Wide Angles

Wide Angles

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by Michael Brecker
     
 

Wide Angles is Michael Brecker's most ambitious work, capping a discography marked by creative achievement and popular acclaim. Framing his sound with a 15-piece, A-list creative orchestra comprising brass, woodwinds, and a string quartet, he treats the recital as an extended saxophone concerto, placing his instrumental voice front and center for at least 60…  See more details below

Overview

Wide Angles is Michael Brecker's most ambitious work, capping a discography marked by creative achievement and popular acclaim. Framing his sound with a 15-piece, A-list creative orchestra comprising brass, woodwinds, and a string quartet, he treats the recital as an extended saxophone concerto, placing his instrumental voice front and center for at least 60 minutes of the 70-minute program. Aided by orchestrator extraordinaire Gil Goldstein, Brecker takes stock of the syntax that has defined his tonal personality -- challenging intervals, exotic scales, dark harmonies, post-Coltrane progressions, supercharged grooves, and poetic lyric passages -- and completely recontextualizes each component. He spontaneously orchestrates and colors, varies his timbre and attack, never wastes a note or utters an indifferent or clichéd phrase, subordinating supreme technique to serve a set of vivid, acutely realized musical stories. It's big-picture playing and writing, covering a lot of ground, and showing that by reaching out to the newer generation of jazz musicians, Brecker -- arguably the most influential tenor saxophonist on the scene -- plans to extend his reach well into the current century.

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Editorial Reviews

All Music Guide - David Jeffries
An early 2002 tour of the U.K. found Michael Brecker playing his old material with a larger band that included some instruments usually falling outside the standard jazz combo (i.e., oboe, French horn), providing the genesis for Wide Angles by the 15-piece Michael Brecker Quindectet. The recording makes Brecker the center of attention, and the ten tracks (nine by Brecker along with Don Grolnick's "Evening Faces") are to be considered as a suite according to Brecker and arranger Gil Goldstein. When it sticks to the cerebral and introspective, Wide Angles flows very well, and Brecker is as expressive and inspired as ever. Listeners wanting to hear interactions involving mainstream bassist John Patitucci, the usually experimental violinist Mark Feldman, or any of the other capable players will find their roles too supportive, but with so much focus on the tenor saxophonist, Brecker fanatics will justifiably go ape.

Product Details

Release Date:
09/09/2003
Label:
Verve
UPC:
0044007614228
catalogNumber:
000028502

Tracks

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Album Credits

Performance Credits

Michael Brecker   Primary Artist,Tenor Saxophone,Group Member
Robin Eubanks   Trombone,Group Member
Gil Goldstein   Conductor
John Patitucci   Bass,Group Member
Steve Wilson   Flute,Alto Flute,Group Member
Mark Feldman   Violin,Concert Master,Group Member
Erik Friedlander   Cello,Group Member
Joyce Hammann   Violin,Group Member
Lois Martin   Viola,Group Member
Adam Rogers   Guitar,Group Member
Daniel Sadownick   Percussion,Group Member
Antonio Sanchez   Drums,Group Member
Charles Pillow   English Horn,Oboe,Group Member
Alex Sipiagin   Trumpet,Group Member
Peter Gordon   French Horn,Group Member
Iain Dixon   Clarinet,Bass Clarinet,Group Member

Technical Credits

Michael Brecker   Arranger,Composer,Producer
Gil Goldstein   Arranger,Producer,Orchestration
Don Grolnick   Composer
Jay Newland   Engineer
Jason Olaine   Executive Producer
George Whitty   Composer
Hollis King   Art Direction
Nicholas Wilton   Illustrations

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Customer Reviews

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Wide Angles 1 out of 5 based on 0 ratings. 1 reviews.
hired_goon More than 1 year ago
I'm a Brecker freak, and indeed he plays splendidly on this, however I hardly ever play this album - the arrangements and heads are dissonant, and irritating. The "orchestra" isn't supportive - they get in the way with their dissonant textures and disharmonious lines. The heads aren't singable in any way, and I find myself wanting to fast forward through them to get to the solo sections. However, once I'm there, the orchestra gets on my nerves, and I just eject the disc. Don't buy this if you're looking for the magic of his first album, or the great compositions on Tales From the Hudson. If you like dissonant jazz with overly complex structure and out playing, this is his best. I will sometimes put this disc in, and see how far I can make it before I have to turn it off.