JSngry

I used to ignore elevator and other canned music until it suddenly dawned on me that there were real people playing those charts is a studio somewhere, and what did THAT look like?

¿Te ofreció un pañuelo?

Blodwyn Pig Donald Trump George Pig

The wheedlewheedle school, they don't bother with any deedle. Even more annoying.

Earl Spideaux - Phone Calls and Empty zhalls

Also in the group was Barry Rogers, Don Grolnick, and Will Lee, all of whom phad very solid cred. I forget which came first, but a group called White Elephant figures into all of this as well. There was a whole scene of jazzporock marauders in the early 80s, they all knew each other, they all played where they could, and Mike Manieri was also in the thick of it.

None of the wheedledeedle players excite me, then or now, with the sometimes exception of Donnie McCaslin. He sounds like he's putting some groin into it.

The Speedles - I Want To Drive Your Car

Fair enough.

Limiting this thirst for expanded executive power to "the left" is wrong. And you're right, we're not supposed to get into politics here, so "but" is admitting an overstep.

Definitely a man out of his time in some ways...what he was dealing with was of, at best, secondary importance to the general flow of the music and its culture of the time. But that does not mean it lacked validity. Far from it, and the fact that somebody such as Anthony Braxton found it and made use of it, and then others followed suit, speaks volumes. Let this be a lesson that although "eccentricity" does not excuse flaws (nobody's perfect!), it does equally not equate to invalidity or any other perceived lack of true substance. It's the individual's job to leave their mark. It's everybody else's job to find it.

Some records are built like movies, others like live theatre.

For the kids who've get to get to the old stuff, here's the solo that got people's attention about Michael Brecker, first few minutes of Side Two. Dreams was a really interesting cast of characters...never made a truly great record, but this is as close as they go, and was supposedly the closest they came to replicating what they did live.

Duke loved him some surprises!

Does he play "Chitty Chitty" or "Bang Bang"? Or do those parts go to Ray Nance?

What was cool about having Brecker on that record was that here was a guy playing changes in a traditional manner. At the time, people like Tom Scott were setting the standard for how to play tenor on a pop record, you know, all that hooty-tooty stuff. Brecker certainly could and did do that, but here, it's back to some early Traneballad language. Kinda jumped out of the radio, it did.

no bass on this session, and none needed!

If you have any friends who are James Taylor fans, send them this too. It was really cool to his this type of tenor playing on the Top 40 radio back the!

Ed Flesh Reads David Ruprecht An expectedly lively record.

Yep, that's him. And i do love Cameo. Look - iconic: Plenty of it too: https://www.google.com/search?hl=en&source=hp&biw=&bih=&q=michael+brecker+cameo&iflsig=ALs-wAMAAAAAYeA6tMng0WQvdefRtz82QddTgNwtTV0Q&gbv=2&oq=michael+brecker+cameo&gs_l=heirloom-hp.3..0i22i30.1077.6221.0.7173.21.17.0.4.4.0.174.2165.1j16.17.0....0...1ac.1.34.heirloom-hp..1.20.2085.O67z00jgtzM

This one is hard to leave....anybody else gotten into it? It's a small scale affair, but really hits a zone for me.

Holy See, Holy Do.

I first heard Michael on that first Dreams album. Then on a Horace Silver record. Both were with Randy onboard. The there was his solo on James Taylor's "Don't Let Me Be Lonely Tonight". Then with The Brecker Brothers albums - "Sneaking Up Behind You" was a pop hit, and "Some Skunk Funk" was/is a "cult classic". So he was a very well-known quantity before Steps. Both Michael and Randy did a good amount of session dates, and Michael stood out everywhere he showed up. But he never really attempted to create a "straight-ahead" profile. Until all that had died down Check him out on Cameo's "Candy", that has become an iconic moment for players of a certain ilk. Along the way, he'd do the oddball "straight ahead session, like with Joanne Brackeen or Hal Galper, but those were always on low-profile labels. So when he showed up on 80/81, it was a bit of a WTF? moment for a lot of people. I remember Bob Belden talking about it and smirking that "Ok, everybody thinks that Michael Brecker can play now because he's on a side with Dewey". That was snide, but not inaccurate. He was playing a lot of flash, but not a lot of meat, imo. To his credit, apparently felt the same way, and spend the rest of his life being humble and working hard to keep digging deeper. Me, I didn't really care, but I came to respect the hell out of him, and do understand the high esteem in which he came to be held.

Coot Veal Hoot Gibson Newt Gingrich