Tyreek McDole-Open Up Your Senses Artwork Records
There is a new kid on the block! This twenty-five year old gentleman is certainly not an overnight wonder, as his talent has been validated by his recent success. He was first honored in 2018 at the Jazz at Lincoln Center's Essentially Ellington Competition winning "Outstanding Vocalist." More recently, he captured the admiration of the judges at the 2023 Sarah Vaughan International Vocal Competition, where he became only the second male vocalist to win this prestigious award. The Haitian-American previously from St. Cloud, Florida, now resides in New York. He has earned his degree in jazz performance from The Oberlin Conservatory of Music, studying with such luminaries as Gary Bartz, Gerald Cannon, Eddie Henderson and Billy Hart.
His debut album Open Up Your Senses was released on June 6, 2025 on the Artwork label. It is perhaps the most promising vocal release I've heard this year.
McDole's band on this album includes contemporaries Caelan Cardello on piano, Dylan Band on saxophone, trumpeter Michael Cruse, guitarists Emmanuel Michael and Logan Butler and Jerome Gillespie II on drums. But McDole is also surrounded by some heavy hitter guests like Kenny Barron and Sullivan Fortner on piano, Rodney Whitaker on bass, and Justin Faulkner on drums. McDole fortuitously manages a cameo appearance by saxophonist Tomoki Sanders, Pharoah's son, who delivers a haunting resurrection of his father's passionate, spiritually inspired saxophone on McDole's reimagination of the Leon Thomas/Pharoah Sanders spiritually inspired "The Creator Has A Plan."
McDole has a beautiful warm, burnished baritone that some say possess the richness of Johnny Hartman or Nat Cole. But I can also hear the soulfulness of Jon Lucien, the swing of Joe Williams and some of the vibrato touches of a Andy Bey. No matter how you compare this man's approach to the music, you can't deny he has a lot of inherent gifts.
To continue on the path of becoming a truly successful jazz vocalist, McDole has to absorb the jazz language. He is getting there. That requires listening and studying those masters who have come before him. He has to absorb the art of phrasing, not only of vocalists, but of horn players like Stitt, Getz, Gordon, and Webster, who navigate the music with both depth, freedom, and facility. He doesn't have to mimic them, but he does have to recognize the nuances. Telling a compelling story requires delivering a song with pace, proper breath placement, and space that allows the lyrics to be delivered complimentary to the message being portrayed and with feelings and authenticity. This debut album is a very good start, and if he is dedicated, McDole will likely continue to develop and add more of the language to his repertoire.
McDole's choice of music for this album shows his willingness to think outside the box. He includes Nicholas Payton's mediative "The Backward Step" originally from his 2023 album Drip. McDole's chant-like vocals work beautifully in tandem with the band. Guitarist Butler adds some stylish solo work, and Band's soprano sax floats higher like a falcon in the thermals. Throughout, McDole's voice beautifully resonates over Faulkner's explosive drum work at the coda.
"The Umbrella Man" is an odd choice that beckons back to a swinging show tune from the late twenties. It features McDole's facile skat work and some blazing trumpet work by Cruse, a nice tenor solo by Band, and an arousing piano solo by Cardello.
"The Creator Has A Master Plan" was originally released by Pharoah Sanders on his album Karma from 1969. Originally recorded in two sections, the prelude and the main song, the combined run-time was almost thirty-three minutes. This is a challenging song to be tackled by McDole, and he wisely enlists the Tomoki Sanders, the late master's son, to play tenor on this one. Sanders, tenor is a resurrection of sorts. Hearing his plaintive cries and over blows are so evocative of his father's power and spiritual connection in this prelude. Whitaker's ostinato bass lines opens the second section as McDole's rich and flexible voice sings the spiritual and philosophical lyrics with his own gentler approach than one remembers from Thomas' original. Brand's soprano, Butler's guitar, Cardello's piano, and the astute rhythm section of Whitaker and Faulkner create this hallowed offering. I for one can never recall a better time when the world needs to resurrect the kindness and hopefulness that this song inspires.
Singing on a ballad like Thelonious Monk's lovely "Ugly Beauty" with lyrics by Mike Ferro, and recording it as a duo with a master like Kenny Barron, is like the ultimate test of transparency. While his phrasing seems slightly affected, Monk often took circuitous paths in his songs. These two provide a glimpse into what McDole could be capable of with a fine ballad while accompanied by a master like Barron who can inspire him to surprising heights.
"Precious Energy (Sun Song)" is another spiritually inspired composition from Leon Thomas that was originally released on Gary Bartz's Quintet's album of the same name from a 1987 live recording. McDole wisely doesn't try Thomas' facile yodeling here, but he does deliver a lithe version that features some fluid, inventive guitar lines from Logan Butler. McDole's vocal is light and soulful. The music is driven by some nice B3 organ by Sullivan Fortner.
Never one who seems to avoid at a challenge, McDole tackles the transcendent "Somalia Rose," a composition by Allyn Johnson, Director of the University of District of Columbia Jazz Ensemble. The music is a powerful piece and features some modulated guitar work by Michael and some kinetic drum work by Faulkner. McDole vocalizes the soaring parts with ease and aplomb.
Never losing his Haitian folk-music heritage, McDole duos with percussion master Weedie Braimah, and succinctly vocalizes the island fable "Wongolo Wale."
The album continues with the title cut "Won't You Open Your Senses" a swinging, bluesy Horace Silver composition that features some smokin' horn section work by Cruse and Adam, and the sizzling Fender Rhodes piano work by Sullivan Fortner. McDole seems to be channeling his Joe Williams on this one and it cooks.
The balance of the album includes "Under A Blanket of Blue" a slow paced swinger that features a throaty solo by Adam on tenor and some splendid, stride-like piano by Cardello. McDole's voice has a silky Nat Cole feel to this one.
Nicholas Payton's jaunty rap "Love Is A Four Letter Word" finds McDole speaking his lines with a Barry White-like lament.
Another tip of the hat to Joe Williams is heard on the classic "Everyday I Have the Blues" with McDole vocalizing it out with gusto as Adam's tenor blares and Whitaker, Cardello and Faulkner lay down the driving beat.
The album ends with an instrumental reprise of Thomas' "The Sun Song."
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