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| Artist: Michael Brecker Quindectet
Label: Verve
Category: Music
List Price: $18.98
Buy New: $7.79
You Save: $11.19 (59%)
New (38) Used (13) from $4.94
Avg. Customer Rating:  8 reviews
Sales Rank: 104188
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 000028502
UPC: 044007614228
EAN: 0044007614228
Release Date: September 9, 2003
Availability: Usually ships in 1-2 business days
Shipping: International shipping available
Condition: BRAND NEW SEALED CD, MARKED IN THE UPC CODE,THIS DOES NOT EFFECT THE PLAY IN ANY WAY,FREE FIRST CLASS SHIPPING UPGRADE
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| Customer Reviews:
| Showing reviews 6-8 of 8 | | « PREV | | |
 Michael's latest masterpiece... January 15, 2004
8 out of 9 found this review helpful
Tenor titan Michael Brecker's album "Wide Angles" is a true
tour-de-force. Fronting a "quindectet" featuring bass clarinet, four strings plus guitar, French horn, three other reeds, Robin Eubanks on trombone, new (to me) trumpet ace
Alex "Sasha" Sipiagin, as well as drums, percussion, & John Patitucci on bass, Brecker in his September 2003 offering exceeds again this listener's lofty expections of his favorite musician in all the world, possibly in all of time.
In somewhat the same vein as (but much more substantial than) the 1982 release Cityscape, with Klaus Ogerman's full orchestra, the Wide Angles ensemble instead provides a perfect vehicle by which the virtuoso Brecker launches himself into perhaps the most consummate work of his career. His solos, as always, are so well-crafted, lucid, and seamless that the casual listener might possibly be fooled
into thinking this is merely a great sax player. Always in seemingly effortless total control, Michael nonetheless is
perpetually screaming at the very edge of what is possible
lyrically, rhythmically, texturally, harmonically, & emotionally.
He seems to deploy every one of the tonal, rhythmic, & lyrical inventions he's ever developed, but as always, he's blended them in perfect musical context; his 'bag' is presented here in degree & intensity so precisely measured, so thoughtful & flowing that there's never a hint of device. Michael's technical athleticism
is legendary, yet his intelligence rules his horn (but never
his heart). Brecker wrote and arranged all but a couple of
these compositions; in my opinion that's why this 15-piece group works so well. Listen closely to the band's supporting lines in the opener, Broadband, and you'll see what I mean. I have Michael Brecker on about 100 other albums, and I'm telling you, this tune offers a stunning sample of what he can do,
although never for a moment does Michael's unbelievable technique overshadow the song. His harmonic transitions while soloing are silky-smooth but so exciting! Each of the pieces
demonstrates the same brilliant writing; there is no weakness.
In my opinion, this is one of the best jazz records of all time;
it truly defines the cutting edge of man's musical sophistication
at the advent of the new millenium. To those who may not
yet know this kind of jazz, give a serious listen here and you will
surely broaden your mind. No one could be better at anything on this planet than Michael Brecker is at creating music.
Fantastic musik and arrangements!!!!! January 1, 2004
The composistions and melodies are fantastic! The arrangements, played for the most parts by acustic instruments, are intelligent and wise! Melodies are swinging and bright!
Michael could perhaps have left room for another solo-player, but his brilliance compensates for that detail!
Hope to see Michael soon in Copenhagen! Way to go Michael!!!!!
5 star album!!!
Mogens
Brecker's found his groove September 11, 2003
41 out of 44 found this review helpful
Perhaps it was the groundbreaking work of Dave Douglas (Freak In) and Wayne Shorter (Alegria) that helped Michael Brecker find his proper MO.Leading what would ordinarily be regarded as an unwieldy group of 15 musicians, including such exotic (for jazz) instruments as French horn and oboe, with strings, Brecker seems to have discovered the perfect vehicle for his marvelous jazz excursions. In the past, it has often seemed that there was too much disparity between Brecker's incredibly rich sax tone and edgy conceptions for even the most brilliant small-group partners to fully realize his genius. As I say, perhaps Douglas and Shorter have convinced him that the larger-ensemble approach is the way to realize the maximum amount of bang for his buck. Whatever. Actually, it matters not where the idea came from. It works magnificently here. There's a kind of gravitas here lacking in Brecker's most recent CDs. What's the lesson? Major performers perhaps need bigger canvases to achieve the full measure of their genius. Joe Lovano certainly has been exploring that premise (with mixed results, it must be said). There should be no equivocation here. Michael Brecker has issued a stunning release. Besides the leader, with his brawny tone, endless solo ideas, and brilliant comping, Adam Rogers on electric guitar stands out. His contribution is so stunning (combined with brilliant wind and string arrangements, it must be admitted) that one is absolutely flabbergasted to find that there is no keyboard player among the 15 musicians listed. A note on the recording. The producers (Brecker himself and the redoubtable Gil Goldstein) and sound engineers have found the exact right placement of Brecker's muscular tenor sax: always in the heart of the mix, prominent, without being overpowering. A note on the players. Besides reading like a veritable who's who of up-and-coming players such as Alex Sipiagin (trumpet), Robin Eubanks (trombone), Charles Pillow (oboe, English horn), Mark Feldman (violin), Eric Friedlander (cello), John Patitucci (bass), the tonal soundscape is perhaps richer than any in jazz remembrance. With the knife-edged-yet-mellow sound of Brecker's tenor sax cutting through such luscious sonic realizations as "Angel of Repose" (a gorgeous ballad) and "Timbuktu" (a kind of updated and impossibly catchy neo-"Night in Tunisia") we're in Wayne Shorter Alegria territory--but with a less mannered, more accessible sound signature. Still another in the astoundingly rich catalog of brilliant jazz recordings issued in AD 2003.
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