A Night of Legends, Fire, and Jazz History in the Making

Saxophone Summit at Birdland, December 18, 1999

Michael Brecker, Joe Lovano and Dave Liebman

Twenty-five years ago last month, I had the privilege of producing one of the earliest jazz video webcasts, live from Birdland and featuring the Saxophone Summit. Saxophonists Michael Brecker, Joe Lovano, and David Liebman were joined by pianist Phil Markowitz, bassist Rufus Reid, and drummer Billy Hart.

This pioneering event was made possible through my work with the Global Music Network (GMN), a London-based organization committed to documenting and recording jazz and classical performances in clubs, concerts, and festivals. GMN aimed to broadcast live whenever possible, make the recordings available on demand, and offering videos and audio recordings for sale, on their website. It was a noble mission but unfortunately, GMN was ahead of its time. In 1999, broadband was still a rarity, and the site lasted only three years—vanishing before the world caught up. A bit of that content survives on my YouTube channel, Jazz Video Guy.

Fast forward seven years: YouTube emerged, transforming how we consume and share video content. Not long after, more clubs began streaming live music, and when the pandemic hit, platforms like Zoom brought video conferencing into the mainstream.

The journey of new technology is never smooth. Early adopters iron out the wrinkles, and that takes time. Back in 1999, live streaming required a significant budget, high-speed phone lines, and video crews. Today, the same can be accomplished with a smartphone and an internet connection. What a difference twenty five years can make.

The Saxophone Summit webcast remains one of the most exhilarating projects I’ve ever worked on. It was akin to producing an off-Broadway show—a feeling I first experienced in 1979 with an off-off Broadway production, Bebop, which I’ll discuss in a future post.

Mike, Joe and Dave were among the most respected jazz musicians on the planet, leading their own groups as well as teaching, I first heard Billy Hart—known to many as Jabali, with Herbie Hancock’s Mwandishi Sextet at Slug’s in 1970. After a few years with Herbie, he joined McCoy Tyner’s group, cementing his status as one of the most electrifying drummers in jazz.

The webcast took place on the last night of a three night run, on Saturday, December 18, 1999. By then, the band had found their groove. The saxophonists had a deep camaraderie, having played together in various one-off gigs. This was their first extended engagemen playing together—and it was unforgettable.

Michael Brecker, Joe Lovano, and David Liebman share the same roots and influences but stylistically, they, like all great jazz musicians, they have their own voices. Billed as a Saxophone Summit, many people thought when these three sax giants played together, it would be a competition of sorts.

Cutting contests emerged in the early jazz scenes of New Orleans, Kansas City, and Chicago, where saxophonists battled it out in jam sessions and after-hours gigs to showcase their speed, creativity, and showmanship. These duels were both competitive and collaborative, pushing musicians to new heights while entertaining crowds who eagerly judged the night’s winner. Far from being hostile, they were a way to earn respect, sharpen skills, and stake a claim in the jazz hierarchy.

More than just a test of technical mastery, cutting contests celebrated individuality and connection. Each musician brought a unique voice—whether through blistering speed, inventive melodies, or raw emotion—aiming to leave a lasting impression. These contests embodied the spirit of jazz itself: a blend of community, competition, and the relentless pursuit of excellence.

Accordingly, the Saxophone Summit was all about love, respect, and learning. The setting inspired each musician to push beyond their usual brilliance—an impressive feat, considering they were absolute titans, their horns breathing fire and poetry.

Dave Liebman, a few years ahead in the game, took young Mike under his wing when the kid from Philly hit New York in the early ‘70s, hungry and wide-eyed. Joe rolled in from Cleveland a few years later, joining the mix just as things were heating up. At the time, Lieb was deep in the trenches—fresh off a run with Elvin Jones and diving headfirst into the fire with Miles. Meanwhile, by the mid-‘70s, Michael Brecker was already a force to be reckoned with, tearing up studios and stages alongside his brother Randy.

The Brecker Brothers didn’t just play the scene—they owned it. Their club, Seventh Avenue South, wasn’t just another jazz joint in the Village; it was the clubhouse, the hang, the place where magic happened. Unlike the other spots, this one belonged to the musicians, built by players for players. And Randy and Mike? Legends. World-class talents with hearts just as big as their sound.

Shortly after his arrival in New York, Lovano joined Woody Herman, touring with the Thundering Herd from 1976 to 1979. Off the road, he became a member of the Mel Lewis Jazz Orchestra in 1980, performing every Monday night at the Village Vanguard. These experiences were instrumental in establishing Lovano as a prominent figure, leading to collaborations with esteemed artists and the development of his unique improvisational style.

Pianist Phil Markowitz was renowned for his versatility and like Mike and Dave, was also involved with jazz education for many years.

Bassist Rufus Reid was the embodiment of warmth, wit, and wisdom, seamlessly bridging jazz’s rich past with its evolving future. His steady hand and deep groove having anchored some pivotal moments in jazz history.

Before the webcast, there was some technical issues. It was a three camera shoot with audio wizards mixing and recording in the moment. Three additional people were responsible for uploading the webcast and making sure it was available on the web.

So ten people on the crew and then six more working the event as part of their roles at GMN, like Alan Bergman, a music business attorney who handled the rights issues and the contracts.

The installation of the necessary ISDN lines was tricky but as sometimes happens in a complicated production using new technology, or the opening night of a play, magically, everything finally comes together at the last minute.

The Sax Summit did a few more gigs the next few years, and recorded an excellent tribute to John Coltrane, Gathering of the Spirits in 2004, for which I wrote the liner notes. The album, highly recommended, focuses on Coltrane’s later period, interpreting his compositions as well as original works inspired by his legacy.

A few years later, tragedy struck when we lost Michael Brecker at just fifty-seven. Mike wasn’t just one of my favorite musicians—he was one of my favorite people, gone far too soon. I had the privilege of interviewing him and witnessing his genius with his own bands and the Brecker Brothers, both before and after the turn of the millennium. Looking back on this gig is both a thrill and an honor, and I’m grateful we captured those performances on video.

The Saxophone Summit webcast remains a cherished memory—one I’m proud to have helped share with the world, even if the technology of the time wasn’t quite up to the task. In hindsight, it was a groundbreaking moment, not just in jazz, but in the evolution of digital storytelling.

Interviews with Michael Brecker, Joe Lovano and Dave Liebman, between sets follow.

And then they played a jazz standard, their way. Can you name it?

On Monday, please join me for Whispers From Andromedia. The cosmos has always been a black canvas for human dreams, filled with twinkling stars and half-whispered questions. Are we alone? What’s out there? And now, the James Webb Space Telescope—the golden, crystalline eye of modern humanity—may have handed us an answer we weren’t ready for.

Until we meet again, let your conscience be your guide.