Brandon Goldberg Let's Play

Brandon Goldberg
Let's Play
Brandon Goldberg Music

Joey Alexander isn't the only precocious young pianist to emerge in recent years. 12 years old when Brandon Goldberg recorded this album, he has been raising eyebrows with his considerable piano skills. His teachers include Shelly Berg, Avery Shape, and Matt Wilson, and he has been mentored by Monty Alexander. Alexander is quoted in this booklet including observing how he is "always knocking out the crowd." I note that he received a DownBeat Student Music Jazz Instrumentalist Soloist Honors Winner in the May 2019 issue. On his debut recording, he is accompanied by Ben Wolfe on bass and Donald Edwards on drums with tenor saxophonist Marcus Strickland adding tenor sax to two of the nine selections.

He is a player who follows his own muse opening with Monk's "Well You Needn't," where he perhaps plays less angularly and with more fluidity than usual. He hints at the melody more than stating it but impresses with his imagination and the logic of his solo. "Angel Eyes," is a number that he talked about with Alexander (who had accompanied Frank Sinatra on it) and listened to him play the changes, resulting in an austere performance that had hints of Monk's "'Round About Midnight" about it. Edwards deftly using brushes on this.

"You Mean Me," a contrafact of Monk's "I Mean You," is played with a funk groove. Strickland plays some rugged tenor sax while Goldberg's playing is more angular here. Other originals include the dynamic "The Understream" with Edwards featured and his tribute to McCoy Tyner, "McCoy," with an auspicious introduction by bassist Wolfe. The Beatles' "Blackbird" receives an exquisite interpretation. There is also delightful melodic quality to his performance to Herbie Hancock's "Dolphin Dance." Strickland is superlative on this as well.

He interprets two Duke Ellington numbers. "Caravan" opens with Edwards' rumbling solo and then Goldberg stirs listeners on piano and Fender Rhodes by his use of polyrhythms and a clever riff. A solo rendition of "In a Sentimental Mood" is inspired by Ellington's introductory riff his recording with John Coltrane. It is engrossing to see how Brandon constructs and develops a solo showing a musical maturity well beyond his age.

With the superb backing he receives from Wolfe and Edwards, and Strickland's noteworthy contributions, Brandon Goldberg has produced a superlative jazz piano recording, not simply a promising debut.

I received my review copy from a publicist. I have made stylistic changes to this review which first appeared in the May-June Jazz & Blues Report (Issue 384). Here is Brandon Goldberg performing "You Mean Me."

Derrick Gardner's Outstanding Hard Bop

A couple of CDs by trumpeter Derrick Gardner have given me much pleasure. Here are reviews from the October 2008 (Issue 309) and August 2009 (Issue 319) of Jazz & Blues Report, respectively.

A Ride to the Other Side…

Formed in 1991 when Derrick Gariner arrived in New York, the hard bop Jazz Prophets has hung together since then. This group is heard on the exciting new release “A Ride to the Other Side… “ (Owl Studios).

The core of the band is leader Derrick’s trumpet, his brother Vincent on trombone and Rob Dixon’s tenor saxophone, rounded out by the rhythm of pianist Anthony Wonsley, bassist Rodney Whitaker and drummer Donald Edwards. Percussionist Kevin Kaiser spices up several tracks with his Latin rhythmic accents. Musically, the Jazz Prophets are inspired by the funky hard bop of the likes of Cannonball Adderly, Horace Silver, Art Blakey and Louis Hayes-Woody Shaw. If Derrick Gardner is the leader,, this band sounds like there is quite a cooperative flavor as both brother Vincent and saxophonist Dixon contributing some of the originals. The only performance that is not an original is “Be One,” from bassist Bill Lee (Spike’s dad). 

Whatever the source, this album cooks from the opening “Funky Straight;” through the hot Afro-Cuban scorcher “Lazara;” the dreamy “Just a Touch,” with its stop-time effect; and Dixon’s spirited “Of Infinity,” that closes this disc. “Mac Daddy Grip” is a Blakey inspired number with a loping beat with brother Vincent opening with a strong trombone solo followed by a prancing tenor solo from Dixon before the leader takes the spotlight recalling the likes of Woody Shaw and Lee Morgan with his brash and bright tone. Bill Lee’s “Be One” gives Derrick a chance to showcase his marvelous ballad playing on a number some may be familiar with from the sound track of “School Daze.” Few, if any, hard bop enthusiasts will be disappointed by the spirited and thoughtful playing here by an excellent ensemble that bring some fresh voices to this jazz tradition.

Echoes of Ethnicity 

Trumpeter Derrick Gardner returns with an intriguing new album with an intriguing new recording, Echoes of Ethnicity (Owl Studios). The credit to the album is to Derrick Gardner & The Jazz Prophets + 2, reflecting the session expanding the sextet of the Jazz Prophets to that of an octet (being a nonet on tracks with percussion), in lines of a big little band such as could be heard on some recordings by the likes of a Jimmy Heath, Charles Mingus, Bennie Golson or Randy Weston.

Joining him are Jazz Prophets pianist Rick Row, trombonist Vincent Gardner, tenor saxophonist Rob Dixon, Bassist Gerald Cannon and drummer Donald Edwards. The additions are Brad Leali on alto sax and Jason Marshall on baritone sax with Kevin Kaiser on percussion.

“ 4Newk” is inspired by Sonny Rollins and a hot number in the vein of a Lee Morgan and with a blistering solo from the leader and Jason Marshall also outstanding. Kaiser’s congas are added on brother Vincent's “Afros and Cubans” with a 6/8 rhythm with pianist Rick Roe displaying a fine relaxed attack on a number with interesting contrasting horn parts and the band skillfully negotiating several tempo shifts.

The tenor of Dixon and alto of Leali get showcased on Dixon’s “We Jazz June” is taken at a brisk tempo and its melody had a hint of “Giant Steps,” but is much more than a reworking of that classic. Leali opens the solos with a solo that displays imagination and a marvelous tone before Derrick comes in with a very round sounding solo. “Natural Woman” is an imaginative rendition of the Aretha Franklin soul classic set up with a slow 4/4 marching band tempo giving it a dirge-type flavor with Derrick’s arrangement of horns behind his solo and Leali’s short alto break is quite nice. Kaiser adds a Latin flavor to Freddie Hubbard’s The Melting Pot,” on what is a funky bluesy performance with brother Vincent shining on his solo.

“Autumn in New York,” is reworked as a “tone poem,” and a concerto centered Derrick’s Gardner’s wonderful ballad playing with Cannon taking a short solo. Rob Dixon’s “The Crystal Stair,” adds a bit of African flavor in Kaiser’s percussion with Leali, Marshall and Derrick taking the solos. Derrick’s “The Miss’ippi Man,” which closes this album, is a Mingus inspired number with the opening baritone honking by Marshall evoking Hamiett Bluett’s playing with the World Saxophone Quartet with his funky riff that sets the composition’s tone, with Dixon taking charge on his solo and drummer Edwards taking a short, crisp solo before Marshall takes them to the rocking conclusion as the musicians chat in a spirited manner as this ends.

Derrick Gardner has put together another strong hard bop disc which harkens back to some of the strong recordings the late Woody Shaw produced a couple decades back.

For purposes of FTC regulations, review copies of these CDs was provided by a publicist for these released