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Haven't We All…?
Joel Brandon | Southport Records


By Jim Santella Discuss        

Jazz flute is almost always a pleasure for the listener. When done right, the artist's creative ideas flow gently through seamless phrases. Joel Brandon is that kind of dedicated musician. His flute echoes decades of cool, post-bop exploration. Whether applying vocalese, flute melodies, scat singing, or his unique whistler's sound, Brandon reaches into the mainstream and comes up with fresh combinations every time. When whistling a melody, the artist inhales and exhales to create seamless phrases. He explains it all in "The Whistler's Rhyme," with lyrics and demonstration. Alongside Billy Higgins, Willie Pickens, Famoudou Don Moye and Harrison Bankhead, the singing whistler provides interesting proof. His flute artistry, however, is Brandon's real strength. Choosing flute for five of the eight tunes, he pays homage to classic modern jazz and the beautiful sounds that can ensue. "In a Sentimental Mood," for example, begins with the familiar Ellington melody and wanders gracefully with a rubato posture, accompanied only by piano. Then, the pair finds passionate celebration in their exploration, before returning to familiar ground. Brandon's session introduces his unique style of jazz whistling to a larger audience, while providing down-to-earth flute talk for all.


Track listing: Haven't We All…?; Countdown; Dedication; The Whistler's Rhyme; Seamless; Lovielee; In a Sentimental Mood; Straight Ahead.

Personnel: Joel Brandon- flute, vocals, whistling; Willie Pickens, Kirk Brown- piano; Harrison Bankhead- bass; Billy Higgins, Morris Jennings- drums; Keith Henderson- guitar; Famoudou Don Moye- percussion.

Style: Mainstream/Bop/Hard Bop/Cool
Published: October 01, 2001


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Articles by Jim Santella
Monk Competition 2008: Saxophones
Jazz & Blues: A Tribute to B.B. King
Persistence
Energy Fields
Cleome: Live Takes
Soliloque
Conversations With My Family
Jim Santella has been contributing CD reviews, concert reviews and DVD reviews to AAJ since 1997. His work has also appeared in Southland Blues, The L.A. Jazz Scene, and Cadence Magazine. More about Jim...



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