An American student strolls up to Michael Brecker at the bar and asks, as casually as he can: "Can you give me a lesson?" The saxophonist declines with grace. After 25 years in the spotlight, he is used to the crowds wanting to touch his hem.
Back at Ronnie's after five years, Brecker is demonstrating his continuing command with material from his latest album, Time Is Of The Essence. Only one member of the recording band is with him for the three-night run; Larry Goldings, playing the Hammond B-3 organ. But Brecker alone would make the place seem Lilliputian.
He kicked off with Time's first three tracks. Arc Of The Pendulum's funky, slithery theme gave way to great galumphing blasts of saxophone, then Goldings took over with a kaleidoscope of colours darting between merry-go-round lightness and chaotic darkness. That was followed by Sound Off, a nervous number sped along by Idris Muhammad's jittery high-hat, becoming more statuesque as Brecker launched into his solo. Watching him play is like watching an athlete work out - his sustained attack requires considerable blow power, particularly the ferocious high phrasing, but it is a muscular, controlled, calm approach, which produces no more than a fine mist of sweat on his brow.
Half Past Late is one of the album's best offerings, a haunting, repetitive tune that snags on the brain. Despite the lack of practice time, the quartet managed to pull off an even better version live, cranking up subtle tensions and then dribbling them away, refrain by refrain, until the line be tween silence and sound at the end became indistinguishable - the clatter of a stray dustbin lid in a dawn-lit alley.
An older track, Delta City Blues, saw an unaccompanied Brecker produce an extraordinary range of emotion: playful, nagging, boisterous, impatient, indignant, sly, whining, soft. Goldings, too, is a master of flavour. In his hands, a sombre instrument turns quirky, alternating between shimmering, surreptitious accompaniment and outbursts of mad-professor, R2D2 wackiness. On Monk's Round Midnight, he took to the piano to provide a blanket for Brecker's raspiness. Then came the standard Autumn Leaves, reworked with wah-wah guitar and cunning little flourishes and rivulets containing the theme.
The second set was, in places, even more high-octane, ending with Metheny's dreamy Song For Bilbao. Adam Rogers proved himself a worthy replacement for the guitarist. But by the end, even he was shaking his head in awe at Brecker - just as coolly energetic at 2.15am as when he began.
Until tonight. Box office: 0171-439 0747
***** Unmissable **** Recommended *** Enjoyable ** Mediocre * Terrible
