In a truth-in-packaging world, this album would be called"Return of the Brecker Brothers and Just About Every Single Session Guy in the New York City Musicians Union." Overblown arrangements aside, this album basically picks up where the Brecker Brothers' '70s albums left off, with the addition of the world music vibeMichael Breckerpicked up when he was working withPaul Simon, as well as the unfortunate appearance ofMichael's EWI (Electronic Wind Instrument), a cliche of '80s and early-'90s jazz that makes everything even a skilled player likeMichaelperforms sound like mush. Clearly, then, it's an uneven record. On the plus side,Randy Breckerin particular is at the peak of his chops, reeling off a particularly lovely solo in the ballad"Sozinho" that resemblesChet Baker's prime '50s work, and the world music material is integrated into the jazz gracefully and with respect for both. On the minus side -- well, overblown arrangements and Electronic Wind Instrument, not to mentionRandy's croaking vocals on the lame"That's All There Is to It." Fight past these flaws, and Return of the Brecker Brothers is of a piece with the best of the Brothers' '70s work. But that's quite a fight.