Jazz Articles about Robin Eubanks

Bill Bruford / Tim Garland: Earthworks Underground Orchestra

by John Kelman
January 26, 2006

Although jazz has left behind its America-centricity and become a more international language, a mysterious chasm still exists between the American and UK jazz scenes. For every artist like Kenny Wheeler who has achieved American recognition, a dozen others have not. But with Earthworks Underground Orchestra, drummer Bill Bruford and woodwind multi-instrumentalist Tim Garland narrow the gap, proving that swing is more than a defined rhythm--it's a feel, with an expanding definition.

Bruford's 1980s electro-acoustic Earthworks quartet began a gradual ...

Robin Eubanks: Get 2 It

by David Adler
January 1, 2002

Robin Eubanks reconvenes his Mental Images ensemble on this wholly independent release. Playing both standard and electric trombones, Eubanks leads his players and special guests with enthusiasm and finesse. As on previous releases, he tips his hat to Wayne Shorter, this time with a beautiful “House of Jade" (with electrified intro/outro). The rest of the tracks are originals, ranging from involved full-band numbers ("Cross Currents," “Sabanna," “Indo") to an unconventional, off-the-cuff trio ("Reunion," for bone, guitar, and percussion) to varied ...

Robin Eubanks: Get 2 It

by AAJ Staff
May 1, 2001

On his sixth CD as a leader, Robin Eubanks progresses from the distinguished history of the jazz trombone, and he moves ahead to advance its voice in a way that few other trombonists have done. With the recent passing of J.J. Johnson and Al Grey, Eubanks is taking the lessons from their own innovations and is growing with his own. While listeners have no doubt been impressed with Eubanks' recent work with Dave Holland, lurking beneath his interpretations of Prime ...

Robin Eubanks and Mental Images: Get 2 It

by Jim Santella
May 1, 2001

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 ...

Robin Eubanks and Mental Image: Get 2 It

by C. Andrew Hovan
May 1, 2001

Music of lasting value seems to transcend time and place. In other words, if it has eternal worth it will sound as fresh ten or twenty years down the road as it did the day it was recorded. You can't say that about a lot of the jazz that has been documented over the past twenty years or so. In an attempt to make this all relevant to the disc at hand, let us think about the M-Base movement which ...

Robin Eubanks and Mental Images: Get 2 It

by C. Andrew Hovan
May 1, 2001

Like many creative endeavors, there seems to be cyclical nature to the trends and fashions that influence artist's musical undertakings. The impact of acid rock and funk could be heard in the jazz of artists such as Miles Davis and John McLaughlin when they “plugged in" during the late '60s and early '70s. We would then need to skip forward to the mid '80s to again see funk and electronic stimuli making their mark on the M-Base faction that found ...

Robin Eubanks and Mental Images: Get 2 It

by Jim Santella
May 1, 2001

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 ...