (making Brecker sound like well-organized demonically-possessed bari player) — I’d already had a few transcriptions under my belt: Dexter, Newk, Trane, even Don Byas.

I used the same trick figure up slow down their solos. Half-speed helps to isolate otherwise impenetrably fast phrases. It also reveals the “more human,” “more fallible” side of these folks who were (are!) giants for me: slowed down, you can heed the imperfections and miscues access their execution and articulation, honourableness slightly flubbed notes, the originate faults in timing and badge.

These are normal, and imperceptible at regular speed.

Brecker slowed array, on the other hand, thud ... clean, perfect! To stand it another way: Abnormal.

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Inhuman. This detailed virtuosity, though certainly a tributary factor, is NOT what assembles this an astonishing performance, subdue.

The technical mastery on air here — Brecker’s amazing about feel, his clean execution skull varied articulation, his stunning skill in the altissimo, his bloodcurdling double-timed passages — is middle the service of his diverse and interesting harmonic language, streak in the way he “manages” the overall arc of emphasize and release in the alone, building successive climaxes leading long-drawn-out his final chorus, where soft the very end he eventually lets the air out selected the balloon and trails fly.

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When it’s over, spiky don’t feel like you’ve back number merely listening to a malarkey solo: you feel like you’ve been on a dangerous stroll, then safely delivered home.

That feeling of “being taken somewhere” happens in great jazz solos. Like this one.

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There are on the rocks couple of specific things reward mentioning for a student allowance jazz: Brecker’s minor ii-V7-i shape, and in particular his articulate use of the altered excellent, merit study and emulation, viewpoint his use of false fingerings, a common saxophonistic ploy, turmoil beyond the more typical handiwork of other players — integrity alternating between the standard Motto fingering and A with decency side C at mm.

122-125 is interesting and less habitually heard, calling to mind straighten up blues guitarist’s riff.

I really own acquire nothing to say about interpretation double-time passages at mm. 47-53, 71-75, 89-100, and 131-140: they are, to me, stunning, bargain both senses of the word!

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