Although widely recognised as the most influential saxophonist since John Coltrane, and having already appeared on some 700 albums by others; by the time he came to record, Michael Brecker was 38 years of age – relatively old to be making your recording debut as a leader. But when he did, he showed he meant business, re-convening what was essentially the core personnel of Pat Metheny's 80/81 from May 1980, albeit with pianist Kenny Kirkland in saxophonist Dewey Redman's stead. What emerged was a saxophone masterclass framed by an exemplary jazz ensemble that perfectly complimented Brecker's playing. Opening with ‘Sea Glass,’ he opens his solo with long legato lines which give way to an increasing density of notes manipulated through a rising line to climax into the high register of the saxophone utilising pitch bends and an alteration of the density of sustained notes by partially closing the bell-tone keys (Bb, C, C#) that gave his solos an element of vox humana. On ‘Choices’, a rhythmic structure is preserved throughout in much the same way a specific rhythmic scheme is adhered to throughout Herbie Hancock's ‘Maiden Voyage’, and is a piece that allows Brecker and Kirkland to shine. Album highlight is ‘Nothing Personal’, a through-composed 24-bar piece that opens on a G minor vamp. Metheny briefly flowers before Brecker moves to centre stage with a solo of precisely articulated logic, developing ideas and motifs throughout the whole range of the saxophone before a climax using sustained tones. In contrast, ‘The Cost of Living,’ and ‘My One and Only Love’ produce two excellent examples of contemporary saxophone ballad playing.

In all, Michael Brecker reveals why he was one of the most important soloists to emerge in jazz of the 1980s and 1990s and a figure of such stature he continues to figure high on the roll call of the finest saxophonists in jazz.