THE BRECKER BROTHERS

Though they'd been trumpeting around NYC since the late 60s, this was the brass brothers' first attempt at leading their own band. The result is one of the early examples of what I call the Fourth Wave of the Jazz-Rock Fusion movement.

1. "Some Skunk Funk" (5:50) with its horn section opening and funk play from the rhythm section this song sounds a lot like something from a Steve Wonder album of the same period (next year's Songs in the Key of Life, in particular). The horn arrangements are rather impressive, perhaps even unusual, while the play of the rhythm section is top notch funk and brothers Michael and Randy spew forth some pretty awesome, R&B-funky solos on their respective horns (as does 30-year old David Sanborn--who is here still fairly early in his long and esteemed career). While high on the funk and jazz scales, this one lacks the melodic hooks necessary to make it more memorable. (9/10)

2. "Sponge" (4:05) organ chords, cymbal taps and snare snaps with heavily wah-wah-ed electric bass open this one before the tightly synchronized horn section and keys join in. Funk is oozing from this song as Randy's trumpet amicably duels with Don Grolnick's Odyssey Strings synth. The tight horn bank motif continues to pop up between the soloist's "verses"--one of which is given to Will Lee's very funky bass. (8.875/10)

3. "A Creature Of Many Faces" (7:41) opening with some "older"-sounding horn charts, the song then surprises with a turn down Smooth Jazz Lane. Wah-wah-ed bass and rhythm guitar accompany the horn and keyboard synth on a rather insipid and very vanilla-melodied pop construct. The solos (alto and tenor saxes, trumpet, electric guitar) are also rather tame in a Herb Alpert kind of way: I mean, you can tell the players are skilled, but they've chosen to go for easy-listening melodies and hooks rather than test the proletariat brain of the masses with more complex lines. I get a frequent flood of acrid taste whenever the band congeals for its Burt Bacharach-like bridges between the solos--which is weird cuz I used to adore the horn arrangements on Burt Bacharach and Fifth Dimension songs as well as all those schlocky television show theme songs of the late Sixties and early Seventies. (13.125/15)

4. "Twilight" (5:44) cinematic horn section melody opens this one before Will and Ralph MacDonald's Latin percussion take us down a speeding highway, but then the whole band slips into what feels like a Matrix-like state slow motion. These two seemingly incompatible motifs continue to alternate over the course of the entire song, the faster one (with some very impressive bass, drum, and percussion play) allowing space for soloists like Dave Sanborn and Bob Mann to try to shine. In the end, the two very different motifs sour me. (8.75/10)

5. "Sneakin' Up Behind You" (4:54) just hearing those electronic percussion sounds of the Disco era activates my PTSD. And then, put on top of it, the AVERAGE WHITE BAND/RUFUS/TAVARES-like group vocals and you really get me wandering into a wormhole. This would've been a very popular song in the Disco's at the time (even later as this was 1975: quite early from full-fledged Disco music.) It jsut doesn't stand up as well 50 years later. (8.875/10)

6. "Rocks" (4:38) the funk here feels rather diminished by the constant injection of bursts from the CHICAGO-like big band jazz horn arrangements. When the soloists (Dave Sanborn and Michael Brecker, dueling) play, the horn section goes quiet, and these are the best parts of the song. The arrangements and performances are super-impressive but they don't always register very high on the enjoyment scale. (8.75/10)

7. "Levitate" (4:32) gentle, plaintive reverbed-trumpet opens this with minimal support coming from Don Grolnick's Fender Rhodes and Ralph MacDonald's electronic percussion "water drips." In the second minute spacious bass and drum play and horn section support join in, but the song proceeds as a very gentle, doleful and introspective late- night performance. Randy is so gifted. The song is amazing if not quite as engaging as one might expect (or hope for). (8.875/10)

8. "Oh My Stars" (3:14) a smooth Yacht Rock type of jazz-rock pop song with Randy singing the lead vocals in a kind of MICHAEL FRANKS-like voice. Nice Yacht Rock accompaniment and solos from all. Had Randy's voice been a little better--more experienced--this might have been an Adult Contemporary radio hit. (8.875/10)

9. "D.B.B." (4:46) some smooth jazz with very lightning fast and complex horn section accents and a pre-Disco beat. Saxophone takes the first solo. (I believe it is Dave Sanborn on his Alto.) Nice performances from one of jazz-rock fusion's stellar rhythm duos in drummer Harvey Mason and bassist Will Lee. Randy takes the next solo with an electronically-treated trumpet (called his "electric trumpet")--backed nicely by Bob Mann's active rhythm guitar. (8.875/10)

Total Time 43:24

1975. This just feels so early for both Disco and Smooth Jazz, but I cannot deny it: They're both here on this album! Luckily, so are the incredible skills and prime funk.

B/four stars; an excellent example of some of the earliest Adult Contemporary Smooth Jazz despite its complex horn section performances. Recommended for any of you fans of the more commercial, radio-friendly side of late 70s Jazz- Rock Fusion.