Reimagining the Classics: The Arrangements Behind Live at the Bridge
Reimagining the Classics: The Arrangements Behind Live at the Bridge
When I set out to arrange the music for Live at the Bridge, my goal wasn’t just to play these songs—I wanted to reshape them, reimagine them, and bring out something new while staying true to their essence. Each of these songs has a history, an emotional weight, and a place in the greater musical landscape. My challenge was to take that history and reinterpret it in a way that felt honest to my own voice.
You Make Me Feel Brand New
This was the first song I arranged for the project, and it set the tone for everything that followed. I wanted to take something familiar—something that people already had strong emotional ties to—and turn it inside out. Instead of starting with the lush chords and sweeping melody we all recognize, I stripped it down to just saxophone and drums, making the introduction feel open, unstructured, and unfamiliar. The idea was to gradually reveal the song’s identity, much like uncovering a hidden memory.
As the arrangement builds, I introduce an African-inspired rhythmic foundation, reshaping the groove and giving the song an entirely new pulse. The Hammond B3 Organ adds warmth and a sense of home for me—growing up, I played in church every Sunday, and I wanted to bring that same feeling of depth and spiritual connection to the song. As we reach the chorus, the bass joins me on the melody, reinforcing the lift and creating a moment of release that makes the song feel brand new again—just as the title suggests.
Open the Door
This song carries such a light, hopeful energy, and I wanted to capture that in a way that felt playful and inviting. The lyrics—"Open the door, I must get in your heart, you're making it hard to be true"—are filled with longing, but there's also an innocence and joy in them. I wanted to reflect that contrast in the arrangement.
The piece begins softly, almost like a gentle plea, with space for the melody to breathe. But by the end of the song, I introduce a vamp—something rhythmic and persistent that gives the feeling of insistence, but in a joyful way. The music itself starts to feel like it’s knocking on the door, asking to be let in. It builds just enough tension to invite the listener in, but never demands—it feels more like a dance, an invitation rather than a plea.
You Don’t Know What Love Is
This is one of the most hauntingly beautiful standards ever written, and I knew I wanted to keep it intimate, raw, and emotionally exposed. That’s why I stripped it down to just saxophone and piano. Nothing else was needed.
The message of this song is powerful—"Until you've felt heartbreak, you don’t truly understand love." There’s a sense of longing, mystery, and even warning in the lyrics that I wanted to reflect in my playing. The performance is sentimental and romantic, but also slightly haunted—as if the song itself is speaking from experience, reminding us that love isn’t just joy, but also pain.
By keeping the instrumentation minimal, there’s nowhere to hide. The spaces between the notes are just as important as the notes themselves. The silence becomes part of the story. It’s an approach that forces both the musician and the listener to sit with the weight of the melody, to really feel each phrase.
Blue in Green
Miles Davis’ Blue in Green is one of those pieces that doesn’t need much—it’s already pure atmosphere. Rather than filling it with excess, I wanted to lean into its meditative quality, treating it like a chant—something that lingers, repeats, and draws you in slowly.
In this version, there isn’t much improvisation in the traditional sense. Instead, the arrangement builds in intensity and emotion with each pass. The melody is stated simply, then restated with small variations, creating a feeling of growing tension and release. The rhythm section keeps a steady pulse, giving the piece a hypnotic quality, like a wave rolling in and out.
Whereas some of the other arrangements on this project are about deconstructing and reshaping, this one was more about staying in the moment, letting the music unfold naturally, and allowing the listener to settle into the feeling of it.
The Spirit of the Project
With Live at the Bridge, I wasn’t just interested in playing great songs—I wanted to push myself to find something new in them. The challenge wasn’t in how many notes I could play, but in how deeply I could express the essence of each piece in a way that felt fresh, yet familiar.
Every arrangement on this album started from a simple idea: What is the song really saying? How can I bring that out in a way that feels true to me? Sometimes that meant stripping everything away. Sometimes it meant flipping a groove upside down or adding something unexpected. But in the end, the goal was always the same—to honor the song while making it feel personal, alive, and new.
I can’t wait for you to experience Live at the Bridge in full. Until then, I hope this gives you a glimpse into the thought and feeling behind each piece. Pre-order now, and let me know which arrangement speaks to you most in the comments below! 🎷✨
The Takeaway:
Reinterpreting classics is about connection – The goal was not just to play these songs, but to find something fresh in them that speaks to both the musician and the listener.
The essence of a song matters more than complexity – Sometimes the most powerful statement comes from restraint, not excess.
Improvisation isn’t just about solos—it’s about rethinking the entire approach – Each arrangement explores new ways to interpret harmony, rhythm, and space.
