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 vibe 　　Michael Brecker 　　picked up when he was working with 　　Paul Simon 　　, as well as the unfortunate appearance of 　　Michael 　　's EWI (Electronic Wind Instrument), a cliche of '80s and early-'90s jazz that makes everything even a skilled player like 　　Michael 　　performs sound like mush. Clearly, then, it's an uneven record. On the plus side, 　　Randy Brecker 　　in particular is at the peak of his chops, reeling off a particularly lovely solo in the ballad "Sozinho" that resembles 　　Chet 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 mention 　　Randy 　　'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.