Blue Note Christmas: Freddy Cole croons while Clark Terry accompanies him in a 2007 performance. CLAY WALKER PHOTO
More than anyone else performing today,
Freddy Cole embodies the role of preservationist, interpreter and
transmitter of the rich traditions of jazz singing. Born in 1931 the
youngest of five children, Cole shared a passion and talent for music
with his family, including his brothers Ike, Eddie and the iconic Nat
“King” Cole, who for many years overshadowed his younger sibling.
But the younger Cole’s perseverance and
dedication to his art eventually paid off, elevating the pianist with
the “gorgeous autumnal baritone” (as described by People
magazine) to a consensus as the dean of jazz singers. With degrees from
the Juilliard School of Music and the New England Conservatory of
Music, Cole’s recording career began in 1952 but didn’t flourish
commercially until the 1990s when he cut a series of critically
acclaimed albums (now up to 19 discs), which included collaborations
with saxophonist Grover Washington Jr. and guitarist Russell Malone.
A staple on the cabaret scene since then, Cole, 78, has been selected Outstanding Male Jazz Vocalist by Playbill’s
Nightlife Awards twice (2005 and 2009), was elected to the Oklahoma
Jazz Hall of Fame (2005) and the Georgia Music Hall of Fame (2007), and
was chosen to join the Steinway (piano) Artist Roster (2007).
Influenced by the pianists John Lewis,
Oscar Peterson and Teddy Wilson, the Grammy-nominated Cole’s live
performances are continually recognized for their warmth, engaging
sensitivity and natural swing.
Cole, who has lived in Atlanta since
1972, will bring his trio (guitarist Randy Napoleon, bassist Elias
Bailey and drummer Curtis Boyd) to Eastwood’s Palace Theatre, 2384
James St., for “A Jazz Christmas” on Saturday, Dec. 19, 7:30 pm.
Tickets are $25 and benefit the Dunbar Association (see related story).
Call 530-3707.
Cole recently spoke to The New Times about his music.
Q: The Dec. 19 concert is billed as a Christmas show. What are you planning to do?
A: We
do everything from Broadway to blues. We work the Christmas songs in
and do them our own way just like our other songs, with traditional
Freddy Cole arrangements. How could I reinvent “White Christmas”? We
have a Christmas CD (I Want a Smile for Christmas, Fantasy
Records, 1995) with traditional songs and some other things like
“Jingles the Christmas Cat” and “Old Days, Old Times, Old Friends.”
Q: In 1990 you released a CD titled I’m Not My
Brother, I’m Me. Are you satisfied that your legacy is not connected to
that of your brother Nat?
A: I’m
extremely happy that I worked through that and gained the respect of my
peers, throughout this country and the world. It’s been a wonderful
flight and I wouldn’t have it any other way. The comparison with my
brother is not a problem for me; I know what I do. All I’m trying to do
is a good show every time I go out on the bandstand and let the chips
fall where they may. I can’t worry about what some critic says. He can
do his job and I’ll do mine.
Q. Jazz accounts for less than 5 percent of CD sales and older stuff outsells new releases. What is the place of jazz today?
A: Jazz
music never was popular music. Jazz will always have its own direction.
You have some very fine young contemporary artists and they deserve
respect. But people that grew up with the traditional jazz, like Duke
Ellington, Count Basie, Sarah Vaughn, Nat Cole, they’re still around,
they still come out and enjoy that kind of music. Jazz will always be.
It’s not living on its past reputation. Is “Stardust” living on its
reputation? When people fall in love they still hear “You must remember
this…” {from “As Time Goes By”}. Critics have their place but
they can over-criticize. Everything today has to have a title to it.
What is urban contemporary adult music? This is the computer age. To
turn on a television you have to have five different buttons to push.
That’s the way it is with music. Just play the music and let it go.
Q: What is it about jazz that appeals to people?
A: Jazz
appeals to people in different ways, but I can’t explain what some
people like. You want a pair of brown shoes and I want black-and-white
shoes. It all depends on what suits your style.
Q: Tell me about the songs that you have written.
A: I
have written songs of my own and recorded them. “I’m Not My Brother,
I’m Me,” that’s one of my songs. Not really a declaration of
independence, just stating the facts, in a jokeful way.
Q: What does it take to be a great jazz singer?
A: I
don’t know how you are defining great. I don’t know if I’m great, but I
try to be the best that I can be, and, hopefully, you’ll like it.
Q: How do you account for your popularity in other parts of the world, like Europe, Asia and Brazil?
A: I’ve
spent a lot of time out of the country and become an international act.
I’ve been blessed to get {my music} across over there and it’s been a
life saver for me. I’ve had a love affair with Brazil. I’ve had a
couple big hits there and it’s been wonderful.
Q: What’s in Freddy Cole’s future?
A: I
would like to do another CD with a large orchestra, which I have in the
works now, something that we will be doing in the next year.
Q: What have I forgotten to ask you?
A: You
forgot to ask me about the last Syracuse football game. {Laughs.} I’m a
big sports fan. I have a lot of friends in Syracuse that I’ll be
anxious to see, and to exchange some stories with. I used to work in
Syracuse years ago, at the Three Rivers Inn, at the Lindovin Restaurant
in Northern Lights, at Art’s Steak House, and the Dinkler Hotel. I
played there several times with {jazz pianist} Bill Doggett. We also
played at the Hotel Syracuse. Syracuse used to be a very big city for
jazz. I don’t know what happened. You live there. Rigor mortis seems to
have set in. There used to be a lot of jazz clubs up that way.
