Lotus Blossom

It is so fitting for this CD to be named Lotus Blossom at this time of my life. Firstly, it is named after the composition written by Billy Strayhorn, who was one of the most original composers of our time.Then, most importantly, it ties in to where I am on my spiritual path. To be able to continue my path through my music, as expressed on this CD, is a true blessing. The lotus flower is associated with the 7th chakra and is considered to be the door to divine universal energy. I believe one cannot play this music without being aware of the energy you feel when your mind stops thinking, and what you hear links to your heart which in turn manifests, as your physical body plays the music. It is a calling from the source and always should be honored. And so, I honor this music, the musicians, Bill O’Connell, Rufus Reid, Winard Harper, Wycliffe Gordon, Nancy Harms, and the engineer, Chris Sulit, Ed Littman, who mastered the project, Maureen Plainfield, who unobtrusively took our pictures in the studio, Richard Mantel, the graphic artist, Jerry Lacay, the photographer for the cover art, and Randy Klein, who believed in me and my music to collaborate with releasing this project.

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!

Lotus Blossom in the Press

The flutist Andrea Brachfeld is one of the most magnificent flutists playing today. Ms. Brachfeld is like a rare bird soaring in a rarified realm. If you think her music is memorable, it is because her very heart sings… It is impossible to imagine there are songs (Lotus Blossom) played with as much feeling and such virtuosity…
– Raul da Gama, www.jazzdagama.com

I hear technical control as well as inspiration, enthusiasm and risk taking. Not only does Andrea’s playing stand out, but all of the musicians do.”
– Eric de Rooij, The Dutch Flute Society in The Netherlands

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…”

Winning a music award isn’t new to Brachfeld…Now, it’s her time.
– Carol Banks Weber, AXS Contributor

…this album is a beautiful collaboration of extraordinary jazz musicians. (Andrea) Her sound, technique, pitch and creativity all sound effortless, a tribute to her virtuosity. Congratulations on a terrific new CD.
– The Flute View

Andrea Brachfeld is a flutist equally comfortable playing Latin jazz or straight-ahead swing/bop/postbop styles; her tone is consistently warm and woody, her phrasing lithe, her time impeccable. And she possesses that essential but rare trait: the ability to express herself deeply without taxing the patience of the listener.
– Rick Anderson, CD Hotlist

…there’s no question that Andrea Brachfeld is a superb player and has chosen stellar musicians on this session…
– George Fendel, Jazzscene

Lotus Blossom, a collection of ten selections that illustrate why flautist ANDREA BRACHFELD has garnered continuous acclaim for her playing. Here she is joined by pianist Bill O’Connell, bassist Rufus Reed and drummer Winard Harper for a session that is resplendent with joy and creativity.
…Brachfeld’s fluency and imagination as a player is exceptional.Equally impressive are her composing credentials that are illustrated by the four fine originals included on the program.
– Jazzwise Magazine (Jon Newey)

Brachfeld is at the top of her game. She’s an in-demand jazz musician.
Brachfeld this month released her sixth CD, “Lotus Blossom,” an improvisational jazz tour de force
– Ken Thorbourne , The Jersey Journal

…Her marvelous tone and technique are astonishing… She is definitely among those who deserves recognition not only among her peers, but the public in general.
– Hubert Laws

More Quotes

Andrea Brachfield is a revelation! She is excellent and has actually the “Chops” to play credible jazz flute! This would have been possible by her great backing trio of Billy O’Connell, Winard Harper, and Rufus Reid. Will use her music for months to come.
– Peter Kuller, Jazz Presenter Radio Adelaide, JPL “Jazz from Down Under”

Their take on Billy Strayhorn’s moody jazz classic ‘Lotus Blossom” is marked by a contrapuntal dialogue throughout between Brachfeld and Reid. O’Connell also pushes the harmonic fabric of the gentle but slightly melancholic piece on his brilliant solo here. Their Latinized take on Strayhorn’s “A Flower Is A Lovesome Thing” is equally compelling.

Herbie Mann’s landmark “Memphis Underground” is given an ultra-funky treatment here, courtesy of guest Wycliffe Gordon’s sousaphone groove in combination with Harper’s authentic second-line pulse. Brachfeld and O’Connell turn in torrid performances on the flutist’s uptempo burner “Changin’ Up,” and the quartet hits an appealing accord on George Shearing’s breezy swinger “Conception.” Vocalist Nancy Harms guests on the joyful closer “Queen Girl.”
-Bill Makowski, Downbeat magazine

I have to admit upfront that I love jazz flute so I approached this CD with a bias. Andrea Brachfeld recently won Best Flute in the Hot House Jazz Awards, so she can really play and she has a wonderful group of musicians working with her on this CD. Bill O’Connell is an exceptionally melodic pianist and both bassist Rufus Reid and drummer Winard Harper are rock solid. I think Harper is one of the most creative and imaginative drummers on the scene today and he is in fine form. Andrea has complied a great mix of originals and classics and when Wycliffe Gordon joins on Herbie Mann’s ‘Memphis Underground” look out! I highly recommend this very listenable CD and hope everyone enjoys it as much as I do.
-Don Jay Smith Amazon.com

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.
– Carol Banks Weber

http://m.axs.com/andrea-brachfeld-s-remarkable-year-in-lotus-blossom-72989

Andrea Brachfeld has a new CD- Lotus Blossom. I’m starting with her list of musicians since this album is a beautiful collaboration of extraordinary jazz musicians. The quartet perform seamlessly and creatively always with an interesting twist and turn!

Highlights (there are too many to name) include Herbie Mann’s “Memphis Underground” (track 4) with a very amusing sousaphone solo by guest Wycliffe Gordon, track 5- “What a Little Moonlight Can Do” (Harry M. Woods) taken at a slow tempo that reveals the beauty of the piece, Brachfeld’s “There Was a Time” (track 8) a wistful piece (with some sprightly optimism) where flute and voice (Nancy Harms) intertwine in a beautiful duo line and track 9 also by Brachfeld called “This Is” which feature some fun duo’s between Winard Harper (drums) and Andrea on flute, as well as virtuosic solos by pianist Bill O’Connell. She closes with “Queen Girl” a return to her Latin roots.

This is Brachfeld’s seventh album, but her first jazz flute album. Although she’s studied flute with many jazz greats including Jimmy Health, Yuset Lateef, Hubert Laws, and Eddie Daniels, she was drawn to Latin music and has been a Latin music performer. In her words: “ In 2008 I said all right, enough is enough; I’m going to change my playing. And that’s what I did”. This album is a result of this change in focus and Brachfeld does this beautifully. Her sound, technique, pitch and creativity all sound effortless, a tribute to her virtuosity. Congratulations on a terrific new CD.

http://thefluteview.com/2015/12/andrea-brachfeld-lady-of-the-island/

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