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Hi Guys,

Today I am reviewing the amazing collection of entries from Michael Brecker’s practice notebooks. With over 700 entries there is a lot to choose from.

Okay, let’s get started.

This book goes through the different decades of Michael Brecker’s musical life, starting from 1967 through the 70’s, 80’s, 90’s and up to 2002.

There are six books within this:

In order to do justice to this collection of entries I will analyse a few.

From this it is revealing and in many cases surprising because Michael Brecker starts with such a simple seed, an almost childlike simplicity which is then expanded on with many of his trademark improvisational techniques.

This in turn opens the door to Michael Brecker’s improvisational mindset, self study and developmental nature:

EXAMPLE/ENTRY 1:

Here, we can see a ii V7 I which becomes a turnaround: [Notice the employment of Dominants]. The Am7 chord slides up a semitone to the Bb7 chord which then moves in the cycle of 4ths to Eb7 to Ab7 which then slides down a semitone again to the tonic key G.

But, what makes this line unique is the connecting of the solo line: Because the harmonic rhythm is moving at such a fast rate [1 chord per beat] the solo line needs to connect seamlessly.

And so it does. Above we see the G to Ab to G back and forth employing the same smooth semitone connection which finally resolves an octave lower.

Joe Henderson Line

The next example is from an entry that Michael Brecker took from Joe Henderson:

This example is interesting because we see one of Brecker’s trademarks, “Sidestepping”.

This little line starts off with a simple piece of scale that then incorporates side stepping,

This then connects to a scalic bebop style lick which then cadences beautifully with a minor 6th interval.

MODULES

The next example demonstrates Michael Brecker’s use of 4 note modules.

This module is exploited in a short line.

Below we can see the module that then connects to a simple minor 7th arpeggio.

This then slides down a semitone to connect the module again. Finally, finishing with a lick

COUNTDOWN

The last example is a phrase from the classic jazz repertoire “Countdown”.

This again is unique due to its structuring with simple triads and motifs/modules:

Below we see the modules/motifs repeated, but, moving down in Major 3rds.

Next, we see the filling out with the simplistic employment of basic triads:

Below, we see the minor 7th arpeggio, triads and final rudimentary cadential lick.

CONCLUSION

This was just a quick look at a few entries that Michael Brecker would expand on, play in all 12 keys and use a as basis for extemporisation, composition and improvisation.

This book is for the serious student of improvisation, wether a beginner or pro and anyone seeking to get into Michael Brecker’s mind and understand his ways of working/practicing as an improviser.

Lastly, I would like to thank all the people at Sher.co music for putting me on to this amazing book!

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