Freddy Cole: In the Name of Love

I find it curiously sentimental when Freddy Cole is linked with his much-revered older brother Nat King Cole. Still performing in his early 70s, Freddy Cole can’t escape the comparison, which seems terribly unfair. Nat King Cole has practically become a cultural icon since his death. Thanks to the studio wizardry that allowed daughter Natalie Cole to sing an “Unforgettable” duet with him from the great beyond, his place in the pantheon of jazz vocalists only gained more lustre, possibly at the expense of his equal skill as a pianist. It seemed sacrilegious to draw attention to the fact that the lasting impression of that recording stunt was little more than a musical “what if” for his fans. Nostalgia becomes little more than a sadly distorted lens that easily blinds listeners to the distinct charms of another member of this musical family.

The true bottom line for Freddy though, may simply be, how do you compete against such an accomplished performer who is the equivalent of a two-sport hall of famer?

Nat King Cole began his career with impressive swing trio work, which influenced the likes of Oscar Peterson, Art Tatum, and Ahmad Jamal. The commercial success of “Mona Lisa” and “The Christmas Song” are not necessarily even half the story. Now, imagine the rivalry that may have existed in light of the fact that Freddy, like his legendary older brother, is a singer-pianist.

To his credit, Freddy has simply gone about his business leaving the comparisons to those with too much time on their hands. He is an engaging performer who has played to his strengths and found his own modest niche. In the Name of Love, brother Freddy’s latest set, features his interpretation of 11 celebrated love songs. In his case, time has chipped away at the graceful quality listeners would naturally associate with Nat. A gritty blues has replaced the smooth elegance and easy sophistication.

Unfortunately, the polite arrangements fail to match Freddy’s rich, resonant vocals. On tracks like Smokey Robinson’s “Just to See Her” and “Save a Little Time for Me” (penned by Freddy’s son Lionel), the keyboards and programming by producer Jason Miles and the saxophone work by Jay Breckenstein of Spyro Gyra on the later tune, veer towards smooth jazz. These tunes shift far away from the acoustic setting of “Have I Told You Lately That I Love You” which, along with a beautiful duet with Jane Monheit on “Remember Me,” provide Freddy with the necessary ingredients for the truly standout performances. Miles has won a Grammy Award as a producer (best male pop vocal for Sting’s version of “She Walks This Earth”) and he created the synth sounds on Miles Davis’s Tutu, but Freddy would have been better served without the studio stylings that will prevent him from achieving the timeless status he quite possibly deserves.

The arrangements on Nat King Cole’s vocal hits were clean, but never sterile; an apt tag for much of what has been defined as smooth jazz. Love has kept a jazz journeyman like Freddy Cole in the game, not his name or what it has come to symbolize. He needs to team up with a different set of musical collaborators willing to work for more than a quick scoring opportunity. He could still give his fans something to remember.