This past September, Andrea Brachfeld won her first Hot House Jazz Award as “Flutist of the Year” in Manhattan. When you listen to her new album Lotus Blossom (Jazzheads), out since October 13, it’ll make complete sense.
The flutist has a tough time fitting in a jazz setting normally commandeered by the traditional piano-bass-drum format. Brachfeld doesn’t. She’s got the piano, bass, and drum thing down pat, while still driving the lyrical narrative.
On “A Flower Is A Lovesome Thing” by Billy Strayhorn, she’s floating above the piano’s melody while seemingly carrying the tune in alternating spots. It’s a little like a sudden summer rain.
If “A Flower Is” floats delicately above water, “If I Love Again” (John Murray) presses the pulse a little harder. The beats are reminiscent of a time spend by Brazilian ocean tides, the piano and bass quickening the pace for Brachfeld to stretch. This one swings hard.
If the accompanists sound like they know what they’re doing, it’s because they do. They include some of the most hard-hitting, experienced musicians East of the Rockies: pianist Bill O’Connell, drummer Winard Harper, bassist Rufus Reid. Absolutely commanding presence.
O’Connell is a boss on all the tracks. The piano on “Memphis Underground” will honky-tonk you into a stupor of incredulous wonder. This talented New York bandleader and his Latin Jazz All-Stars will soon release their own album January 15, 2016, entitled Heart Beat. Can’t wait!
Brachfeld plays both covers by Herbie Mann, Strayhorn, and George Shearing, and originals, welcoming special guests Wycliffe Gordon (trombone), a fellow Hot House Jazz Award winner, vocalist Nancy Harms, and percussionist Chembo Corniel to the party.
On her own, Brachfeld validates her worth, especially on the spare, contemplative fifth track, “What A Little Moonlight Can Do.” Essentially an intimate duet with O’Connell on piano, her flute rises above that of a tickle note nagging to be heard, full of tenderness and tension. This Harry M. Woods classic is the one song on the record you will return to.
Putting this record together was worth the long haul. In the liner notes, Brachfeld tried to express her appreciation.
“Imagine one of those horrific winter snowstorms, digging out the car, knowing the roads will be kind of unsafe, and deciding that making my rehearsal and record dates was worth it! Now you have a taste of the integrity and determination of the wonderful musicians and engineer I asked to participate on this project. And mind you it wasn’t just one day, but all three! I am so honored to have played with everyone. All I can say is thank you. Thank you for being so supportive, so present, so incredibly talented, and kind. The feeling before, during, and after the recording was a mix of incredible synergy and cooperation. This music that we all love and pour our hearts into, demands an incredible amount of alone time to be able to get to the point of participating in the perfect model of what democracy is truly all about. Yes, there is always a leader, but the role of the leader gets blended and transformed, and metamorphosed as the music evolves. I’ve said enough. I’ll let the music speak for itself. Enjoy!”
Winning a music award isn’t new to Brachfeld. She racked them up since she was a student in 1974: a Louis Armstrong Award, the Chico O’Farrill Lifetime Achievement Award, the Pionero Award… The Manhattan School of Music graduate has since shared the stage with her heroes, Tito Puento, Machito, Hubert Laws, Paquito D’Rivera, Wallace Roney…
Now, it’s her time.
By Carol Banks Weber
http://m.axs.com/andrea-brachfeld-s-remarkable-year-in-lotus-blossom-72989