Saxophonist Brecker Plays With Invention

Working in front of an audience brings out the best in tenor saxophonist Michael Brecker. Brecker’s appearance Friday at Billboard Live in support of his recent “Tales From the Hudson” CD found him working with more determination, more invention and with a better sense of interplay than he does on that studio-recorded album.

Straight from the opening number, his up-tempo “Slings and Arrows,” Brecker played with strength and facility, firing his way through long, involved lines of vast sonic range. He punctuated with growls, cries and resonant overtones while the sold-out crowd of jazz fans--most in their 20s and 30s--cheered him on to even more rabid displays.

It wasn’t just the audience spurring the saxophonist on. His backing trio of pianist Joey Calderazzo, bassist James Genus and drummer Jeff “Tain” Watts provided plenty of upgrade stimulus as the saxophonist reached for more ambitious heights.

But Brecker didn’t entirely avoid the kind of self-conscious, directionless play that mars “Tales From the Hudson.” Even with the strong audience approval and challenging accompaniment from his sidemen, Brecker lost himself in solos that, though showy with technical ability, followed no discernible direction or story line.

Especially on slower numbers, the saxophonist slipped into overly considered play decorated with meaningless fill and embellishment. He was at his best when he relaxed and stuck close to themes, letting his big, varied tone cover the melody while ignoring the temptation to overdecorate with tags, trills and meaningless bluster.

His up-tempo play, kicked forward by the powerfully dense drumming of Watts, was another matter. On his decidedly hip, 10-year-old theme “Nothing Personal,” Brecker showed an engaging sense of abandon that struck one emotional nerve after another.

Calderazzo made strong impressions both as composer (with his cool swinger “Midnight Voyage”) and as an eager modernist whose insistent attack was especially passionate. Genus, an aggressive ensemble player, embraced the lower register of his instrument when he soloed, rather than ignoring it.

The sound, in typical rock ‘n’ roll style, badly overemphasized bass pitches from the drums and piano, leading to distortion and breakup during the opening numbers but--once that problem was overcome--was otherwise direct and well-balanced.