This is the third time the husband and wife team of Grammy-winning trumpeter and fusion pioneer Randy Brecker and his composing/ sax playing wife Ada Rovatti have appeared together on an album but the first time that an album bears both of their names. All ten of the tracks on Brecker Plays Rovatti: Sacred Bond were composed by Rovatti and Brecker claims that many proved challenging to play. The title refers to the bond between Brecker, Ada, and their 10-year-old daughter Stella who has a cameo vocal spot on the title track. They are joined by pianist David Kikoski, bassist Alex Claffy and drummer Rodney Holmes. Keyboardist Jim Beard, guitarist Adam Rogers and Brazilian percussionist Café Da Silva also play on select tracks
Considering that Brecker’s storied career and accomplishments need little ink, it seems prudent to describe the lesser-known but multi-talented Rovatti before proceeding. The Italian born saxophonist, composer and arranger studied at Berklee before moving to Paris and then NYC. She has performed and recorded with John McLaughlin, Mike Stern, James Moody, Aretha Franklin, Herbie Hancock, and Joe Bonamassa to name just a few. She collaborates with Brecker on the Grammy-winning 34th & Lex (2003), The Brecker Brother Band Reunion (2013) and Rocks with the NDR Big Band-The Hamburg Sessions (2019). She appeared in the movie Mona Lisa Smiles with Julia Roberts. As a leader she has released five CDS, the most recent of which is Disguise (2014). Brecker gushes over her many talents including Italian chef, master seamstress and designer, interior decorator, photographer, master crafts person, website designer, record-cover designer, record company owner and hear of their household. And, of course, he highly regards her as a wife and mother.
The two met in 1996 and married in 2001. She felt rather intimidated playing with Randy at first given that his brother, Michael, was not only a front line partner in The Brecker Brothers but a 15-time Grammy winner. She did capably fill Michael’s spot in the Brecker Brothers Reunion Band and the two have effectively been sharing the stage for a decade-plus. Rovatti shows plenty of conviction, grace, and grit on tenor and soprano on these, her compositions which, as one would expect, demonstrate strong chemistry and synergy between she and Brecker. They range from straight-ahead jazz to contemporary sounds with a nod toward Brazilian music as well.
The blissful, upbeat title track commences with wordless vocals from mother and daughter with Kikoski comping on electric piano behind a funky backline from the rhythm section. Rovatti takes the first solo on tenor assuredly, marking it with double-timed flurries and quite the crescendo. Brecker follows with his distinctive soaring sound that he’s been putting down for 50 years now. “Helping Hands” follows as the first of two Brazilian tunes, a samba featuring Brecker’s flugelhorn, another ebullient tenor solo, and Claffy making a solo statement on his upright bass. “The Other Side of the Coin” is heard later with solos from both spouses and Claffy on the electric bass.
”Reverence” pays tribute to the late Aretha. The soulful sound resembles that of The Brecker Brothers and stands as evidence that Rovatti has reached a similar kind of tightness and swagger with Randy as had brother Michael. (though, she is still humbled by Michael’s playing). Guitarist Rogers and organist Beard add the gospel flavor with Rovatti on soprano. Given that Rovatti played on stage with Aretha at The Kennedy Center, her love for the Queen of Soul is deeply heartfelt and reflected well in this composition. “The Baggage” has elements of Coltrane as Rovatti’s tenor solo, her strongest on the disc, even quotes a passage from A Love Supreme. This is one of her older compositions that she won in a competition in Italy. Brecker follows with an adventurous solo and Kikoski channels the percussive style of McCoy Tyner in his chording and solo.
”Queen of Bibelot” refers to Rovatti, as a collector of small decorative ornaments. This is the lone bop tune in the set with swinging drumming from Holmes, glistening piano from Kikoski, a strong statement from Rovatti, and a very high flying excursion from Brecker. “Bitches Blue,” as you’d guess, is inspired by Miles with some of that vibe and a bit more contemporary feel. Aside from the tight ensemble playing, Brecker describes it this way in the liners, “Some great Jim Beard (the first solo)then Kikoski follows, with me and Ada trading, then Adam Rogers soloing into Rodney’s blast off, and Café adding to the textural diversity on this one.” “Brainwashed” has Rovatti on soprano ( this instrument given to her by Michael Brecker), for a tune about our political climate. Her outrage against POTUS 45 is displayed in the music but she’s not without a bit of sarcastic wit, quoting “If I Only Had a Brin” (from The Wizard of Oz) woven into the fabric of her melody.
”Mirror,” Ada’s reflection on aging, has some of the most heated exchanges between the two principals. She adds wordless vocals to the melody line and Holmes speaks out with a burning drum solo midway. “Quietly Me,” the closer, is a complicated piece, reflective of Ada’s personality according to Randy. It’s a 6/8 tune with ensemble playing in the front line to begin before Brecker takes the melody and Ada follows in a kind of call and response mode – point, counterpoint, emblematic of the strong musical marriage between the two. This is highly accessible, free-flowing jazz, filled with terrific solos, riveting dialogues, and enough variety to keep the listener fully engaged.
