|
“I was able to dig deep down, and as a result the song really
pops out at you. “The first song is always important on any album to capture the listener’s
attention – you want them to say, ‘Okay, let’s get a glass of wine, sit down and check this
out,’ instead of ‘I don’t like that, what’s track two like?’” he adds with a laugh. “When we
were done with that one, I just had to jump back and kiss myself – I feel that I really nailed
it.” As for his emotive version of “Love Ballad,” Freddie says, “That really is one of Jeffrey
Osborne’s best. We’re great friends, and I hope he’ll feel that at least somebody did that
song the right way. We perform together a lot, so it’ll be interesting to see how we handle it
when it comes time to do that song – maybe he’ll do a part and then I’ll do a part.” For his
fresh take on “Don’t Know Why,” Freddie went with a contemporary jazz/r&b feel that fits it
to a tee. “That song just really struck me from the first time I heard it – it’s such a piece of
poetry, the whole idea that I should’ve come back to you but I didn’t, and I don’t know why I
didn’t. When I first started practicing it I kept messing it up -- there are a lot of lyrics there!
But now I can sing it in my sleep, and I hope Norah likes it when she hears it.” Freddie also
enjoyed re-imagining “Save the Best for Last.” “Whenever that song comes on the radio I just
turn it up full blast,” he enthuses. “Vanessa Williams did a tremendous job on it, but I took it
and tried to add more body and in-depth soul to it.” As for the Captain & Tennille cover,
Freddie points out that regardless of the duo’s current rep as ‘70s kitsch, the song remains a
smoldering piece of unbridled passion – made even more so by his characteristically
demonstrative delivery.“I used to play around with that one at sound checks, and people
would tell me I needed to record it,” he recalls. “This is dating me, but I remember watching
the old Captain and Tennille TV show and seeing them perform this – I always loved it and
thought it was one of their most incredible songs.” And that’s the key to why Freddie felt the
time was right to do an all-covers album. “These are some of my all-time favorites, and the
idea appealed to me of maybe exposing some of these wonderful songs to people who didn’t
catch them the first time around – or maybe hadn’t been born yet!” he chuckles. The album
also provides him the opportunity to pay tribute to acts that influenced him at a young age. “
‘I Wanna Know Your Name’ by the Intruders was one of my mother’s and sisters’ favorites
when I was growing up in Harlem, so when I went into the recording studio I didn’t even need
the lyrics, I knew it so well.” With “Back Together Again,” the smoky duet with Meli'sa
Morgan, Freddie salutes the original recording by Roberta Flack and “my idol,” Donny
Hathaway. Casual fans who lost track of Freddie after his long chart presence in the ‘80s and
‘90s may be surprised to find out that he’s never stopped working: he co-wrote “One Wish,”
which ended up being the title track of Whitney Houston’s 2003 Christmas album, and he
still tours constantly, both here and in Europe. “I have a body of work that I’m fortunate is
still working for me,” he states. “Luther Vandross’ body of work will never die even though
he’s passed on; the music is just that strong. If I can have that kind of longevity and impact,
I’ll truly be blessed.” Growing up in Harlem just a few blocks from the legendary Apollo
Theater, Freddie split his time between singing in church and attending concerts by the likes
of Otis Redding and Marvin Gaye. “All those guys worked so hard, they’d leave their sweat on
the stage,” he declares. “There was no lip-syncing; it was all about giving people their
money’s worth, which was a lesson I took to heart. I was able to study those guys, see what
they were doing, and then I’d be up in my bedroom with my little tape player and my mother
would think I was listening to James Cleveland … when I was actually listening to Sam
Cooke!” Freddie’s vocal talents soon led him to gigs singing background, both in the studio
and on the road, for James Mtume, Evelyn “Champagne” King, Angela Bofill, and Harry
Belafonte. “I got the fever for being on the road, and my gospel roots went right out the
door,” he chuckles. A connection with Melba Moore ultimately led to management with Hush
Productions, headed by hit makers Charles and Beau Huggins. This led to the chart-topping
duet with Melba on “A Little Bit More”. This would be the first of many more hits to come.
And just as he started, Freddie is once again being managed by Charles and Beau Huggins at
Orpheus. Now Freddie is looking forward to introducing some of the greatest R&B songs of
years past to today’s audiences, both via Personal Reflections and on the concert stage. “I’ve
always admired the careers of people like Ms. Natalie Cole and Mr. Rod Stewart, who have
had such great success by reaching back into the past and putting a new spin on classic
tunes,” he says. “The industry has changed a lot since I started out, but there’s still nothing
like a really great groove.” Of the sessions that resulted in this album, Freddie says,
“Everyone just had such a great time, which is what I like to see people have. These are
beautiful songs that I’ve always wanted to do – songs that I can just croon on and have a
good time, feel relaxed and show where I’m at.” One listen to Personal Reflections, and
listeners will be more than willing to join the party.
|
