The Maverick Joshua Breakstone

The Maverick Joshua Breakstone

Joshua Breakstone(g) Earl Sauls(b) Keith Copeland(dr)
                                                          New York City; Aug. 30, 2001
                                                                                 
          Twisted Blues (W. Montgomery)
          Missile Blues (W. Montgomery)
          Leila (W. Montgomery)
          Doujie (W. Montgomery)
          Jingles (W. Montgomery)
          Tomorow's Hours (J. Breakstone)
          S. O. S. (W. Montgomery)
          Mi Cosa (W. Montgomery)
          Dangerous (W. Montgomery)

Have you heard of the guitarist Joshua Breakstone? I wasn’t particularly interested, so I didn’t know much about him, but I gathered some information through an internet search. The CD I’m introducing here includes one of his original compositions, but the rest are Wes Montgomery’s tracks. This alone is satisfying, though his performance feels more delicate compared to Wes’s bold style, yet doesn’t quite reach Jim Hall’s finesse. Hmm, how to describe it? If I had to place him in a lineage, he’s closer to Grant Green, with attractive single tones more akin to Green than Wes.

However, his background is somewhat unclear. One of his CDs is titled “Jazz Meets the Beatles,” where he plays Beatles songs, while another, “Walk Don’t Run,” features Ventures’ tunes, and yet another is a tribute to Bud Powell’s piano trio played with a guitar trio. It seems he lacks a consistent policy, coming off as either playful or completely eccentric.

According to one site, his true talent shines in live performances, especially in Japan, which is a favorite place of his. He often performs in less prominent locations rather than big cities like Tokyo or Osaka. Interestingly, there is a record of him performing with organist Kei Uta at “JAZZ at LAKE TAZAWA” in April 1997.

I will later introduce an interview with him, but it appears that tribute performances to famous musicians are most well-received at his gigs, which also influences his recordings. Hence, a tribute CD to Wes has been released. While this is delightful, it feels somewhat perplexing… Nonetheless, here’s a brief profile of him:

Born in Elizabeth, New Jersey, in 1955, Joshua Breakstone discovered jazz and started playing guitar at 14. He studied under Sal Salvador and, after graduating from college in Florida, attended Berklee College of Music, making his professional debut with saxophonist Glen Hall in 1977. He has recorded two albums as a leader for Sonora, four for Contemporary, and has been involved with labels like King Records and Double-Time. Throughout his career, he has played with numerous great musicians, including Barry Harris, Tommy Flanagan, Pepper Adams, and Kenny Barron.

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An Interview with Joshua Breakstone (JB) by Monte Butts (MB) at the end of 2001:

This interview has been re-translated into English from a Japanese translation of the original. Please note that there may be some differences from the original interview.

MB: How did you get into jazz?
JB: I started with rock and roll, but around 14-15, friends of my sister who played jazz introduced me to it. Unlike rock, it was difficult to listen to at first, but I felt the excitement in Lee Morgan’s playing.

MB: Who influenced you to become a guitarist?
JB: I don’t think it was a guitarist. I was mainly influenced by horn players and pianists like Barry Harris, Lee Konitz, and Charlie Parker. Though I did listen to a lot of Grant Green.

MB: Tell us about your tribute to Grant Green and why you’ve recorded tributes to musicians like Thelonious Monk and Bud Powell?
JB: After my debut, I regularly played in Japan twice a year. When I signed with King Records, a Japanese label, I decided to record with a “theme,” which became tribute recordings. I enjoyed paying tribute to musicians I admired, and it also sold well.

MB: You’ve recorded tributes to pianists, which seems challenging. How did you approach playing Monk’s jagged melodies and Bud Powell’s fast bebop lines on guitar?
JB: Monk was very difficult both harmonically and melodically. He used all ten fingers for chord playing, which is impossible on a six-string guitar, but I tried to capture the essence. Powell was much easier to play.

MB: Jazz fans respect you, but how do you deal with critics who are drawn to “young lions” like Mark Whitfield and Russell Malone?
JB: I’ve been very fortunate. As a young musician, I worked as a sideman and recorded as a leader, which helped build my reputation. I didn’t have a manager or promote myself aggressively, but I believe hard work eventually gets recognized.

MB: What’s your next recording project?
JB: I’m too busy to think about it… It’s a good problem to have. I prefer playing live over studio work. I’ve just finished recording “Tomorrow’s Hours: Joshua Breakstone Plays the Music of Wes Montgomery,” which will be released by Capri Records in March. I’ll be back in New York City in April, but until then, I’ll play in Key West and won’t travel to Japan or Europe until summer ends.

MB: Do you plan to continue with tribute recordings?
JB: I’ve enjoyed recording tributes to great piano trios with a guitar trio. Next, I’m considering a tribute to Elmo Hope.

MB: Pianists have been properly appreciated since the bebop era.
JB: Yes, Hope, Monk, and Powell are the big three bebop pianists. I’d also like to record a tribute to Barry Harris, who has greatly influenced me.