Music Review by Richard S. Cohn
Home. A new CD from David Brandom
by Richard Cohn
Ah, pity the poor jazz enthusiasts. Now that practically an entire century
of music has been re-mastered, reissued and "Boxed Set" to exhaustion,
what’s left? Smooth Jazz has become the auditory equivalent of Prozac.
The curious cadre of young turks seem more eager to display a mastery of
their tools than inspired to use them to create something of substance.And
all that meticulous recreating of music from the past can give you the willies
– like those Civil-War battle re-enactors who can’t seem to lose
themselves enough in their obsession with a by-gone era. The situation appears
hopeless, until we venture out from under the clouds of gloom and do a little
exploring outside the main thoroughfares of musical commerce. So that’s
what I’ve been doing. Talking to people. Wandering the Web, checking
out what’s happening locally, and as luck has it I’ve found quite
a lot. And one of the very best things I found was here in my own backyard.
In fact I found it at Home.
Home is the title of the latest CD from Saxophonist/ Composer David
Brandom. (Now available online at DavidBrandom.com) A Larchmont resident
for the last 13 years, David has had a career that is as distinguished
as it is eclectic. I would end up using most of the remaining space in this
article if I were to attempt to list them all, but here are some highlights:
four years on tour with Frank Sinatra; work with Tony Bennett, Billy Joel,
Natalie Cole, Elton John, Sting, James Taylor, the Temptations, Randy Brecker,
Bill Charlip John Faddis: played in scores of Broadway shows including Ain’t
Misbehavin, Chicago, Grease; studied with Don Sebesky, Michael Brecker,
George Coleman, Eddie Daniels and that’s not even the half of it. Chances
are, even if you’ve never heard of David Brandom, you’ve heard
him, and most likely, quite a bit. Brandom plays tenor sax with mind-boggling
technique and seasoned assurance. He displays complete command of a bold
rich sound that he adjusts and shapes to suit every setting. His solos swing
and soar with purpose and clarity, and he never plays a note that isn’t
meaningful or compelling. Yet what makes Brandom most remarkable is that
he plays and composes the kind of music that will satisfy the most demanding
jazz lover while pleasing and perhaps even thrilling those who couldn’t
tell the difference between Monk and Mantovanni
Excepting Wes Montgomery’s Full House, every selection on Home is a
Brandom composition. And with each he breathes new life into a style that
harkens back to the work of such artists as Horace Silver, Joe Henderson,
Lee Morgan, Herbie Hancock and others whose recordings from the fifties
and sixties these tracks seem to re-conjure in the minds’ ear. I found
myself smiling when the first 7 notes of the melody on a track entitled
Gusano Loco paid homage to Horace Silver and then took off on it’s
own fresh path to something entirely new and original. And like many of
the classic Blue Note records that combined superior artistry with accessible
forms and rhythms, this music digs a groove deep enough to lie in for hours.
Brandom’s music on Home offers a feast of pleasures over the course
of nine distinctly different compositions – each with their own richly
developed character. The up-tempo tunes, especially one entitled Flat Out,
come at you like hot peppers in a smooth sauce – the tempo is blazing
but it never feels breathless or hasty. The ballads, including the title
cut are graceful and serene but never sentimental or maudlin. This is mature
music with a youthful spirit. It’s willing and able to go exploring
and take risks, yet too experienced to get lost and too wise to flirt with
disaster.
On Home, Brandom leads a sextet powerfully poised to handle his elegant
harmonies and tightly structured compositions. Jim O’Connor on Trumpet
and Flugelhorn is a force to be reckoned with. Besides the imaginative soloing
and flawless execution, the tone is what grabs you. I was reminded of Thad
Jones and Clifford Brown more than a few times. Tim Regusis on piano is
a revelation. His comping is as stirring and soulful as his solos, and chorus
after chorus, he keeps coming up with new ideas that surprise and delight.
Steve Cardenas on guitar has a few chances to shine as well and makes the
most of it with great taste and flair. He’s got an approach that reminded
me of Jim Hall with his warm tone and spacious phrasing. Cliff Schmitt on
Bass and Ron Vincent on drums are more than just the glue that holds this
music together. After listening to the CD a few times, I became more and
more aware of how remarkable their contribution was. Every groove is set
up perfectly, and then new colors and textures are added without ever diminishing
the sense of forward motion that provides even the ballads with an inner
pulse that never stops swinging. Vincent is a magician (listen to his cymbal
work on MOB) and Schmitt is just so smartly attuned to every nuance in every
measure that the effect is mesmerizing.
I met David briefly before listening to his music and he made light of his
choice of Home as the title for this CD. In retrospect, I suspect he was
being too modest. Home is the perfect title for this music. Home is where
we can kick back and relax. Home is where we can put the world on hold and
replenish our spirits. And most importantly, home is where the heart is.
That, and a lot of other good stuff, is what this music is all about.
Nearly fifty years ago, when Swing, Be-Bop, Cool, Free Jazz, and a few other
sub-genres were all at different stages of their popularity and influence,
Louis Armstrong was asked to comment on the current state of the art. In
his inimitable manner, Louis simply replied "There’s only two
kinds of music. Good music and bad music." I think Louis would have
dug David Brandom.
Home can be ordered online at David’s website, DavidBrandom.com, where
you can also learn more about David’s music and live performing schedule.
Richard Cohn is a Creative Marketing Consultant,
and amateur guitarist residing in Larchmont. |
