Dianne Reeves - The Nearness of You

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 50:12
Size: 115,3 MB
Art: Front

(4:55) 1. Softly As In A Morning Sunrise
(5:41) 2. Like A Lover
(4:08) 3. How High The Moon
(8:05) 4. For All We Know
(3:19) 5. The Nearness of You/Misty
(6:18) 6. You Taught My Heart To Sing
(5:39) 7. Ancient Source
(9:02) 8. Spring Can Really Hang You Up The Most
(3:01) 9. Oh What A Freedom

Five-time Grammy winner DIANNE REEVES is the pre-eminent jazz vocalist in the world. As a result of her breathtaking virtuosity, improvisational prowess, and unique jazz and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings a Grammy first in any vocal category.

Featured in George Clooney’s six-time Academy Award nominated Good Night, and Good Luck, Reeves won the Best Jazz Vocal Grammy for the film's soundtrack.

Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first vocalist to ever perform at the famed Walt Disney Concert Hall.

Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy winning A Little Moonlight, an intimate collection of standards featuring her touring trio. When Reeves’ holiday collection Christmas Time is Here was released, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CD's I've heard.”

In recent years Reeves has toured the world in a variety of contexts including “Sing the Truth,” a musical celebration of Nina Simone which also featured Lizz Wright and Angelique Kidjo. She performed at the White House on multiple occasions including President Obama's State Dinner for the President of China as well as the Governors’ Ball.

Reeves’ most recent release Beautiful Life, features Gregory Porter, Robert Glasper, Lalah Hathaway and Esperanza Spalding. Produced by Terri Lyne Carrington, Beautiful Life won the 2015 Grammy for Best Jazz Vocal Performance. Reeves is the recipient of honorary doctorates from the Berklee College of Music and the Juilliard School. In 2018 the National Endowment for the Arts designated Reeves a Jazz Master the highest honor the United States bestows on jazz artists.
https://diannereeves.com/media/
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Personnel: Lead Vocals [Vocals] – Dianne Reeves; Acoustic Guitar – Kevin Eubanks (tracks: 2); Alto Saxophone – Greg Osby (tracks: 1, 4); Bass – Charnett Moffett (tracks: 1, 3 to 7), Tony Dumas (tracks: 9); Drums – Marvin Smitty Smith* (tracks: 1, 4, 6, 7), Michael Baker (2) (tracks: 9), Terri Lyne Carrington (tracks: 3, 5); Keyboards – David Torkanowsky (tracks: 9); Piano – Donald Brown (tracks: 1, 7), Mulgrew Miller (tracks: 3 to 6, 8); Tenor Saxophone – Gerald Albright (tracks: 9); Vibraphone – Bobby Hutcherson (tracks: 1, 7); Wind Chimes – Ron Powell (tracks: 2).

The Nearness of You

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Kevin Eubanks, Orrin Evans - EEE (Eubanks-Evans-Experience)

Styles: Piano And Guitar Jazz
File: MP3@320K/s
Time: 47:51
Size: 110,2 MB
Art: Front

( 6:53) 1. Novice Bounce
( 4:41) 2. Dreams Of Loving You
( 5:27) 3. I Don't Know
( 3:35) 4. And...They Ran Out of Bisquits!
( 5:18) 5. Dawn Marie
(13:02) 6. Variations on The Battle (Live)
( 8:51) 7. Variations on Adoration (Live)

Guitarist Kevin Eubanks and pianist Orrin Evans joined forces for a sympathetic duo offer designated as EEE - Eubanks-Evans Experience. These two musicians with strong ties to Philadelphia spent years honing their crafts, revealing a proclivity to expand horizons beyond pure jazz. Besides leaders in their own right, the twosome contributed as sidemen on albums of each other (Evans’ #knowingishalfthebattle; Eubanks’ East West Time Line). The guitarist is commonly associated with the bassist Dave Holland and the singer Diane Reeves, while the pianist was a member of the Ralph Peterson Quintet and groups led by trumpeter Sean Jones. He also replaced Ethan Iverson in the newfangled trio The Bad Plus.

Flowing with a relaxed vibe, “Novice Bounce” opens the record with smooth touches on jazz-funk and bossa. Written by Eubanks, this opening number collected from his first record, Guitarist (Discovery, 1982), finds him tackling it with half the tempo and electric guitar instead of the acoustic. If the ballads “Dreams of Lovin’ You” (composed by Tom Browne) and “Dawn Marie” (a tribute from Evans to his wife) - breathe and never rush, then other pieces make our heartbeat increase during their musical route by going in different directions.

The improvised “I Don’t Know” seems to squeeze two different worlds into the same sonic bubble. The artists treat their instruments with a newly discovered freedom, and the initial sense of bluesy dispersion is eased when Eubanks starts to work on the lower register, fulfilling bass duties. There are a couple more spontaneous numbers, but those don’t reach the heights of the two last tracks, both recorded live at Chris’ Jazz Cafe in Philadelphia. They are variations of Evans’ “Half the Battle” and Eubanks’ “Adoration”. The former is transformed into a mercurial fusion work by the addition of often-bluesy rock licks, a spiritual harmonic progression evocative of Pharaoh Sanders, and a groovy funk-rock strut that contracts and expands with multiple levels of intensity. The latter piece, instead, arrives in triple time, spreading out a beautiful energy.https://jazztrail.net/blog/eee-eubanks-evans-experience-album-review

Personnel: Kevin Eubanks: guitar; Orrin Evans: piano.

EEE (Eubanks-Evans-Experience)

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Robin Eubanks and Mental Images - Get 2 It

Styles: Trombone Jazz
Year: 2001
File: MP3@320K/s
Time: 73:30
Size: 169,7 MB
Art: Front

(8:02)  1. Metamorphos
(5:32)  2. Get 2 It
(5:23)  3. Essi
(2:16)  4. REM State
(6:38)  5. Blues for Jimi
(8:36)  6. Cross Currents
(5:57)  7. RNB-First Take
(6:26)  8. Sabanna
(8:53)  9. House of Jade
(5:13) 10. Reunion
(5:57) 11. Indo
(4:31) 12. AudioNotes

Robin Eubanks' electronic trombone is something else. Horn players have been trying for decades to create a vocal-like sound on their instruments. The plunger mute helped brass players when jazz was young. The electronic saxophone and EWI have allowed reed players to play harmony and create inspiring effects; yet, neither instrument has allowed sufficiently for vocal effects. Instead, flute players achieve their vocal effects through ' well ' vocalizing. Over the years, creative artists such as Lester Bowie have experimented with natural-sounding vocal sounds expressed through a horn. Eubanks' session comes a long way from early tailgate trombone and the timeless junior high school antics of creating kissing sounds or a horse's holiday neigh through the trumpet. Combining hard core electronic experimentation with down-to-earth trombone artistry, Eubanks brings his latest album to a wider audience. Singing the blues, he works the electronic trombone through "Blues for Jimi," resembling the wordless vocals of scat singing. The fascinating sounds, while somewhat eerie at times, are placed in a tasteful jazz environment. A blues organ trio supports Eubanks as it would any emotional singer. Only the title track contains actual vocal expression. The other vocal-like exhibitions are through the electronic trombone. Several selections place Eubanks' trombone in a sextet format with modern mainstream originals. His brother, Duane, joins on trumpet for some hard bop hitting. A propelling rhythm section drives both brothers forcefully. Samples of two of the album's tracks are available at the trombonist's mp3 site . Showing his true potential, Eubanks performs "Essie," a lovely trombone ballad, with Kevin Eubanks' acoustic guitar accompanying. Having recorded six CDs as a leader, Robin Eubanks has proven that he has an unyielding respect for jazz's traditions. Placed in this context, his highly individualized, singing, electronic trombone makes a warm addition to the jazz world and should encourage others to explore similar new avenues for expression. 

~ Jim Santella https://www.allaboutjazz.com/get-2-it-robin-eubanks-rem-review-by-jim-santella.php

Personnel: Robin Eubanks (trombone & electric trombone); Duane Eubanks (trumpet); Kevin Eubanks (acoustic guitar); Maya Azucena (vocals); George Colligan, Michael Cain (keyboards); Lonnie Plaxico, Dave Holland (bass); Billy Kilson, Gene Jackson (drums); Mino Cinelu (percussion)

Get 2 It

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Harold Mabern - The Leading Man

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 55:01
Size: 126,2 MB
Art: Front

(5:24)  1. Yes or No
(4:40)  2. Save the Best for Last
(6:48)  3. Full House
(6:27)  4. She/Mr.Lucky
(7:36)  5. Alone Together
(6:11)  6. The Man from Hyde Park
(6:17)  7. B & B
(7:17)  8. T-Bone Steak
(4:17)  9. Mercury Retro

Since his emergence onto the New York scene in 1959, pianist Harold Mabern has become one of the few true living jazz stylists on the piano. Having played with everyone from Lionel Hampton to Miles Davis, Sonny Rollins, Wes Montgomery, and Lee Morgan, Mabern has the experience and the depth of knowledge sufficient to be called a master. There is no one on the scene who sounds like him, and his sense of lyricism, rhythm, time, and the entire range of dynamics in his playing attract other players as well as listeners. The Leading Man, issued in 1993, is considered a classic, both for its selection of material and the performances of the various ensembles Mabern assembled for the date. But there is something else, too nowhere in Mabern's recorded catalog is there a performance like this from him. His playing, while always inspired, is revelatory in its sense of full orchestration and the shifting timbres of his solos against the bassline (played by Ron Carter). Also on this set are drummer Jack DeJohnette, alto man Bill Easley, fellow Memphian and trumpeter Bill Mobley, guitarist Kevin Eubanks, and vocalist Pamela Baskin-Watson. With the exception of DeJohnette and Carter, all the other players rotate on this stunning collection. The standout track is Montgomery's "Full House," which features Eubanks and Mabern trading eights, then fours, then slipping into solo breaks at the same time, in close harmony and gliding through the arpeggios like a skater on ice. The medley of "She" and "Mr. Lucky," by George Shearing and Henry Mancini, respectively, is a chance for Mabern to show both his lyrical and dynamic abilities by tracing the melodies of each tune through the other, then harmonically combining them in rhythmic patterns of graceful elegance. Easley gets the chance to reveal the depth of his modal style on Wayne Shorter's "Yes or No." Mabern slips phrases from McCoy Tyner's comp book into the body of the tune, but the harmonic architecture and the interval changes in and out of mode are all his. Easley sets the bar high and delivers by blowing through those harmonies, not inside them. There is a bit of everything here, from the aforementioned exercises to the greasy funk of Jimmy Smith's "T-Bone Steak" to Mabern's compositions such as "B&B," where Mobley plays with the emotion of Chet Baker and the melodic chops of Fats Navarro. The last tune, "Mercury Retro," is one of Mabern's too. A piano solo, it begins as an exercise in dissonant counterpoint, transforming itself inside of five minutes into a jazz ballad that becomes a boogie-woogie blues to a classical rondo and even a prelude and fugue; it's just amazing. You never get the feeling the guy is showing off, either. The Leading Man proves beyond the shadow of a doubt that Mabern is just that. ~ Thom Jurek https://www.allmusic.com/album/the-leading-man-mw0000121742

Personnel: Harold Mabern – piano; Ron Carter – bass; Jack DeJohnette – drums;  Bill Mobley – trumpet, flugelhorn; Bill Easley – alto sax; Kevin Eubanks – guitar; Pamela Baskin-Watson – vocals

R.I.P.
Born: March 20, 1936, Memphis,Tennessee,United States
Died: September 19, 2019

The Leading Man

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Avery Sharpe - 400: an African American Musical Portrait

Styles: Vocal, Hard Bop
Year: 2019
File: MP3@320K/s
Time: 57:35
Size: 133,0 MB
Art: Front

(6:03)  1. Arrival
(4:51)  2. Is There A Way Home
(5:36)  3. Colonial Life
(3:02)  4. Fiddler
(5:14)  5. Antebellum
(7:15)  6. A New Music
(5:35)  7. Harlem And The War To End All Wars
(6:54)  8. Blues and World War II
(6:34)  9. Aint Gonna Let Nobody Turn Me Around
(6:25) 10. 500

In 1619 the White Lion, a British privateer which had just successfully raided a Spanish slave ship, arrived in the Jamestown colony with its contraband cargo of twenty-some African slaves. Thus began the tumultuous legacy of the African American experience in North America a four-hundred-year saga that bassist Avery Sharpe traces skilfully and poignantly on 400: An African American Musical Portrait. Sharpe has never been reluctant to acknowledge the forces that have shaped him musically and culturally. His Legends and Mentors (JKNM Records, 2008) paid tribute to three of his longtime musical colleagues and teachers, McCoy Tyner, Archie Shepp and Yusef Lateef. But consider also his multiple efforts to draw deeply from the well of the black experience in America; projects like Extended Family II: Thoughts of My Ancestors (JKNM Records, 1995) and Epic Ebony Journey (JKNM Records, 2001) sought out the enduring traits of African Americans' resilience and fortitude, locating them within the profound resources of African culture and seeing their evolution through black Americans' various struggles and triumphs. However, those earlier albums seem a mere prelude to 400. This is truly Sharpe's statement record, with a sweeping historical vision conveyed through a well-defined series of ten musical vignettes that encompass four centuries of African American life. It is an ambitious undertaking, to be sure. 

The album has a "family" feel, not only due to the presence of veteran associates like saxophonist Don Braden, drummer Ronnie Burrage, and pianist Zaccai Curtis, all of whom have collaborated previously with Sharpe. Just as important is the "Extended Family Choir," consisting largely of Sharpe's family members, who offer valuable emotional strength and musical heft on four of the cuts. His brother, Kevin Sharpe, directs the ensemble, while his niece, Sofia Rivera, has a particularly stirring turn on an emphatic spoken-word part on "Ain't Gonna Let Nobody Turn Me Around," Sharpe's take on the traditional civil rights anthem, which invokes the substantial history of African American protest from the Jim Crow period to Black Lives Matter. The choir's presence on the first two tracks, "Arrival" and "Is There a Way Home," is just as effective, offering a visceral articulation of the fear and foreboding that accompanied slaves' early lives in the colonies along with the burgeoning sustenance for resistance they began to find by looking homeward to the African continent. Sharpe's songwriting strategies are smart ones, utilizing a wide stylistic range to embrace as much of the African American musical tradition as possible. African rhythms and instrumentation (notably, Tendai Muparutsa on the djembe) enliven "Arrival" and "Is There a Way Home," while later historical moments see other idioms emerge. "Fiddler" has both classical and folkish elements, as violinists Kevin Zhou and Sophia Jeongyoon Han give a glimpse of slaves' nascent musical expressions, whereas "A New Music" signals the presence of early jazz through a stately rag from Curtis that segues into jaunty New Orleans swing. Through it all, a spirit of strength and endurance is undeniable, with moments of brightness which continually lighten the music. Guitarist Kevin Eubanks is an essential presence in this regard; even on "Arrival," a track that could easily succumb to despair, Eubanks' nimble acoustic flourishes suggest the possibilities of hope and potential, as they do on several of the cuts. Braden, too, has some energizing moments, soloing fervently on "Arrival" and undertaking a bop-based strut on "Blues and World War II." Fittingly, the album's last track, "500," features strong modern jazz fueled by a post-bop sensibility. It points beyond the album's historical trajectory, both musically and politically, and makes clear that the African American story, like that of jazz itself, is a narrative that is very much still unfolding. ~ Troy Dostert https://www.allaboutjazz.com/400-an-african-american-musical-portrait-avery-sharpe-jknm-records-review-by-troy-dostert.php

Personnel: Avery Sharpe: double bass, vocals; Kevin Eubanks: acoustic and electric guitar; Don Braden: tenor saxophone, soprano saxophone, flute; Ronnie Burrage: drums and percussion; Tendai Muparutsa: djembe; Duane Eubanks: trumpet, flugelhorn; Zaccai Curtis: piano; Davis Whitfield: piano (8); Kevin Zhou: violin; Sophia Jeongyoon Han: violin; Kevin Sharpe, Shaina Paris, Sofia Rivera, Wanda Rivera, Heshima Moja, Robert Rivera: vocals (1, 2, 5, 9).

400: an African American Musical Portrait

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James Williams - After Ego

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 49:31
Size: 113,5 MB
Art: Front

(6:20)  1. Black Scholars
(6:49)  2. Alter Ego
(7:27)  3. Havana Days
(5:29)  4. Fourplay
(6:39)  5. A Touching Affair
(6:36)  6. Waltz For Monk
(6:43)  7. Beauty Within
(3:24)  8. Yours And Mine

Pianist James Williams learned a great deal from his stint with Art Blakey's Jazz Messengers and when he emerged from the group he was perfectly qualified to be a bandleader. His Sunnyside session features such up-and-coming players as guitarist Kevin Eubanks, the reeds of Billy Pierce and Bill Easley, bassist Ray Drummond, and drummer Tony Reedus on a set of original material. Five of the seven songs were composed by Williams, while the other two (including the memorable "Waltz for Monk") were contributed by Donald Brown. The frequently exciting music (high-quality modern hard bop) still sounds fresh. ~ Scott Yanow https://www.allmusic.com/album/alter-ego-mw0000106677

Personnel:  Piano – James Williams; Double Bass – Ray Drummond; Drums – Tony Reedus; Guitar – Kevin Eubanks; Tenor Saxophone, Alto Saxophone, Flute, Clarinet – Bill Easley; Tenor Saxophone, Soprano Saxophone – Billy Pierce

After Ego

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Kirk Lightsey Trio - From Kirk To Nat

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 54:36
Size: 125,7 MB
Art: Front

(6:10)  1. You And The Night And The Music
(7:40)  2. Sweet Lorraine
(4:44)  3. Never let me go
(5:34)  4. Bop Kick
(8:03)  5. Sophisticated lady
(6:22)  6. The Best is yet to come
(4:30)  7. Close enough for love
(5:55)  8. Little Old Lady
(5:35)  9. Kirk's blues

One of the main reasons why this tribute to the Nat King Cole Trio by Kirk Lightsey is a success is that Lightsey (who is from a much later bop-influenced generation) sounds nothing like Cole. Featured in a trio with guitarist Kevin Eubanks and bassist Rufus Reid, Lightsey performs a set of music reminiscent of Cole but several of the songs (including his original "Kirk's Blues," "Never Let Me Go" and "Close Enough for Love") were never actually recorded by Cole; Lightsey takes surprisingly effective vocals on the latter two songs. ~ Scott Yanow https://www.allmusic.com/album/from-kirk-to-nat-mw0000678415

Personnel:  Kirk Lightsey - piano; Kevin Eubanks - guitar; Rufus Reid - bass

From Kirk To Nat

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Kevin Eubanks - Face To Face

Styles: Guitar Jazz
Year: 1986
File: MP3@320K/s
Time: 41:43
Size: 95,9 MB
Art: Front

(5:25)  1. Face To Face
(5:06)  2. That's What Friends Are For
(5:37)  3. Essence
(4:55)  4. Silent Waltz
(4:45)  5. Moments Aren't Moments
(5:31)  6. Wave
(3:23)  7. Relaxin' At Camarillo
(3:50)  8. Ebony Sunrise
(3:08)  9. Trick Bag

Kevin Eubanks' first album with a string section is a triumph of good taste, both in the guitarist's gently swinging work and in GRP chief Dave Grusin's unobtrusive, intelligent, unsentimental string charts. Grusin's gorgeously recorded strings seem to seep into the texture, filling the spaces with just enough mortar. 

The backings alternate between an electric group with Marcus Miller on bass and Grusin applying the Yamaha DX7 electric piano sound and often just Ron Carter on acoustic bass (plus the strings, of course). The treatment of Antonio Carlos Jobim's "Wave" is a beaut, with a lot of rapid acoustic guitar figurework in mid-track. Even unreconstructed beboppers will enjoy the fluid duo-only exchange between Carter's 4/4 bass and Eubanks' electric guitar on Wes Montgomery's "The Trick Bag" and Bird's "Relaxin' at Camarillo," the latter of which Eubanks immodestly calls attention to in his liner notes. But he's entitled; it is impressive. ~ Richard S. Ginell https://www.allmusic.com/album/face-to-face-mw0000187982

Personnel:  Kevin Eubanks - Acoustic Guitar, Electric Guitar; Marcus Miller - Electric Bass; Ron Carter - Double Bass; Dave Grusin - Keyboards; Buddy Williams - Drums; Ralph McDonald, Crusher Bennett, Paulinho Braga - Percussion

Face To Face

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Kevin Eubanks - Opening Night

Styles: Guitar Jazz
Year: 1984
File: MP3@320K/s
Time: 37:43
Size: 92,5 MB
Art: Front

(4:02)  1. Opening Night
(5:03)  2. Shades Of Black
(4:45)  3. The Navigator
(4:06)  4. Thought About Thinking
(4:08)  5. In Flight From Omelas
(6:03)  6. A Place Before you've Been
(4:52)  7. Vera's Isle
(4:39)  8. To Be Continued

An adept guitarist with a bent toward contemporary jazz, Kevin Eubanks is best known for leading Jay Leno's Tonight Show Band. Born in 1957 in Philadelphia, Pennsylvania, Eubanks grew up in a musical family along with his older brother, trombonist Robin, and younger brother, trumpeter Duane  his uncle is pianist Ray Bryant. A talented musician by his teens, Eubanks eventually studied music at Berklee College of Music in Boston. After graduating, he played with a bevy of name musicians including drummer Roy Haynes and saxophonist Sam Rivers; he was also a member of Art Blakey's Jazz Messengers from 1980 to 1981. Eubanks made his solo recording debut with Guitarist on Elektra in 1982. He then signed with GRP and released seven albums, beginning with 1984's Sundance and ending with 1989's Promise of Tomorrow. Moving to Blue Note, Eubanks released several albums, including 1992's Turning Point, 1993's Spiritalk, 1994's Spiritalk 2, and 1994's Live at Bradley's. In 1992, he joined bandleader Branford Marsalis on the Tonight Show with Jay Leno, and in 1995, Eubanks took over the band when Marsalis left.

His friendly chemistry and humorous repartee with Leno quickly established the guitarist as a household name. While the Tonight Show band was his focus during this time, Eubanks did release several albums on his own Insoul label. In 2009, he moved with Leno to lead the Primetime Band on NBC's short-lived The Jay Leno Show. In 2010, Eubanks left The Tonight Show shortly after Leno returned to host it again. That same year, Eubanks delivered the album Zen Food on Mack Avenue Records, and in 2012, he returned with his second Mack Avenue release, the stylistically eclectic The Messenger. In 2015, Eubanks paired up with innovative fellow guitarist/pianist Stanley Jordan for the eclectic covers album Duets. ~ Matt Collar https://itunes.apple.com/us/album/opening-night/1311647726

Personnel:  Kevin Eubanks - Guitar (Acoustic), Producer, Bass, Guitar (Electric), Guitar;  Branford Marsalis - Sax (Tenor);  Buster Williams - Bass;  Kent Jordan - Flute (Alto);  Big Black - Bass, Tumba;  Tommy Campbell - Drums;  David Eubanks - Bass;  Kenny Kirkland - Piano;  Marvin "Smitty" Smith -  Drums

Opening Night

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Kevin Eubanks - Turning Point

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 50:51
Size: 116,8 MB
Art: Front

(5:21)  1. Turning Point (Part I)
(4:44)  2. Aftermath (Part II)
(4:49)  3. Initiation (Part III)
(7:04)  4. New World Order
(5:07)  5. Colors of One
(5:46)  6. Spiral Ways
(6:42)  7. Freedom Child
(6:29)  8. On My Way to Paradise
(4:46)  9. Lingering Destiny

Turning Point is a highly appropriate title for this album. After recording his share of commercial fluff for GRP, Kevin Eubanks switched to Blue Note with this heartfelt CD and strived for excellence instead of going out of his way to avoid it. Creativity, personal improvising, and spontaneity are main ingredients of the album, which unites the talented electric and acoustic guitarist with bass explorer Dave Holland and drummer Marvin "Smitty" Smith, among others. Like so much intellectual jazz, Point requires several listenings in order to be fully appreciated.~ Alex Henderson https://www.allmusic.com/album/turning-point-mw0000612760

Personnel: Kevin Eubanks (guitar); Marlon Jordan (trumpet); Kent Jordan (flute); Dave Holland, Charnett Moffett (bass); Marvin "Smitty" Smith, Mark Mondesir (drums).

Turning Point

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Billy Hart - Oshumare

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 54:59
Size: 125,9 MB
Art: Front

( 6:17)  1. Duchess
( 7:44)  2. Waiting Inside
( 5:56)  3. Chance
( 7:27)  4. Lorca
( 4:45)  5. Cosmosis
(10:20)  6. Idgaf Suite
( 6:09)  7. May Dance
( 6:17)  8. Mad Monkey

Billy Hart is a perfect example of a drummer who has an impressively long list of sideman credits but has only recorded sporadically as a leader. One of the few sessions that he led in the 1980s was 1985's Oshumare, a Gramavision date that has one foot in fusion and the other in straight-ahead post-bop. Hart oversees an interesting blend of acoustic and electric instruments; Dave Holland is on upright bass, while the electric contributions come from Kenny Kirkland or Mark Gray on keyboards and Bill Frisell or Kevin Eubanks on electric guitar. Rounding out the cast which could almost be described an all-star cast are Branford Marsalis on tenor sax, Steve Coleman on alto sax, Didier Lockwood on violin, and Manolo Badrena on percussion. However, the use of the term all-star would be a slight exaggeration because not all of the musicians became major names in jazz although most of them did. But it is no exaggeration to say that Hart leads an impressive cast of players on this CD or that the material is generally solid; that is true of Hart's Latin-flavored "Lorca" as well as Frisell's mysterious "Waiting Outside" and Eubank's abstract "IDGAF Suite." Parts of Oshumare are essentially straight-ahead, especially Holland's fast-paced "Cosmosis." But this album cannot honestly be described as the work of a jazz purist. One minute Hart is straight-ahead, and the next he encourages Eubanks or Kirkland to take things in more of a fusion direction. And that speaks well of the drummer (who was 44 or 45 when this album was recorded), because it demonstrates that he is willing to listen to what younger musicians have to say. Oshumare makes listeners wish that Hart had recorded more albums as a leader in the 1980s. ~ Alex Henderson https://www.allmusic.com/album/oshumare-mw0000188147

Personnel includes: Billy Hart (drums); Branford Marsalis, Steve Coleman (saxophone); Didier Lockwood (violin); Bill Frisell (guitar); Dave Holland (bass); Kevin Eubanks, Kenny Kirkland (piano).

Oshumare

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Dianne Reeves - Music For Lovers

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 53:54
Size: 123,5 MB
Art: Front

(6:33)  1. My Funny Valentine
(7:29)  2. Come In
(5:02)  3. That Day
(5:21)  4. Suzanne
(6:18)  5. You tought my heart to sing
(5:37)  6. Never said (chan's song)
(6:24)  7. Speak low
(5:47)  8. The twelfth of never
(5:19)  9. In your eyes

The Music for Lovers series from EMI and Blue Note spotlights the balladic nature and romantic side of the artists who have recorded for its associated labels. Dianne Reeves performs in a variety of settings here, singing standards from the vocal jazz world as well as R&B and art rock. Beginning with an excellent 1982 reading of "My Funny Valentine" with Billy Childs, the volume picks up two Reeves performances from the late '80s (including one with Herbie Hancock), several from the late '90s (including a version of Leonard Cohen's "Suzanne"), and three from 2000 (including Reeves' own "Come In" with George Duke). ~ John Bush http://www.allmusic.com/album/music-for-lovers-mw0000555782

Personnel: Dianne Reeves (vocals); Nick Kirgo, Paul Jackson, Jr. (guitar); Bob Sheppard (reeds); Kenny Garrett (soprano saxophone); Oscar Brashear (trumpet, flugelhorn); Otmaro Ruíz, Billy Childs, Billy Childs Trio (piano, synthesizer); Jorge Del Barrio (Synclavier); Billy Carroll (electric bass); Gregory Hutchinson, Marvin "Smitty" Smith, Leon "Ndugu" Chancler, Rocky Bryant, Terri Lyne Carrington, Brian Blade, Joe Heredia (drums); Manolo Badrena, Munyungo Jackson, Paulinho Da Costa (percussion); Romero Lubambo (guitar, acoustic guitar); Kevin Eubanks (acoustic guitar); George Duke (piano, keyboards); Mulgrew Miller (piano); Herbie Hancock (keyboards).

Music For Lovers

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Kevin Eubanks - East West Time Line

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 63:03
Size: 145,2 MB
Art:Front

(6:31)  1. Time Line
(8:59)  2. Watercolors
(7:09)  3. Poet
(4:19)  4. Carnival
(8:46)  5. Something About Nothing
(6:24)  6. Take the Coltrane
(4:55)  7. Captain Señor Mouse
(5:00)  8. Cubano Chant
(3:18)  9. What's Going On
(7:38) 10. My One and Only Love

Philadelphia-born guitarist, composer Kevin Eubanks has been building a creative catalog and playing style since his 18-year tenure as the guitarist and music director of TV's, The Tonight Show Band ended in 2010. Eubanks took New York by storm, starting out in straight ahead jazz clubs, followed by progressive albums for contemporary jazz giant GRP Records and legendary Blue Note Records, frequent collaborations with cutting edge bassist Dave Holland, on "The Tonight Show" he played with seemingly every meaningful musician across all genres. Eubanks brings his vast experience, unique right hand technique (choosing not to play with a pick) and his ability to meld styles under the jazz umbrella to his 2017 album, East West Time Line. On this newest offering, Eubanks explores the chemistry he preserves with musicians based on the two opposite coasts and historically, the two styles of jazz. And once again, his distinctive fingerstyle approach to the instrument is in the service of the tunes that run the stylist gamut from burning swingers, to thoughtful ballads, to Latin-tinged tracks and some enjoyable Philly funk. Joining Eubanks on this outing is longtime collaborator and former Berklee College of Music schoolmate, drummer Marvin "Smitty" Smith, who fuels the West Coast outfit alongside seasoned session bassist Rene Camacho, percussionist Mino Cinelu and saxophonist Bill Pierce. Smith's East Coast counterpart on this bi-coastal session is the swinging Jeff “Tain” Watts, a force of nature on the kit who combines with bassist Dave Holland, Philadelphia-based pianist Orrin Evans and New York trumpeter Nicholas Payton. Together these great musicians bring out the best in Eubanks' six-string prowess and ignite his searching instincts throughout the sessions in Los Angeles and New York. Eubanks expands on the project, "Of course, we all came up through New York," says the guitarist who broke in with Art Blakey & The Jazz Messengers during the early '80s. "But we also got the benefits of seeing the East Coast down and dirty and Hollywood down and dirty too. We combined both vibes on this recording the kind of Latin vibe of Los Angeles and the straight up swinging vibe of New York."

The album kicks off with the East Coast crew performing "Time Line," an urgent swinger paced by Holland's signature walking pulse and Watts' polyrhythmic kit work. Eubanks right hand technique allows him to get a sonically different percussive attack rather than if he just used a pick, it also affords him the ability to play more independent parts or counterpoint within his musical ideas. For example, his alternating doubling the baselines and dealing in Wes-style octaves on his solo in "Time Line," reveals the uniqueness of his technique. Payton's strong brass trumpet sound turns in a solo that bristles with energy and "Tain" brings his usual rhythmic power through musicality on the kit during the tag. Eubanks gives his thoughts on the track, "There's something a little Philly about that groove. I mean, it's a long way from when I was playing in the neighborhood bands but basically that's a little Philly vibe in there." The introspective "Poet" introduces Evans on the Fender Rhodes engaging in a sparse and tender duet with Eubanks on the opening four minutes of the tune before the full band enters. All though, Eubanks predominantly takes the solo role during the intro. He keeps a central theme throughout, with Evans playing the supportive role, but when Evans does take the lead, he matches Eubanks musical language and style perfectly. The guitarist shifts from warm-toned electric to nylon-stung acoustic after that distinct break, while Evans moves from Rhodes to acoustic piano in the second half of the tune. The melody is beautiful and Evans chordal colors are perfect. The group returns to the original theme for the ending and really makes an enjoyable musical journey that is jazz and much more.

The West Coast crew opens with a mambo-flavored arrangement of Duke Ellington's "Take the Coltrane." Eubanks articulations are percussive in his attack, slightly on top of pulse of the clave-fueled groove, leading to an exceptional musical statement. Eubanks next extrapolates on a motif from Chick Corea's "Captain Señor Mouse," which has him doubling on steel string guitar and bass, accompanied only by Cinelu on percussion and Smith on drums. The West Coast crews take on Eubanks' uncle, Ray Bryant's "CubanoChant" has the guitarist alternating between acoustic and electric guitar, while Pierce supplies a climbing soprano sax solo.The guitarist explains his directive to the musicians on this popular Afro-Cuban flavored track. "I just said, 'Let's just get compassionate on this...let's breathe on this and let it float so it's not all stick it and quit it. The influence of Latin jazz is undeniable when you're on the West Coast long enough, and I wanted to reflect that in this session." Overall, Eubanks first bi-coastal recording is a great set of music with many styles, amazing playing and most importantly, it really is a creative project that is accessible to all music lovers. Eubanks speak about the overall project, "I think because I'm so familiar with all the musicians and we played together over the years in different settings, on different tours, that it helped the music quite a bit. There's something that goes with friendship, knowing everybody's journey to a large extent, that really enhances the communication between the players on a session. It's that thing where everybody's pulling for each other to do well and trying to make each other sound better, and you keep your sorry-ass ego out of it. We all have egos, we're human beings and everything, but through the love of the music and wanting the best, good things happen. 

It's really such a wonderful kind of democracy that you don't see in other things. I think jazz music is the most perfect example of democracy in action." Well for me, that pretty much sums it up -Enuff said! ~ Geannine Reid https://www.allaboutjazz.com/east-west-time-line-by-geannine-reid.php

Personnel: Kevin Eubanks: guitar; Marvin “Smitty” Smith: drums; Jeff "Tain" Watts: drums; Rene Camacho: bass; Dave Holland: bass; Mino Cinelu: percussion; Bill Pierce: saxophone; Orrin Evans: piano; Nicholas Payton: trumpet.

East West Time Line

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Kevin Eubanks - Spirit Talk

Styles: Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 52:58
Size: 121,7 MB
Art: Front

(7:13)  1. Landing
(7:21)  2. Contact
(5:02)  3. Union
(6:21)  4. Spirit Talk
(6:24)  5. Earth Party
(4:59)  6. Inside
(5:16)  7. Going Outside
(4:32)  8. Journey
(5:46)  9. Livin'

The first of Kevin Eubanks' Spirit Talk albums is the best, with the guitarist's rolling, syncopated guitar solos blending most naturally with the warm sound of brother Robin's trombone, Kent Jordan's alto flute, and Dave Holland's bass. Drummer Marvin "Smitty" Smith provides the music with a good kick in the pants when it needs it, the juxtaposition of his aggressive approach with the rich sounds of the winds working better than would be anticipated. The compositions on Spirit Talk are uniformly strong, with interesting, catchy melodies, odd-metered rhythmic figures, and excellent solos by all parties. Eubanks himself is an oft-overlooked modern master of the guitar, with a funky, percussive approach that is immediately recognizable. However, the mix is slightly odd, favoring Smith's drums at the expense of Eubanks' guitar. This works against the music, but it is not so egregious a miscue that the album as a whole suffers from it. The one exception to the all-acoustic approach on this record is "Inside," where Eubanks swaps his steel string for a darkly colored electric. The melancholy tune, the most straight-ahead on the record, is also one of its strongest moments, with Robin Eubanks' trombone carrying the bittersweet melody. Overall, Spirit Talk is a fine album, well worth owning by fans of modern jazz. ~ Daniel Gioffre http://www.allmusic.com/album/spirit-talk-mw0000620724

Personnel: Kevin Eubanks (guitar, acoustic guitar, electric guitar); Marvin "Smitty" Smith (vocals, drums, percussion); Kent Jordan (flute, alto flute); Robin Eubanks (trombone); Dave Holland (acoustic bass); Mark Mondesir (drums).

Spirit Talk

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Bob Thompson - Brother's Keeper

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 37:57
Size: 88,0 MB
Art: Front

(7:36)  1. Shooting Star
(5:23)  2. Undercover
(5:08)  3. Waiting For You
(5:24)  4. Brother's Keeper
(5:03)  5. My First Lady
(4:51)  6. Overjoyed
(4:28)  7. Vitoria

The music of West Virginia pianist Bob Thompson, active as a leader or sideman since the 1970s, ranges from electric and acoustic in a mostly dance-funk style to excellent modal jazz à la McCoy Tyner. In the late '80s Thompson also became house pianist for the Mountain Stage radio program, produced by West Virginia Public Broadcasting and widely distributed by National Public Radio. He recorded a number of albums for the Atlanta-based Ichiban label during the 1990s and into the 2000s while also establishing his own Colortones.com label for such releases as the 1998 holiday outing Joy to the World and the Bob Thompson Unit's Caught in the Act (1999), Homeland (2002), and Hit from the Git (2006). More Joy to the World and Bob Thompson "Live" on Mountain Stage followed on Colortones in 2007. ~ Michael G.Nastos http://www.allmusic.com/artist/bob-thompson-mn0000074042/biography

Personnel:  Piano, Synthesizer – Bob Thompson ;  Acoustic Guitar, Electric Guitar – Kevin Eubanks;  Bass – Gerald Veasley;  Drums – Omar Hakim;  Keyboards [Keyboard Programming And Sampling] – Jay Hetler;  Violin – John Blake

Brother's Keeper

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Orrin Evans - #Knowingishalfthebattle

Size: 168,9 MB
Time: 72:12
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. #Knowingishalfthebattle (Matthew Evans Remix) ( 0:58)
02. Calls ( 4:52)
03. When Jen Came In ( 5:55)
04. Chiara (10:00)
05. Kooks ( 6:30)
06. You Don't Need A License To Drive ( 7:13)
07. Half The Battle ( 7:23)
08. Heavy Hangs The Head That Wears The Crown ( 5:38)
09. Doc's Holiday ( 6:51)
10. Slife ( 5:29)
11. That's All ( 6:03)
12. Zeni Bea ( 4:09)
13. #Knowingishalfthebattle (Snarky) (Matthew Evans Remix) ( 1:05)

On paper, jazz pianist Orrin Evans returns to his childhood roots and all the branches of influence that accompany it to inspire the thematic forces of his next Smoke Sessions record, #knowingishalfthebattle. In reality, the listening experience provides so much more.

“Knowing is half the battle” comes from a 1980s children’s cartoon, “G.I. Joe,” and it’s a saying the Philly musician is fond of repeating during pivotal moments in his life.

The fruits of such inspiration lead Evans inward, as he relies on instinct and a sense of improvisation in every one of his original and originally designed compositions.

Enabling the improvisational instincts to flourish are two of the world’s finest examples, guitarists Kevin Eubanks and Kurt Rosenwinkel — also from Philadelphia. Eubanks and Rosenwinkel flavor Evans’ thematic scope with just the right amount of verve with open-minded absorption, gathering the inspiration from out there and within.

“They're two guitarists, but they're two people who have taken the guitar information and translated it in their own way,” Evans described in a recent press release from DL Media. “One uses a pick, one doesn't; one uses a volume pedal more than the other, one plays with more effects on their sound, one is coming from Wes Montgomery and the other is coming from a different point; but they're both taking the information they were given and doing something different with it.”

The album has Evans also playing with bassist Luques Curtis, borrowing his baby girl’s cries for her special number “Zeni Bea,” returning vocalist M’Balia, drummer Mark Whitfield Jr., and saxophonist Caleb Wheeler Curtis.

#knowingishalfthebattle is Evans’ third album from Smoke Sessions Records, a more than suitable follow-up to last November’s The Evolution Of Oneself. It’s also his way of imparting his own life lessons in his music. “We're taught that with knowledge comes power. Which is true, but we never really realize that with knowledge comes responsibility,” Evans explained in that press release. “Then we have to figure out how to forget. When you let go of everything that you've been taught, the possibilities of what can happen on the bandstand are endless.”

Evans and his recording band let go of everything to jam their hearts out on instrumental and vocal compositions mostly cooked up by these original artists.

M’Balia’s loose, on-key vocals in David Bowie’s “Kooks” keeps the melodically inclined happy, while the totally instrumental “You Don’t Need A License To Drive,” taken from Evans’ playwright dad, gives the jazzheads what they most desire, lots of funked-up chordal nodules to vibe off.

Evans displays originality of thought that pushes traditional jazz to the outer limits, into a kind of free form that encompasses more than the stagnant, meditative New Age class and the classicist-abstaining, experimental world music followers, where anything goes as long as it’s pregnant with possibility.

The slow-moving but not at all monotonous “Heavy Hangs The Head That Wears The Crown” by Caleb Wheeler Curtis fulfills the promise of both extremes, giving Eubanks and Rosenwinkel plenty of art room to create on the spot. Evans gives the creativity room yet grounds the lofty art with a place to go, rest, and return; he and his rhythm section come and go, reminding the guitarists to come back down to earth eventually, which they do in wispy, whispery strands. ~Carol Banks Weber

#Knowingishalfthebattle                 

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Kevin Eubanks - Shadow Prophets

Styles: Guitar Jazz
Year: 1988
File: MP3@320K/s
Time: 45:20
Size: 104,2 MB
Art: Front

(5:02)  1. Songhouse
(4:38)  2. Village Dance
(5:11)  3. Twilight Tears
(5:31)  4. G-Town Hang
(4:47)  5. He Smiled The Sea
(5:05)  6. Mice Mobsters
(5:45)  7. Shadow Prophets
(4:05)  8. Jenna's Dream
(5:12)  9. Eye Spy

Shadow Prophets was a marked improvement over The Heat of Heat, but it was obvious that GRP was trying desperately to find a niche for Kevin Eubanks. Despite a distinctive guitar style and an endless stream of ideas, Eubanks was again being molded in the same style as George Benson (the pop version). The inclusion of Mark Ledford also indicates an effort to ride the Pat Metheny wave that was so popular on contemporary radio stations at this time. 

Commercial efforts aside, there is some excellent playing here not just by Eubanks, but also by the underrated drummer Tommy Campbell, whose playing on the opening tune, "Songhouse," is breathtaking. Eubanks was certainly compromising his style at this point in his career, but the folks at GRP gave him a little more space and creative freedom. The results are mixed, but worth exploring for the sheer fact that Eubanks is such a great musician and makes the most of this limiting style of music.~Robert Taylor http://www.allmusic.com/album/shadow-prophets-mw0000196508

Personnel:  Acoustic Guitar, MIDI Guitar Synth – Kevin Eubanks;  Lead Vocals – Mark Ledford;  Electric Bass – Rael Wesley Grant,  Victor Bailey;  Keyboards – Onaje Allan Gumbs;  Backing Vocals – Kevin Eubanks, Mark Ledford;  Drums – Gene Jackson, Tommy Campbell.

Shadow Prophets

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Kevin Eubanks - The Messenger

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 56:22
Size: 129,7 MB
Art: Front

(5:40)  1. The Messenger
(5:47)  2. Sister Veil
(5:40)  3. Resolution
(4:27)  4. JB
(4:18)  5. 420
(5:33)  6. Led Boots
(6:00)  7. M.I.N.D.
(3:50)  8. Queen Of Hearts
(5:30)  9. The Gloaming
(4:09) 10. Loved Ones
(5:23) 11. Ghost Dog Blues

It's a shame that so few people only know guitarist Kevin Eubanks as the always-smiling, lick-delivering bandleader and guitar sidekick on The Tonight Show with Jay Leno. He was sharing the stage with drummer Art Blakey and recording with drummer Billy Hart long before he ever did the daily grind in television studios, but time has an unfortunate way of rewriting history. Eubanks added volumes to Leno's program during his tenure with the comedian-turned host, both in terms of music and personality, but his creativity was shackled in such a restrictive setting; now, his mind is free to roam wherever he pleases. Eubanks left the land of late night television in 2010 and immediately announced his return to jazz with the worth-the-wait Zen Food (Mack Avenue Records, 2010). Now, he's back with a follow-up that's both slick and mellow at the same time.

It's hard to know exactly what to make of an album that contains a funky rewrite of saxophonist John Coltrane's music with a vocal bass line ("Resolution"), a sensitive solo guitar number ("Loved Ones") and a plain-as-day, but pleasing-as-anything blues ("Ghost Dog Blues"), but then again, this is Kevin Eubanks; if his time on television proved anything, it marked him as a versatility man and he's game to show that quality here. His music can be alternately moody ("Sister Veil"), powerful ("420") or peaceable ("The Gloaming"), and he's one of the only artists who can really be funky without being overly forceful ("JB"). His take on guitarist Jeff Beck's "Led Boots" proves to be the only misstep, as it's stripped of its potency and made into a bit of nonsensical jamming with the presence of Alvin Chea's vocal bass work; Chea is phenomenal on "Resolution," but a bit over-the-top here.

Eubanks' instincts about personnel decisions help to further the diversity at play in the music. His working quartet, which was also featured on Zen Food, controls the scenery and intensity, but the guests help to change the sonic identity of each number. Percussionist Joey De Leon Jr. adds a rumbling Latin presence to the title track, Chea has his day on the aforementioned tunes, and Eubanks' horn wielding siblings join the program in a few places; they never disappoint. Robin Eubanks' electronically shadowed trombone work on "JB" is an absolute gas and trumpeter Duane Eubanks immediately takes the baton and runs with it. Their appearances, both together and on separate tracks, help to make the argument that the Eubanks brothers are due for an official family offering. Eubanks sought "to communicate the breadth of his artistic influences" with this album and he can rest knowing that he accomplished his mission. The Messenger is Kevin Eubanks' wonderfully open personality filtered into music.~Dan Bilawskyhttp://www.allaboutjazz.com/the-messenger-kevin-eubanks-mack-avenue-records-review-by-dan-bilawsky.php
 

Personnel: Kevin Eubanks: acoustic guitar, electric guitar; Bill Pierce: tenor saxophone, soprano saxophone (1-5, 7-9, 11); Rene Camacho: bass (1-7, 11); Robin Eubanks: trombone (4, 8); Duane Eubanks: trumpet (2, 4, 5); Alvin Chea: vocals (3, 6); Joey De Leon, Jr.: congas, percussion (1, 5).

The Messenger

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Kevin Eubanks - Zen Food

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 59:20
Size: 136,3 MB
Art: Front

(5:36)  1. The Dancing Sea
(6:27)  2. Spider Monkey Cafe
(8:30)  3. The Dirty Monk
(7:34)  4. Adoration
(7:22)  5. Los Angeles
(3:52)  6. I Remember Loving You
(8:00)  7. 6/8
(4:13)  8. G.G.
(6:28)  9. Offering
(1:13) 10. Das It

As the former Tonight Show's music director for 18 years, guitarist Kevin Eubanks admirably performed the necessary duties of leading the house band, trading comedic barbs with host Jay Leno, and whatever else it took to get the job done. But before the glamor and glitz of Hollywood, most folks probably didn't know that Eubanks was and still is a superb jazz musician who has performed with Art Blakey and the Jazz Messengers, bassist Dave Holland, and released a number of fine recordings. Eubanks' new chapter begins with Zen Food, showcasing his continued guitar mastery with a new band and fresh material. The recording's dynamics mirror his talent: an intrepid player with the ability to play with deep feeling; and a robust writer, covering a range of hard hitting vamps ("The Dancing Sea"), stealthy grooves ("Spider Monkey Cafe"), and blue serenity (" The Dirty Monk"), and tender ballads ("I Remember Loving You").

The band's symbiotic connection is crucial, beginning with the cornerstone of bassist Rene Camacho and veteran trap-master Marvin "Smitty" Smith who was also a member of the Tonight Show band. Moments such as the hymnal inspired "Adoration" are vivid, as Eubanks' acoustic chord-work is the perfect accompaniment to Gerry Etkins' ethereal keyboards. The set feels, at times, like a potpourri of styles, but the high level of musicianship elevates tracks such as the Wes Montgomery-like storm of "6/8," and the infectiously hip "G G (Gerry's Groove)," where Bill Pierce's saxophone laments sweet blues and Eubanks' electric guitar echoes the sentiment with elongated and improvised notes. Eubanks is a complete player, whether delivering jaw-dropping solos or flavorful comps. On top of that, he's not lost his superlative chops on acoustic guitar, as "Das It" attests. This short barn-burner displays a dexterity, intensity, and muscular finger picking reminiscent of his killer Shadow Prophets (GRP, 1988). What lies ahead for Eubanks is anyone's guess, but it is sure to be an interesting journey that begins with the welcome return of Zen Food.~Mark F.Turner http://www.allaboutjazz.com/zen-food-kevin-eubanks-mack-avenue-records-review-by-mark-f-turner.php

Personnel: Kevin Eubanks: guitars; Bill Pierce: saxophone; Gerry Etkins: keyboards; Rene Camacho: bass; Marvin "Smitty" Smith.

Zen Food

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Gabrielle Goodman - Travelin' Light

Styles: Jazz, Vocal
Year: 1993
File: MP3@320K/s
Time: 44:17
Size: 101,6 MB
Art: Front

(4:16)  1. Travelin' Light
(4:21)  2. Cherokee
(3:52)  3. Over The Rainbow
(5:59)  4. Manila
(4:23)  5. Never Too Late
(3:19)  6. Blues Walk
(6:40)  7. My Funny Valentine
(4:52)  8. Use Me
(6:30)  9. Don't Explain

Sounding like a combination of Sarah Vaughan and Chaka Khan seasoned with a dash of Roberta Flack, Gabrielle Goodman is joined by a motley crew of modern musicians, swoops, scats, and whoops through a playlist of standards and originals, one of them by Goodman herself. For the most part, it seems that the arrangements, including those of the standards, are "popularized." That is, they have been designed to be attractive to fans of contemporary popular music. One exception is the Gershwin Brothers' "Someone to Watch Over Me," where Goodman opens the verse with just Kevin Eubanks' subdued guitar (one of few subdued moments on this disc) behind her. Additional instrumentation, especially Gary Thomas' tenor, joins in for a very relaxed chorus. (Thomas and his saxophones are very prominent on this disc.) But on most of the cuts, Goodman's voice soars to the heavens. "Over the Rainbow" becomes a bop aria, and on "Travelin' Light," her voice becomes a horn, competing with Thomas' tenor for the dominating position on this tune. Goodman's rendition will not remind anyone of Judy Garland's. 

The Goodman composed "Manila" is a major production. The pulse is established by drummer Buddy Williams' back beat. Barry Miles' synthesizer weaves in and out with Goodman's voice as she overdubs the background vocals. Clifford Brown's "Blues Walk" flirts with the avant-garde, as Goodman sings wordless vocals, Thomas' serendipitous sax wailing with her. This tune, with Goodman and Thomas as a two-person ensemble, is one of the album's highlights. Once more she relies on the laid-back guitar of Eubanks in her thoughtful, emotional offering of "Don't Explain," another of the album's strong performances. Many will have to give this album more than a single play before fully appreciating it, but they will assuredly be drawn to Goodman's wide-ranging, unusual but haunting presentation of the music. Travelin' Light will be particularly appreciated by those who prize a singer willing to take some major risks. [Fortunately, the lyrics are reprinted in the liner notes.] ~ Dave Nathan  http://www.allmusic.com/album/travelin-light-mw0000107892

Personnel: Gabrielle Goodman (vocals, background vocals); Michael Cain (piano); Anthony Cox (bass instrument, acoustic bass); Rubén Rodríguez (bass instrument, electric bass); Tony Bunn (electric double bass); Tony Bunn (electric bass); Mark Feldman (vocals, violin); Kevin Eubanks (guitar, acoustic guitar, electric guitar); Wolfgang Muthspiel (guitar, electric guitar); Gary Thomas (soprano saxophone, tenor saxophone); Barry Miles, David Bunn (piano, synthesizer); Mike Cain (piano); Buddy Williams (drums); Don Alias (congas, percussion).

Travelin' Light

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