Dean Fraser had a number of outstanding mentors when he started in the music business almost 50 years ago. Thanks to his main teacher Babe O’Brien, saxophonist Tommy McCook and trumpeter Sonny Bradshaw, he was always improving.

On Flat Bridge, his second album in eight months, the saxophonist plays multiple roles of musician, producer and mentor. The 13-song instrumental set was released on June 4 by Tad’s International Record.

For Flat Bridge, he worked with upcoming musicians such as trumpeter Okiel McIntyre and keyboardist Andrew Marsh. He revelled in a role McCook and Bradshaw savoured during the 1970s.

“This is a continuation of di whole thing. Is my turn now to pass on my knowledge to di youngsters. It’s my duty, an’ it’s very fulfilling,” he told the Jamaica Observer.

The sessions for Flat Bridge took place at Tad’s International Record’s studio in Kingston last year when there were government-imposed curfews due to COVID-19. Fraser led tight three-hour recording blocs with McIntyre, Marsh, and fellow veterans including Sly Dunbar, Flabba Holt and Franklyn “Bubbler” Waul.

“We had to make use of di time we had an’ we got things done. I think everything turn out fine,” he said.

The lead single is the title song. Other tracks are Cassia Park, I Command You (featuring Marsh), and Zah Zah (featuring McIntyre).

Flat Bridge follows on the heels of Nyabinghi Christmas, his first Yuletide album which is also a Tad’s International Record product.

Fraser, who is in his early 60s, kicked off his career during the emergence of roots-reggae. At the time, major artistes like The Rolling Stones, Paul Simon, Joe Cocker and Herbie Mann came to Jamaica to record with top musicians like McCook, Ellis, guitarist Hux Brown and bassist Jackie Jackson.

That continued in the 1990s and early 2000s with artistes such as Wyclef Jean and Lauryn Hill collaborating with Fraser, trombonist Nambo Robinson, guitarist Earl “Chinna” Smith and bassist Christopher Meredith on high-profile projects.

There has been a trend in recent years for pop artistes to ‘own’ hot genres. Fraser believes that makes projects like Flat Bridge even more important.

“This is di authentic, dubwise, horn recordings. This is indigenous an’ if we don’t keep doing it people will start use it an’ call it something else,” he warned.