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Robin Eubanks and Mental Image: Get 2 It
by C. Andrew Hovan
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 ...
Continue ReadingRobin Eubanks and Mental Images: Get 2 It
by C. Andrew Hovan
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 ...
Continue ReadingRobin Eubanks and Mental Images: Get 2 It
by Jim Santella
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 ...
Continue ReadingRobin Eubanks: Get 2 It
by AAJ Staff
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 ...
Continue ReadingChip White: Harlem Sunset
by Glenn Astarita
Harlem Sunset is the impressive debut recording from powerhouse drummer Chip White originally released in 1994 on the Postcards label which is now brought to us by way of Arkadia Records. Here, White shines as a composer, offering a series of compositions that convey an at times, hard-edged tenderness featuring killer support from an estimable bunch comprising saxophonist Gary Bartz, trombonist Robin Eubanks, vibraphonist Steve Nelson bassist Buster Williams and trumpeter Claudio Roditi. The proceedings get off to a furious ...
Continue ReadingDave Holland: Points of View
by Douglas Payne
British bassist and jazz veteran Dave Holland (b. 1946) has refashioned his ever iconoclastic quintet to feature Steve Wilson's sax and Robin Eubank's trombone interacting with former Quintet partner Steve Nelson's pianistic vibes and Billy Kilson's aggressively sensitive drumming.Holland cites the guiding influence of Duke Ellington in his Points of View. And while there is something starkly modern -- even unique -- in the bassist/composer's conceptions, there really is evidence that the great Ellington has inspired ...
Continue ReadingDave Holland: Points of View
by Larry Koenigsberg
The eight compositions which make up Points of View are so varied that this in itself becomes a hallmark of Dave Holland's style here. Consistency instead comes from the interaction of the players, whom Holland's arrangements give ensemble roles during each other's solos; from the unusual instrumentation, used both for frank exoticism ("Bedouin Trail", “Serenade") and to leaven more traditional compositions with surprise. The soloists are imaginative, and swinging on those tunes where swing is part of the picture. Holland ...
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