Music Review by Richard S. Cohn

David  Brandom. 
No Way Out.

Talking and writing about music is so much fun, it’s a wonder anyone actually gets paid to do it.   You get to make all kinds of subjective judgments that can’t be proven wrong. You can indulge your passion for spotting influences and tracking evolving traditions. Or you can just have a ball winging it-- letting the metaphors multiply and mutate around anything the music happens to bring to mind. And then you actually try to describe the music itself and you’re doomed. Searching for the words that convey even a small part of what makes great music move you and grab you and take up permanent residence in your soul is a futile endeavor.  And if you’re talking jazz, your dilemma is further magnified by the absurdity of trying to capture the essence of something that is as spontaneous and abstract as it is personal and complex. So why even try?  Maybe it’s because for some of us, a great musical experience is never totally satisfying until we’ve somehow managed to pass it along and share it with others.

Which brings me to a new CD from David Brandom entitled NO WAY OUT on the Blujazz label.  As with all great music, this album’s greatest virtues and pleasures are ultimately indescribable. But if by leaving it at that I’ve failed to convince you to get this album (and David’s earlier album Home) then I’m happy and willing to press on and do my best to express the inexplicable.

First things first.  If you’re not familiar with saxophonist David Brandom, chances are you’re mistaken.  A ubiquitous presence in recording studios, concert halls and orchestra
pits for over twenty years, David has most likely (and probably many times over) made a lasting impression upon your ears.  His prodigious body of work includes contributions to some of the most popular music of our time.  If you’ve listened to Sinatra, Bennett, Cole, Joel, Anka, Sting, Taylor, The Temps, Four Tops, Faddis, Charlap, Brecker -- chances are you’ve listened to Brandom.  I could add another dozen “only surname needed” luminaries, not to mention scores of Broadway shows, and the star-studded Westchester Jazz Orchestra of which he is a founding member--but nuff said, the man is a master.

And though David’s resume is solid gold, it takes more than a stellar history of brilliant performing and collaboration to compose and create original and memorable music of one’s own.  Many gifted supporting players develop a kind of humility and magnanimity that is not always conducive to meeting the challenge of bold and daring creative leadership.   But there are exceptions.  And David is one hell of an exception. And No Way Out is the proof.

Like all great sax players, David has a distinctive sound. Whether it’s Coltrane, or Sonny Rollins, or Lester Young or Wayne Shorter, the sound itself is an extension of the artist’s unique personality.  With David, the sound reflects his easy-going confidence and engaging intelligence. It also speaks of a straightforward honesty and directness that is even more apparent in his compositions. His writing is steeped in the best traditions while at the same time so full of fresh energy and ideas that everything feels familiar and brand new at the same time. The melodic invention and harmonies are so smart and sophisticated, I’m still finding new surprises a half dozen listenings later.  David’s mastery of every form from Bop to Ballad is so complete that every track sounds tailor made to his talents. And the distinguished company he keeps on this disc is no less perfectly suited to every challenge. From the opening drum intro on the title track, you know you’re in good hands, and when the harmonized head kicks in and the rhythm section is in full throttle, you know that this is going to be an exciting team effort all the way. 

Joining David (playing Tenor and Soprano as well as Flute) on No Way Out are Scott Wendholt Trumpet and Flugelhorn, Steve Cardenas Electric Guitar, Gary Versace Piano and Hammond B3 Organ, Mike McGuirk Acoustic Bass Ron Vincent Drums. The album also features appearances by Jay Azzolina Electric and Acoustic Guitars Adam Cruz Drums Dave Anderson Electric Bass and Joe Cardello Percussion.
With a generous ten tracks in all-- all but three composed by David-- the album covers a lot of ground.  It gets off to a rousing start with back-to-back up-tempo Brandom originals-- No Way Out and Spruce Goose and then settles into a more pastoral mood with the beautiful Corbin Mill. To single out any of the solo work on this album would mean to single out every solo --they’re all that good—suffice it to say that everyone gets a chance to stand out and shine.   The R & B tinged Clever Shoes with a prominent Hammond B3 in the mix is a soulful treat and is followed by the achingly beautiful Did She Happen to ask About Me.  The fun kicks in again on a particularly playful Blues On The Corner before settling down again for an absolutely stunning version of Wayne Shorter’s Ana Maria. I’ve never heard anyone but Shorter play this haunting melody, and David handles it on Soprano with exquisite taste and extracts every ounce of magic from its lyrical depths. The group gets funky on Barren Mind and does a sexy samba on TM before winding it all up with Bop at a civilized tempo on Quasimodo.

I’m often surprised that many people who love great music and great jazz in particular, have fallen out of the habit of seeking out and listening to what is being played by today’s most accomplished practitioners of the art.  Perhaps the seeking out and finding is not as easy as it used to be.  So, consider this review a service by which the search has already been completed and all that’s left for you is the listening.  Because if you love jazz, especially the kind where melody and harmony still matter, where experience and skill are paramount and where the sound of soulful synchronized teamwork is music to your ears—then you’ll be thrilled with David Brandom and No Way Out.  It is in a word, indescribable.