Alto saxophonist Sam Braysher is a musician who is steeped in the history of the music. He is rapidly developing into an imaginative soloist with a unique voice all his own on his chosen instrument, and has a penchant for presenting seldom heard standards or rediscovered gems from the music’s rich past.

With his latest album, That’s Him: The Music of Kurt Weill, Braysher has once again picked a well-known composer and sought some of their lesser heard compositions to surprise and delight us.

So, we were keen to find out what Sam listens to when he is not casting around for old songs and scores, and what he would pick as his favourite albums.

Complete Billie Holiday and Lester Young 1937-1946

If any music were to make me cry, it might be this. Lady Day and The President (as they christened each other) make the sweetest musical pairing, and you can hear the mutual affection as they transform simple Tin Pan Alley songs into beautiful works of art. Transcribing some of Young’s perfect tenor solos from this period was really helpful for my improvisational development. Teddy Wilson’s piano also features heavily here and, of course, Holiday’s vocal interpretations are so unique.

Charlie Parker – Bird is Free

From a 1952 performance at Rockwood Palace, this isn’t the best known Charlie Parker recording and the audio quality is fairly ropy, but the playing is amazing. The opening track, “Rocker” contains one of my favourite solos: heaven-sent! I like the calypso flavour of “Sly Mongoose” too.

Stan Getz – Getz at the Gate

I love Stan Getz’s sound, his command of the instrument and his ability to generate intensity whilst still sounding ultra relaxed and supremely melodic. There are a few other albums I thought about including – West Coast Live with Chet Baker, the record with the Oscar Peterson trio or the Brazilian material with Joao and Astrud Gilberto – but the rhythm section on Getz at the Gate is so good (Roy Haynes on drums!) and they play some interesting repertoire, like Harold Arlen’s “When the Sun Comes Out” and Gigi Gryce’s “Wildwood”.

Lee Konitz – Live at the Half Note

The cool, dark, cerebral sounds and “pure” improvisational approach of Lee Konitz, Warne Marsh and the Lennie Tristano school was a big influence on me while I was studying in my early twenties. I was actually fortunate enough to have a lesson with Lee Konitz on a visit to New York in 2014. Someone gave me his number and told me to give him a ring and, incredibly, he told me to come round to his apartment. I was too nervous to give a particularly decent account of myself when I played for him but getting to spend that time with one of my alto heroes is something I’ll always be grateful for.

Bill Evans – Portrait in Jazz

I bought this on CD from a second-hand record shop in Greenwich on a day trip to London with my parents as a teenager. It was one of the first jazz albums that I got really into, so hearing this music now always feels quite nostalgic. Evans is still one of my favourite linear improvisers – he’s so thoughtful and inventive – and the introspective, conversational trio with Scott LaFaro and Paul Motian is one of jazz’s most distinctive sounding groups.

Kenny Dorham – Una Mas

There are a few classic Blue Note albums that I could have picked, but I love Kenny Dorham’s understated trumpet sound and the tunes on this record are fantastic. It ends with a characterful interpretation of Lerner and Loewe’s “If Ever I Would Leave You”, following three catchy Dorham originals. The rest of the band is brilliant too: Joe Henderson on tenor, Herbie Hancock on piano, Butch Warren on double bass and a very young Tony Williams on drums.

Sonny Rollins – A Night at the Village Vanguard

One of the absolute greatest improvisers and one of the most inventive interpreters of jazz standards and songbook tunes. I could have picked The Sound of Sonny, Newk’s Time, Saxophone Colossus, Work Time or The Bridge, but I particularly love the dark, open sound of the chordless trio heard on the Vanguard album: just saxophone, bass and drums; no piano or guitar. For more Rollins in this mode, check out the 1959 live recordings from Europe.

Miles Davis – Kind of Blue

An obvious choice, but Kind of Blue is the most famous jazz album of all time for a reason. I might be more likely to listen to other Miles albums now, but I still remember the impact this had on me when I was lent the CD by my piano teacher as a teenager. A magical recording.

Abbey Lincoln – That’s Him

An underrated singer with a powerful voice, Abbey Lincoln is accompanied by an unbelievable band on this 1957 session. The title track was a direct influence for my own recording of it, featuring Sara Dowling on vocals, on my new album of songs by Kurt Weill.

Shirley Horn – Here’s To Life

The tempos are slow and Johnny Mandel’s orchestral arrangements are lush on this 1992 album. Shirley Horn’s phrasing is amazing and the selection of songs is really interesting: “How Am I To Know”, “Estaté” and Mandel’s “A Time For Love” are particular favourites of mine.

For more information visit Sam’s website.

Click here to read our review of That’s Him: The Music of Kurt Weill by
Sam Braysher.