Jack Brandfield - I'll Never Be the Same

Jack Brandfield - I'll Never Be the Same -Gut String Records

Born in New York City in 1998, tenor saxophonist Jack Brandfield debuts with a drummer-less trio album backed by guitarist Randy Napoleon and bassist Rodney Whitaker. The latter two were on the Michigan State University faculty, which Brandfield attended while earning a B.M degree. Before attending Michigan State, Brandfield was a student at the Laguardia School For the Arts, and then at Lincoln Center's Youth Academy, he worked in ensembles directed by Ted Nash, Vincent Gardner, and Melissa Aldana. Presently he lives in Miami, where he is a graduate student at the Frost School of Music at The University of Miami.

About this album, he writes, "The title track, "I'll Never Be The Same," speaks to the inspiration behind the making of my debut album. For the past four years, I've had the great pleasure to be under the mentorship of two of my favorite musicians, Rodney Whitaker and Randy Napoleon. The knowledge and insight I received from them on what it means to swing, how to present a melody, and the importance of carrying the torch for this great American art form will stay with me for the rest of my life. The making of this album is a celebration of the friendship and bonds I built with them."

This statement describes the music on this recording, which is like a graduate thesis on interpreting the American Songbook. Brandfield brings a full-bodied tone and plenty of warmth to the standards he interprets, with Napoleon and Whitaker providing supple support. Listening to his rendition of "Over the Rainbow" or the title track," one is struck by his tender melodicism. He certainly can swing as he exhibits on "Lover Come Back to Me" and "On a Slow Boat to China." There is the delight of his rendition of Thad Jones' "Bossa Nova Ova," the sublime pleasures of the "Ballad Melody," and a superb performance of Ellington's "Do Nothing Till You Hear From Me."

Brandfield also stated about this recording, "The drumless trio is a sound that has always captivated me since hearing "Stan Getz Meets The Oscar Peterson Trio" at a young age. That album was a gateway for me to hear all the great tenor players of the 20th Century, such as Ben Webster, Johnny Griffin, and Zoot Sims, who are a few of my favorites. I have always tried to emulate their ability to sing through the horn with confidence and a sense of subtlety and beauty. On the record, I pay tribute to these inspirations by attempting to do what they did best, presenting my favorite melodies with my own voice." 

Like those great legends who inspired him, Jack Brandfield indeed sings through his horn, and this album introduces us to a marvelous new tenor sax voice that we look forward to hearing more from in the future.

I received my review copy from a publicist. Here is a video of Jack Brandfield performing

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.