Brandon Cutrell

By: Jul. 14, 2007
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Brandon Cutrell has a sweet, gentle tenor voice that belies the grinning devilish imp underneath. As his fans from his hosting gigs The Duplex and The Laurie Beechman Theatre know, he can make the most innocent of songs sound deliciously sordid-- and vice versa. He can be fierce or funny, charming or shocking, bright or tragic depending on what the song or the moment needs, and is unfailingly entertaining. And his debut self-titled album, courtesy of Nantucket Sound records, is just as entertaining as hearing Cutrell sing at the Duplex, the Beechman or Feinstein's.

The album is not unlike listening to Cutrell sing at any given After Party, the open-mike concert he hosts on Friday nights at the Beechman, although his trademark snarky banter seems to have been left on the cutting room floor. Rather than chart new territory on this maiden voyage, he wisely plays it safe and sings the numbers that he has made Friday night standards: Tim DiPasqua's haunting "You," Chuck Coleman's fierce "Hally's Comet," and Kern & Hammerstein's lovely "All The Things You Are." These songs have become his signature tunes for a good reason: he sings them with all the emotion the song needs, conveying love, desire, anger and introspection with ease.

Most of the album's songs are uptempo, energetic and fun-- perfect for relaxing on a hot summer night. But it is Cutrell's rendition of ballads that will be the most surprising, especially for the fans who are accustomed to his more lighthearted style. His emotion in these songs is raw and powerful, and the softer he sings, the more one wants to lean in to listen. His rendition of "All The Things You Are" is lush and lovely, "That Old Black Magic" is gently seductive, and Schmuckler & Mahler's "That's When I Miss You" is simply heartbreaking. Ray Fellman's arrangements are smart and original, highlighting qualities in the music that shine new light on their meanings. One medley—a combination of Irving Berlin's "What'll I Do" and Bergman & Mandel's "Where Do You Start?"— was arranged by Cutrell himself, and is particularly poignant.

But Cutrell's trademark is his wit, and this album is, for the most part, the aural equivalent of Cutrell's trademarked mischievous grin. The songlist is diverse enough to be interesting and involving, and by the final track—a live performance of DiPasqua's "You," a studio recording of which opens the album—one can feel as though one has completed an emotional journey with Cutrell. For those who enjoy hearing great songs sung beautifully, this album is a must-buy.

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