Michael Brecker Q&A at The University of North Texas 1984
Summary
TLDREn este fascinante relato, un músico proveniente de una familia con profunda raíz musical comparte su viaje personal y artístico. Nacido en Filadelfia, comenzó con el clarinete antes de enamorarse del saxofón tras escuchar a Cannonball Adderley. Estudió en la Universidad de Indiana, explorando desde la medicina hasta las bellas artes, antes de decidirse por la música y trasladarse a Nueva York. Allí, su carrera despegó, tocando en diversos géneros, desde el jazz hasta el rock y el R&B, y colaborando con numerosos artistas destacados. El narrador destaca la importancia de la improvisación, el aprendizaje continuo y el hallazgo de su sonido único, ofreciendo una visión inspiradora de la persistencia y la pasión por la música.
Takeaways
- 😊 Comenzó tocando el clarinete a una edad muy joven
- 🎸 Estuvo muy influenciado por músicos de blues y guitarra eléctrica
- 🎷 Pasó de tocar el clarinete al saxofón después de escuchar a Cannonball Adderley
- 🏀 Jugaba baloncesto en la escuela secundaria al mismo tiempo que tocaba música profesionalmente
- 👨🎓 Estudió brevemente medicina y bellas artes antes de dedicarse por completo a la música
- 🗽 Se mudó a Nueva York a los 19 años para dedicarse profesionalmente a la música
Q & A
¿De dónde es originario el músico mencionado en el guion?
-El músico mencionado en el guion es originario de Filadelfia.
¿Qué instrumentos tocan los padres y la hermana del músico?
-El padre del músico es organista, su madre es pianista y su hermana también es pianista.
¿Cuál fue el primer instrumento que tocó el músico y a qué edad comenzó?
-El primer instrumento que tocó fue el clarinete a una edad muy temprana, y recuerda aprender solos de clarinete para los discos de Jimmy Joo free cuando tenía unos seis años.
¿Quiénes fueron las primeras influencias musicales del músico?
-Las primeras influencias musicales del músico fueron Clifford Brown y Jimmy Joo free.
¿Qué cambio significativo en su carrera ocurrió después de escuchar a Cannonball Adderley?
-Después de escuchar a Cannonball Adderley, el músico cambió de tocar el clarinete al saxofón y comenzó a tomárselo más en serio.
¿En qué universidad estudió inicialmente el músico y qué cambio de carrera hizo mientras estaba allí?
-El músico estudió inicialmente en la Universidad de Indiana como mayor en música, pero en el último minuto cambió su especialización a premedicina como un acto de rebeldía.
¿Cómo fue el proceso de transición del músico hacia la música profesional?
-El músico comenzó a tocar profesionalmente en la escuela secundaria, escuchando mucho a Coltrane y tocando con músicos mayores. Estudió de forma privada y tocó mucho alrededor de Filadelfia antes de mudarse a Nueva York a los 19 años.
¿Qué grupo formó con su hermano y otros músicos, y cómo fue recibido?
-Formó un grupo con su hermano y otros músicos llamado 'Dreams', que aunque fue un fracaso comercial, les dio reputación en el negocio como una buena sección de vientos.
¿Qué tipo de música exploró el músico al mudarse a Nueva York?
-Al mudarse a Nueva York, el músico exploró más a fondo la música rock y R&B, estudiando ese idioma y prestando atención a muchos guitarristas.
¿Qué consejo ofrece el músico sobre la elección de equipos y la búsqueda de un sonido propio?
-El músico aconseja ir tras lo que uno escucha y no dejarse influenciar por los demás, destacando la importancia de encontrar lo que suena bien para uno mismo, basándose en su experiencia personal al cambiar a un nuevo conjunto de boquilla y caña.
Outlines
🎵 Inicios y desarrollo temprano
El orador, nacido en Filadelfia en una familia musical, creció pensando que todos eran músicos. Comenzó con el clarinete y luego pasó al saxofón influenciado por Cannonball Adderley. Durante la escuela secundaria, comenzó a tocar profesionalmente y se sumergió en la música de John Coltrane. Aunque inicialmente se inscribió en la Universidad de Indiana como estudiante de música, cambió a premedicina como acto de rebeldía, pero finalmente se mudó a Nueva York para seguir su pasión por la música. En Nueva York, gracias a su hermano Randy, se integró rápidamente en la escena musical.
🎤 Experiencias y transiciones
El narrador describe su crecimiento musical influenciado por la música rock y R&B, y cómo su capacidad para tocar estilos distintos al bebop lo ayudó a encontrar trabajo en Nueva York. Formó una banda llamada Dreams que, a pesar de no tener éxito comercial, le estableció como un músico respetado. Posteriormente, trabajó con Horace Silver y formó los Brecker Brothers con su hermano. Actualmente, está involucrado en el grupo Steps Ahead y trabaja en la composición mientras mantiene su rol en Saturday Night Live.
🔊 Exploración de nuevos sonidos
El orador comparte su experiencia tocando el saxofón eléctrico y cómo utilizó efectos económicos para innovar en su sonido. Discute la influencia de los guitarristas en su estilo y la importancia de absorber diversos influjos musicales. Se describe como un músico que aprende e integra lo que escucha en su estilo de una manera que eventualmente se convierte en parte de su identidad musical única.
🥁 La importancia del ritmo y la experimentación
El orador enfatiza la importancia de la conexión con la sección rítmica y cómo el ritmo es central en la música jazz. Relata su experiencia aprendiendo a tocar la batería para mejorar su comprensión del ritmo y sugiere que otros músicos exploren instrumentos de la sección rítmica. Además, habla de su enfoque menos disciplinado hacia la práctica, basado en rachas de inspiración en lugar de una rutina fija.
🎹 Exploraciones composicionales
El orador detalla su actual enfoque en la composición, trabajando con técnicas como la escritura de doce tonos para desarrollar un nuevo vocabulario musical. A pesar de la complejidad y el desafío, encuentra que este enfoque proporciona herramientas útiles para su crecimiento artístico. También menciona su trabajo con Hal Galper y su experiencia en un ambiente acústico contrastante con sus proyectos eléctricos anteriores.
🎧 Adaptación y visión de la música moderna
El orador reflexiona sobre el estado actual de la música y la influencia de la tecnología, específicamente en el ámbito del jazz y la música electrónica. Subraya la importancia de los músicos detrás de la tecnología y cómo personalmente ha integrado los sonidos electrónicos en su trabajo con Steps Ahead, describiendo la experiencia como tocar en 'Technicolor' en lugar de 'blanco y negro'.
🌱 Crecimiento personal y equilibrio
El orador discute cómo la búsqueda del equilibrio entre la vida personal y la carrera musical ha impactado su enfoque y bienestar. Aunque la música sigue siendo una parte central de su vida, ha aprendido a no dejar que domine completamente, buscando un estado más saludable y equilibrado que a su vez beneficia su creatividad y rendimiento.
🎼 Colaboraciones y aprendizajes
El orador comparte sus experiencias trabajando con diversos músicos como Pat Metheny y James Taylor, destacando la importancia de la colaboración y el aprendizaje mutuo en su desarrollo artístico. También expresa su admiración por David Sanborn, destacando la capacidad única de Sanborn para mezclar sonidos y emociones a través de su saxofón.
🎶 Impresiones finales y reflexiones
El párrafo parece contener expresiones y fragmentos sueltos, posiblemente relacionados con la conclusión de una actuación o los pensamientos finales del orador. Dado que el contenido específico no está claro, este resumen asume que el orador está finalizando su charla o presentación con reflexiones finales o agradecimientos.
🔚 Conclusiones y despedida
Este segmento parece indicar el cierre de la sesión o la conclusión de una actuación musical. Aunque el contenido es vago, sugiere el fin de una experiencia compartida, posiblemente agradeciendo a la audiencia o a los participantes antes de despedirse.
Mindmap
Keywords
💡Música
💡Familia musical
💡Clarinetista
💡Saxofonista
💡Jazz
💡Educación musical
💡Improvisación
💡Grabaciones
💡Técnica musical
💡Innovación
Highlights
Grew up in a musical family in Philadelphia, started on clarinet then switched to saxophone
Moved to New York at age 19, started getting work through connections from his brother Randy
Formed group Dreams that got some attention but didn't sell many records
Played with Horace Silver's group for a year and a half as a learning experience
Formed Brecker Brothers group, made albums, toured a lot
Currently playing with Steps Ahead, studying composition, plays on Saturday Night Live weekly
Transcripts
this is kind of a funny situation cuz uh
I really feel like planning great
musicians this is funny
what but the whole point of me coming
here is partially to talk I think you
know well we'll split the difference
we'll split the difference and uh you
know uh I'll tell you a little bit my
life I guess and what I'm doing right
now and then we'll play a little more
and maybe take some questions
okay I'm not used to having it no
microphone here this is on one TV uh I
went through a brief history real
quickly uh I was born in Philadelphia I
came from a musical family
everyone in my family plays some
instrument or another my father's
archanis my mother's a pianist my
sister's a pianist uh I play a little
piano and when I was a kid I thought
everyone was a musician you know it was
the kind of family I grew up in
it was a shock to me to find out that
that we were kind of an oddity
I began on clarinet at a very young age
and played it not too well and was more
interested in sports really my first
influences were that I can remember were
Clifford Brown and uh Jimmy Joo free I
remember learning clarinet solos for uh
author Jimmy juvie records when I was
about six years old I still play into a
to a garbage can for reverb you know and
I had a little gold wastebasket and
that's where I practiced and to this day
I still love reverb you know whenever I
do an album they always have to turn my
echo down in the mix you know uh I
switched to saxophone after hearing
Cannonball Adderley play and began to
take it seriously I guess in in junior
high school also playing basketball that
was my major pastime and I started
playing professionally really in high
school I started listening to a lot of
Coltrane and was playing with a lot of
musicians that were older than me and I
studied privately which I generally
always did and still do and I played a
lot around Philadelphia and eventually
went to Indiana University initially to
be a music major and I switched my major
at the last minute this is my one of my
moments of rebelling I realized that I
had been playing music half my life half
my life partially to compete you know or
to for my parents approval you know
because that was the way my family was
so I switched I was at Indiana
University and I switched to premed
it's a brilliant decision and I was
stuck out there and pre-med and that
wasn't working too well so I tried Fine
Arts you know and meanwhile all the time
all I did was uh was spend time in the
music school practicing my fine arts
teacher I had some talent in drawing uh
I became friends with all my teachers
and he just told me to move to New York
and play music so he Lila he dropped a
subtle hint so I did that I moved to New
York when I was 19 and my older brother
Randy was had been living in New York
for about two to three years at that
point and was was playing beautifully
and and starting to work quite a bit he
did really well very quickly and he was
very nice to me when I went there and
introduced me to a lot of people and I
didn't have to scuffle real hard because
I did have some connections through him
of course I you know I scuffled for a
couple years but I always managed to
work I just took any gig I could get you
know any kind of weird rehearsals that
didn't pay anything you know and I
always was fortunate to meet people you
know particularly the weirdest
rehearsals that's where I met some
sometimes the people that became most
important later on I also you know
continue to study privately with various
people I tried all kinds of I study the
Schillinger system and and took some
lessons from Joe Henderson and and
studied with Joe Allard who uses me as
an example of what not to do when the
saxophone and
uh I like walking off camera here
where's the camp ah is the camera I at
that point uh I I neglected to mention I
guess that I'd always been playing rock
and roll and R&B you know in
Philadelphia I grew up listening to Ray
Charles and had always been uh you know
listening to AM radio much to the dismay
of my parents you know and so I began
put you know really getting into into
rock music in college and and was very
serious about it and I really listened
to a lot of blues and studied that idiom
and checked out a lot of guitar players
and by the time I moved to New York it
just happened to be that kind of timing
where there was a kind of a and need for
horn players that did a wanted to play
on records that uh that could play
something other than bebop which I also
was able to do so I started getting some
work on some albums and I formed a group
with my brother and some other people
called dreams we did some recording for
Columbia the records were an amazing
failure they were great musically but
they didn't sell anything but we did get
a reputation in the business as a good
horn section and Barry Rodgers was
playing trombone with us so we started
doing dates a lot of dates as a section
and I continued doing other things
playing a lot and lost the New York and
jamming a lot and uh just trying to stay
active after dreams broke up I went with
Horace silver for for about a year and a
half and that was one of my favorite
gigs ever because that was like going to
college for me you know I really really
worked hard I practiced a lot during
that period all the time you know before
the gig I don't know how I did it in
retrospect I had a lot of guts I always
you know make amazing noise in the hotel
rooms and get
planes and I really wanted it you know
so I stayed with artists then after that
I went with a myriad of different groups
have played with Billy Cobham for a
while and then my brother Knight formed
a group called Brecker brothers and I
made a bunch of albums for Harris to
records and that and continued to you
know to tour a lot and practice a lot
and just also do record dates right now
I'm playing in a group called steps
ahead we just did another album we
finished it a couple days ago and that
should be out in a few weeks believe it
or not and I'm studying composition
presently and put working pretty hard on
that and I'm working around New York and
I play on Saturday Night Live every week
which is fun and I'm doing a complete
blank
what else that are gonna say um I'm
gonna throw it up and open to questions
in a minute cuz it's hard to talk to a
whole group of people not knowing really
where we're at you know everyone's at a
different place and it's silly for me to
talk about harmony and and an
improvisation because that's real well
covered here this is really the best
music school in the world I think and
you know I guess I'm not really here to
talk about that but I'll you know if
anybody has any questions about that I
use a summer saxophone
and it's a lavage medium read and this
happens to be dying this Reed and the
mouthpiece is presently a do cough do 9
and and that's a guest and I'm not
suggesting that all saxophone players
use this this is what works for me
everyone is different everyone hears
differently the only suggestion I can
make is go for what you hear and not and
if possible try not to let anyone sway
you you know if you're looking for a
sound stick with it you know unless it's
really obviously not working I know when
I switched to this I had been playing a
different setup for a long time and I
had to switch because of some physical
problems I had I found this setup and I
liked it a lot and a lot of people in
New York a lot of the saxophone players
told me to not not to use this and now
pretty much all of them are using the
same
so I kind of learned a lesson from that
you know I just have to go with with
what I think sounds good for me and you
know I hope that well I made this list
of things to talk about I don't really
feel like looking at it so maybe uh if
you feel comfortable enough to ask some
questions I'd be happy to you know to
answer them the best I can you know does
anybody want to put something into the
air yeah free jazz thing not it sounds
like you play - saxophone what is
actually happening what was happening
was that I was playing electric
saxophone and at that time I was using a
real cheap kind of a cheap effect you
know cheap thrills
if there really wasn't much I could use
it when that was there in terms of
electric things spent times have changed
quite a bit now but at that time I think
it was called a frequency analyzer and
it cost $40 or something like that and I
could push a little button and I found a
good use for it it was kind of limited
but I found a couple things that I could
do that enabled me to play chords and
play along with it and I think I was
using a an envelope follower and some
some other things that you know I say
they're cheap gimmicks but actually the
trick is figuring out how to use them so
they sound you know so they sound good
thank you did you did
yeah the question is why did I listen to
guitar players I did because I liked the
way they played but seriously I was
looking for other I mean pretty much my
playing is generally mimicking other
things that I've heard you know I'm not
tremendously original you know I just I
listen to things and then I learned them
or I hear them enough then they get into
my psyche and then I distort the hell
out of them what what I was doing then
was just I loved I was very excited by
guitar players particularly around in
the beginning in late 60s and uh and
early seventies it was just there was a
whole excitement happening on the
instrument you know the way they bent
notes and and where they played the
blues you know and I really uh I liked
what they were doing so I tried to uh I
figured out weird fingerings on the
saxophone to emulate you know the way
they would bend notes and try and get in
between the major and the minor third
you know and and as I was just
experiment looking for other avenues you
know I still you know I I don't just
copy saxophone players although like I
still love to copy saxophone player yeah
if I hear anyone play a phrase you know
if it really gets my ear I try and
figure out what it is you know I find a
record that it's on and out you know
slow it down if I have to and figure out
what it is
and I think it's a real useful tool also
you know to to learn solos I learned
parts of solos I know that's a question
that's often asked me did I learn solos
and the answer is yes but I didn't have
the discipline to learn whole solos
really I did it occasionally but I found
it helpful for me too if I was going to
do it to copy it out myself
and not do it out of a book because I
somehow it sank anymore and I also felt
offended helpful too once I learned it
to play it along with the record to
figure out how it lays over the rhythm
section the more often I took pieces you
know guitars or saxophones and you know
trumpets piano solos and and if I heard
a lick that I liked I'd steal it you
know and eventually I mean my memory is
not so good so I forget it and it would
come out in some other weird bizarre way
a few months later I found that it's
usually two months I worked on something
like two months later all of a sudden it
would creep out I'd be playing somewhere
and all of a sudden you know that would
come out
it was never really a conscious process
I was never one of those people that
could learn something and then play it
that night I just I always have to trust
that it's going to come out somewhere in
my psyche and it's it's music for me is
largely intuitive I was talking about
that earlier I'm not a real intellectual
kind of player my mind doesn't work that
way I think fairly quickly I'm aware of
the chords when I'm playing most of the
time I'm not real tuned into that lately
have been more tuned into shapes and
pivot points and melodies particularly
when I'm recording I've been trying to
concentrate on playing a lot melodically
and less and less mechanical playing
looser and just let you know what
naturally happens happen you know now
trying to color it I wanted to do this I
was thinking that this early maybe I'll
have Scott this is a risk I was talking
also earlier about time about rhythm for
me I think the most important thing is
is time you know I don't know the word
to use for it swinging or cooking or you
know without that it doesn't matter what
notes you play notes are important to
for me but if I'm not somehow really
connected in a meaningful way to what's
happening in the rhythm section it
really is pointless you know in jazz
music you know or jazz related music I
don't know how to quaint
I've never done this I just wanted this
I don't know one way I worked on it was
the plate it goes to play the drums I
was wondering if I could just this could
be real embarrassing
can you lift your seat a little bit just
lift Thanks over the coffee right bear
with me I haven't done this in quite a
few moons I just do our blues again the
same this will just to play a couple
quarters to play for nips and then I'll
stop around that I guess the same tempo
to it what oh yeah what
I did that I guess just a show I'm
serious that you know that for me rhythm
is the whole thing I'm real attached to
the drums I don't play it too often
anymore but you know when I was younger
I really sat down and tried to figure
out how three goes against four you know
what makes music swing and then from
playing with a lot of saxophone players
I used to play drums a lot with
saxophonist they used to like to play
with me because I knew where they were
coming from and it was like the reverse
side of the coin you know I suggest you
know I mean it's just a suggestion if
anyone wants to learn more about that's
to take up a rhythm section instrument
and you know screw around with it and
it's amazing what you learn uh yeah
no I've been thinking about it lately
like the question is about joy still do
I study saxophone privately not
presently I took a breathing lesson last
weekend from a trumpet player a lot of
times I you know I have you know end up
getting together with saxophone players
and a couple times I asked people for
ask people for lessons and they can help
take me seriously yeah but I've been
thinking of trying to get back with Joe
a little bit also I don't know thank you
I studied with a guy named Edgar Graner
there's a teachers at Julliard in New
York I know that's a kind of expansive
thing it's gonna be you I'll probably be
there for a long time and if part of its
just psychological approach you know
it's interesting thank you
huh talk more about that
it's kind of hard to talk about exact I
don't know its composition just giving
me some basic tools we're going to start
working on string writing soon right now
he has me working when it's gonna sound
ridiculous
that's lines it's twelve tone writing
you're making a matrix out of out of a
melody and then I'd explain this exactly
getting the voicings from the matrix and
it's a whole other way it's just another
way of thinking for me I'm used to
chords and and notes you know on lines
and it's just a way for me that it's
another tool I've been using you know
just trying to voice lines using kind of
different sister using this guy system
you know remains to be seen if it's
gonna you know help me a lot but I've
written a couple compositions on that
based on that approach that help at all
yep hi
question is how do I like working with
hail Galba right I liked working with
Howie Gamber he's a great pianist and
that was a chance to play a lot in the
coup stick setting because I was playing
with Brecker brothers a lot totally
electric and I needed to uh you know I
get crazy in either way if I get too
much one way or the other so we did
quite a bit of playing acoustically did
some touring and made a few albums uh
and he's a wonderful pianist thank you
yes I'll get over there Hitler's real
the question is what's the rehearsal
scheduled for Saturday Night Live and
it's a very very hard gig I it's a
tremendous test of will and patience and
persistence I I get there at Saturday
morning and rehearse from 12:00 to 1:00
and then I show up for the gig
thank you okay occasionally we do we'll
do a pre-tape most of the plane we do on
the show is doing the commercials you
know and we play the theme in the
closing theme and now it's just it's fun
it's fun it's a fun job just to to watch
what goes on in the studio and it gets
really crazy and I enjoy it oh that was
a rerun that was from uh I don't think
he's uh he was good though what huh now
he's with the group he's with the stray
cats oh yeah yeah yeah so I rely really
didn't get to meet him um that
particular show though that was a rerun
we did a skit with with Eddie Murphy uh
playing James Brown in the hot tub
and there's two things that I don't like
to do that I always get embarrassed one
is go to the beach right and and the
other one is dance when both of them
unreal I always I do them but I'm queasy
about it you know and my friend was my
first show you know and what did I have
to do but get dressed up in a bathing
suit and dance
I think it's balls list fusion trike no
just kidding
uh that was from a review of the Brecker
brothers Sun salute
fact that was a review of Brecker
brothers we weren't even playing on the
album that they reviewed Hey they just
singled us out for some reason lose huh
my I guess my only comment is that I'm I
never liked the word fusion first of all
I mean that there was a kind of a fusion
sound happening in the in the late 70s
you know um right now all I can say is
I'm real excited by what's happening in
the whole kind of techno world I know it
freaks a lot of people out a lot of horn
players and rhythm section people get
paranoid because they think that the
machines are gonna take over you know
and uh I really find that for me it's a
state of mind with with steps we're
really working now with with a lot of
synthesized sounds and a sequencer and
and drum machine and we're trying to
work it into the music and and we've
been really considerably successful I'm
real pleased about it I said earlier
it's like all of a sudden for me it's
like playing in Technicolor instead of
black and white we have a sequencer
playing behind us and I know it's a
tough question to answer because it's
you know it's so general I mean there's
so many kinds of music and there's so
much good music happening you know and
some not so good and I really don't
think that the issue is elect is
electronics but the people who are
playing it you know huh
I don't I guess that's my answer thank
you well you're out
yeah the question was was the album
cityscape with Clouseau Germann a
challenge it was a challenge yeah and I
I loved the album I really am very proud
of that album there was I don't know
that was a real unique experience I hope
we do it again class Oakman is it really
is a really unique kind of arranger next
time we do it I'd like to spend more
time we did it fairly quickly and and
the music was difficult particularly the
chords that he writes you know I really
what I did was I just threw the chord
sheets away you know and use my ears cuz
I couldn't figure out what the heck it
you know he'd write the cord and then
the strings would be playing something
really bizarre so I really I had to
throw the music away what I tried to do
also was leave some space and some of it
you know and no no that was a great
experience
Thanks hello hello
sure yeah all of the about everything
you'd mentioned I practiced with the
metronome I've never been real good
undisciplined I hate to say it you know
I know I'm supposed to stand up here and
say well you know practice practice
practice discipline you know eight hours
a day I've always gone in spurts I have
the times used a metronome on two and
four I get depressed when I do it
because I rush you know
it does help you know uh I used to do a
lot of arpeggios you know I figure out a
series of notes I decided I'd like to
phrase write a four notes you know I I
put it in major you know I do it I do it
in whole steps and do it minor thirds do
it major thirds
you know backwards you know just string
a bunch of things together and and that
helped me quite a bit you know as I said
I learned solos for me the trick was I
played as much as I could I played along
with records you know and uh I spent a
lot of time wasting time in a certain
way pract you know practicing I have a
bizarre there's no sister I have no
system I just sit around and get
something in my head and then work on it
for a while and then maybe the next day
if I was lucky I'd work on it you know
and somehow it would sneak into my plane
I try to practice things that are going
to be practical um certain licks I was
talking about earlier certain licks or
certain phrases only sound good in
certain keys I'll learn them in every
key you know just to know it but I have
to stay aware that I'm really not gonna
play a certain thing down at the bottom
of the horn cuz it sounds like crud you
know uh playing with other saxophone
players has helped me a lot playing with
drummers just tenor in drums was a real
good good tool for me that's really kind
of a saxophone thing I don't know you
know how well that works on other
instruments but that you know uh that
helped me a lot and I also keep a
notebook uh
I was right the date and and what I
practiced you know or the ideas that I
came up with and write the book is only
one page long so now it's gotten kind of
it's been a little thin lately you know
I look back at you know and I see like
the last time was like two months ago
when I saw my god as I said I practice
in spurts uh will be a whole series a
few weeks will really be hitting it and
then I stop and I play and I and other
things come up I should also say right
now in my life you know my priority was
always music music music you know before
everything and nothing else really
mattered and that's kind of turned
around for me in the past two or three
years so and it's not that it's taking a
backseat but it is taking a backseat a
little bit it's still very important to
me but I kind of found through trial and
error that uh that the rest of my life
direct directly affects the way I play
you know spiritually and mentally and so
I've been trying to keep you know trying
to stay healthy and keep a good balance
you know on a spiritual and mental and
physical level and and then music fits
in and it's a lot more healthy you know
I'm just not into killing myself anymore
I I tried that route and there and it
was it was not happy you know I
sometimes played well but I was very
miserable
thank you yeah
Brecker brothers never done a tour in
the United States where were you
I've never heard of it you know coming
to where I stood in Detroit and we stay
away from Detroit no no we played we
have played Detroit
we haven't toured in a good two or three
years really so I don't know where that
puts you chronologically
again it's not trying to say I hope soon
I've seen you by yourself like probably
ten times I see Randy myself yeah it's
in the works
there's nothing definite planned we
needed to take a little bit of a break
because we've been playing together for
years you know and uh you know just for
for our own health we wanted to just you
know kind of decipher pod projects for a
minute which you know we've done and
were in the process of doing and he's
making an album right now and it's real
good and he and his wife are expecting a
baby and it you know exciting things
happening there uh in a future I really
suspect will you know we'll do some
touring and playing together you know
cuz I I love to play with him we had a I
guess from being brothers and growing up
playing in the bathroom together uh we
have we have some kind of weird
intuitive uh communication I don't I
never have to ask how he's gonna phrase
something like if we have to play a part
you know I just we can just play it
right off you know and I suspect went
and has that with Branford you know and
who knows uh uh trying to think of
another book thank you
you catch my drift right uh well it's
Jimmy and Tommy Dorsey right
hi the question is what was it like
playing with Pat Metheny and the answer
is it was one of the best experiences I
ever had you know we did a tour with
Joni Mitchell together and that's where
we really found we had an affinity and
since recorded with him and toured with
him and we play really well together
there was talk about us doing something
in Japan together over the summer I
don't know if it's gonna crystallize but
I love his playing and his conception
and and the maturity in his playing and
he's really phenomenal musician no uh
that hasn't come up lately uh uh but I'd
certainly you know I mean if the
situation came up I would love to do
that you know thank you
okay that's absolutely yeah it's
actually a good question it's you know a
couple of my favorite subjects the
question is how I feel about playing
with James Taylor and and how I feel
about David Sanborn I respect James
tremendously because as it he's a very
innately natural musician extremely
talented and creative he's a he's a
little brain in every way and I liked
the recording I did with him because he
let us get involved in making uh parts
and determining where the music was
gonna go and uh what every musician does
that you know that is it in the kind of
sales bracket that he's in it's only
it's it's fun you know it becomes real
creative and and we enjoy it as far as
Dave Sanborn he's one of my favorite
living musicians and I'm a complete fan
afters you know they I can say more than
one note you know didn't then a lot of
people in intent you know he he just
plays amazingly well uh he's a real
voice you know is there something very
uh I know the word not another word I'm
looking for
like uh he has a unique sound you know
and that gorgeous way of playing
lyrically passionate you know and you
know freaks me out it's a real pleasure
to stand next to him listen to him
playing and he's also pretty much my
favorite player to play with in a
section cuz we have a real nice kind of
way we are sounds on you would think
that they wouldn't blend but they kind
of blend real nicely you know I've
learned a lot from him thank you
maybe this - what -
Oh
Oh
Oh
Oh
you
I don't know what I last about a course
in a half you know let's do that let's
do oh oh
kind of
you
mmm
bobaloo the building
turns and
you
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