Dwain

• Brandon Woody’s For the Love Of It All is a powerful and heartfelt debut that shows his deep respect for jazz tradition while pointing toward the future. The album feels less like a collection of separate songs and more like a unified statement about love, faith, community, and perseverance. Drawing strongly from his Baltimore roots, Woody blends jazz with gospel feeling, spiritual intensity, and modern rhythms, creating music that feels personal yet widely relatable. From the start, it is clear that this is not just a technical showcase, but a deeply emotional and intentional project centered on lived experience.

• Musically, Woody’s trumpet playing is warm, expressive, and full of character. He moves easily between gentle, reflective passages and bold, energetic moments, always maintaining a strong sense of melody. The opening track, “Never Gonna Run Away,” establishes the album’s spiritual tone with its repeating vocal lines and meditative atmosphere. Throughout the record, the rhythm section and piano provide a steady, responsive foundation that supports Woody’s lead voice. However, one notable limitation is the lack of extended solos from the rhythm section. While the group plays with sensitivity and cohesion, listeners rarely get the chance to fully hear individual voices emerge outside of their supportive roles. This keeps the focus tightly on Woody but slightly limits the album’s sense of collective exploration.

• Another defining aspect of the album is the emotional quality of Woody’s improvising. His trumpet often sounds like it is searching—reaching toward something just beyond grasp. Many of his solos unfold as long, winding lines filled with tension, reflection, and questioning. This gives the music a vulnerable and honest character, as if Woody is working through personal and spiritual ideas in real time. At times, though, this searching quality can feel unresolved. Some phrases seem to circle rather than arrive, creating the impression that he is constantly pursuing meaning without fully settling into it. For some listeners, this will feel deeply human and moving; for others, it may leave a sense of emotional incompleteness.

• In the end, For the Love Of It All succeeds because of its sincerity and clear sense of purpose. The closing track, “Real Love, Pt. 1,” brings together the album’s themes of trust, connection, and devotion, highlighting the strong bond within the band. Rather than relying on virtuosity alone, Woody prioritizes feeling, storytelling, and spiritual depth. Even with its few limitations—particularly the limited spotlight on the rhythm section and the sometimes unresolved nature of his musical searching—the album stands as an impressive and thoughtful debut. It presents Brandon Woody as an artist committed not to easy answers, but to honest exploration, emotional risk, and the ongoing pursuit of meaning through sound.

Overall score: 7.8/10

Max

• For The Love Of It All is a solid album. It’s got a lot of what you’d want: groove, soul, fast lines, good tempos, terrific instrumental interactions…but, it’s a wee bit interesting how a lot of the record reiterates itself. It’s as if you’re being served cheesecake over and over again, but with a different drizzle each time. That being said, there’s a ton of awesome playing present on this record. Brandon Woody shines through, displaying his prowess and ability on the trumpet as well as his writing. Nice melodies are present here in addition to great playing. Imani Grace stands out as an integral contributor to “Never Gonna Run Away.” So much so, I wish she were included in one or two other tracks. “Wisdom, Terrace on St. Paul St.” has an “Infant Eyes” vibe, given its similar melodic entrance. As it begins, the tune seems as if it were going to be a ‘true ballad,’ but instead, they return to comfort as much of the groove and trumpet solo is treated like most other tracks. I adore the space present in the beginning of “We, Ota Benga.” It’s a nice contrast to the other intros. That tune also makes a statement, given the troubled history of its namesake.

• In general, it’s important to listen for the consistent accompaniment from the rhythm section on Woody’s debut. Keys player Troy Long lays an excellent harmonic blanket that moves with Woody quite nicely throughout the record. All that is to say, there seems to be no specific piano feature. Might be nice to have one somewhere on the album, am I right? With that in mind, however, there are a lot of times here where every member seems like they’re close to soloing simultaneously. In reality, they’re interacting with Woody in ways that complement what’s going on. Drummer Quincy Phillips is another knockout player that does that exceptionally well. Pay attention to his use of cymbals and the many ways he decorates his double-time feel. Bassist Michael Saunders also provides some awesome contributions throughout the record.

• All in all, this release is worth your time and attention. While listening though, you may get tired of the same ear food being served to you on repeat…even if it’s your favorite meal.

Overall score: 7.7/10