Gil Spitzer Falando Docemente

Gil Spitzer
Falando Docemente
Zoho Music

The English translation of the title of alto saxophonist Gil Spitzer's debut is Speak Sweet, which is a reference to the dulcet toned saxophonists that inspired him growing including Stan Getz, Paul Desmond and Johnny Hodges. He also cites the influence of Nat King Cole's vocals as another influence. Throughout this marvelous recording one gets impressed by his own feathery lyricism and the dry martini tone (characteristic of Desmond) as well as the superb backing band behind him that includes the Brazilian bassist and producer of this session, Nilson Matta. Matta Matta assembled a like-minded crew of Brazilian compatriots — guitarist Chico Pinheiro, drummer Mauricio Zottarelli and percussionist Fernando Saci — to provide an authentic vibe on several alluring bossa novas, as well as as a number of standards.

Matta met Spitzer at his Samba Meets Jazz Summer Music Camp in Bar Harbor, Maine and the friendship deepened when the bassist invited Spitzer to an international SMJ camp in Rio de Janeiro, Brazil. Taken by the altoist’s sound, Matta later invited him to sit in with his group on gigs at Birdland back in New York City. “He’s got that lyrical thing, which is very charming,” said the bassist of Spitzer, “and also nice tone, great taste. He embraces all of those things and he plays with a lot of spirit.” Also on several selections is tenor saxophonist Harry Allen who was a guest faculty member at Matta’s SMJ camp. Listening to this, one will be astonished that Spitzer is debuting on a recording at the age of 75, but as Matta states, his debut recording at the age of 75. But as Matta, says of Spitzer, “You don’t have to be any certain age to play music. Anytime is about time.”

This is such a delightful album starting with the opening swing of "Angel Eyes" with melodic magic from Spitzer along with a delightful piano solo from Julian Shore (who also arranged strings for several selections), and the first of a number of marvelous solos from guitarist Pinheiro. There is a Getz spirit in Spitzer's playing on a light bossa rendition of "Embraceable You," with a nifty guitar solo while bassist Matta and the rest of the rhythm provide sure backing. Spitzer's only original, "Blues For Harry A." has Shore on piano as the two saxophonists display their lyrical magic and distinctive sounds (Allen has a much harder attack compared to the dry-martini, feathery playing from Spitzer). The two also are heard together on an easy going Hank Mobley hard bop number, "This I Dig of You," and "Early Autumn," a wonderful ballad performance.

Strings help create an atmosphere for Spitzer's sublime treatment of the Ray Noble classic, "The Very Thought of You," and then there is a most appealing rendition fo Paul Desmond's "Bossa Antigua," with some wonderful guitar from Pinheiro. The rhythm duo of Matta and Zottarelli shine here as well as Matta's "This Is For Luisa," with more exquisite sax, guitar (and piano on the latter number). Nat King Cole is among those famous for his rendition of "Nature Boy," and set against a string quartet setting, Spitzer produces another sublime performance. Other songs interpreted include an engaging Jobim's "Triste" and a most appealing reading of Rodgers and Hart's "My Romance."

The opening of the string arrangement for Sonny Rollins' "Valse Hot," alludes to "Over the Rainbow," before this effervescent rendition of this jazz waltz. It is a wonderful close to a delightful and superb recording.

I received a review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is a short clip of Gil Spitzer playing.

Freddy Cole's Singing the Blues

There is an appealing weariness in Freddy Cole’s treatment of a Bobby Bland recording “This Time I’m Gone For Good,” that is on  his new High Note album, “Singing the Blues,” On this release, Cole handles classic blues themes and some originals that also include mournful ballads. Simply singing here, he is accompanied by John Di Martino on piano, Harry Allen on tenor sax, Randy Napoleon on guitar Elias Bailey on bass and Curtis Boyd on drums with Theresa Hightower sharing vocals on two of the eleven songs.

Derrick Lucas’ liner notes note that the music on this recording reflects the era in which Cole grew up that was “the final generation of African-Americans to view the blues as their own popular music and culture,” and the renditions contained “reflect the elegance of the blues represented by Charles Brown, Percy Mayfield, Amos Milburn and Ivory Joe Hunter and of course, Freddy’s brother Nat.”

It is 50 years ago when Freddy Cole recorded his first album that contained a rendition of Freddie Spruell’s “Muddy Water Blues.” His current rendition begins this CD in a very appealing manner. A real highlight is the rendition of “Goin’ Down Slow,” which reflects the Oliver Nelson-Stanley Turrentine rendition of the song that is set to the groove of Percy Mayfield’s “River’s Invitation.” Allen’s marvelous tenor sax and Napoleon’s fleet guitar evokes memories of Charles Brown’s terrific 1990s group with the late Clifford Solomon and Danny Caron. Another song that captures this ambiance is brother Nat’s “My Mother Told Me” with terrific short solos from Allen and Napoleon.

Cole’s relaxed vocal is matched with Theresa Hightower’s vivacious one of “All We Need Is a Place” about getting it on to snuggle and more. Cole penned the original blues that lends the album its title as he warns this girl she will be singing the blues one of these mornings, she will be miserable and while he won’t be happy, Freddy will feel great. “The Ballad of the Sad Young Men” is a moody lament about sad young men drifting through their lives while growing. Allen’s tenor adds to the melancholy of the performance.

Steve Allen’s “An Old Piano Plays the Blues” closes this album with Allen’s tenor again complementing Cole’s mournful vocal along with a deftly played solo from Di Martino. Freddy Cole’s “Singing the Blues” indeed captures the sophisticated eloquence of the blues of late forties and early fifties. Not simply Freddy Cole’s fans, but fans of the late Charles Brown and his contemporaries should enjoy this recording of late night blues and ballads.

I received my review copy from High Note Records.  Here Freddy Cole is performing Muddy Water Blues.