Multi-faceted
guitar heroes Kevin Eubanks and Stanley Jordan recording a Duets album: an idea
that as soon as you hear it, you wonder why nobody, including you, thought of
it until now. Eubanks, the Philadelphia native who took New York by storm
starting out in straight ahead jazz clubs then progressive albums for
contemporary jazz giant GRP Records and legendary Blue Note Records, frequent
collaborations with cutting edge bassist Dave Holland, then 18 years in Jay
Leno's "The Tonight Show" Band (15 as Music Director) where he played
with seemingly every meaningful musician across genres. Jordan, the
Chicago-born/Bay Area-raised phenomenon who mesmerized audiences with his instantly
identifiable "touch technique" on guitar beginning with his
gold-selling Blue Note Records debut Magic Touch (featuring his radio staple
remake of Michael Jackson's "The Lady in My Life"), followed by a
string of wide-ranging endeavors including a one-off for Clive Davis' Arista
Records and explorations into the field of music therapy. Add that, between
them, both gentlemen play piano, bass and keyboards - arrange and compose - and
the possibilities become truly inviting. Surely Eubanks and Jordan would make some
engaging "beyond boundaries" music together. That they do on their
serenely seamless 10-song Mack Avenue Records outing, Duets - spontaneous
compositions and passionate arrangements that will send listeners' imaginations
on a series of hypnotic journeys.
The
impeccably balanced Duets includes four all-new "skull arrangements"
(so called because they were jointly created off the top of their heads),
versions of four well-known classics: "Nature Boy," "Blue in
Green," "Summertime" and "A Child is Born," plus
interpretations of a modern pop song (Adele's "Someone Like You") and
an electronic dance pop hit (Ellie Goulding's "Lights"). These were
the all-natural uncalculated result of long philosophical heart to hearts as
well as a 9-city tour - over 30 years after Eubanks and Jordan's first meeting
in the early '80s at New York's famed jazz-fusion club, the 55 Grand.
"We've
known each other since the early `80s," Eubanks opens. "Since then
we'd see each other mostly on festival stages." Jordan adds, "I knew
him as one of the best musicians in the early days before any of us were well
known beyond the inner music circles...a guitarist with an unconventional
finger style technique. I could relate to that. We were going for something
different and I never viewed him as a competitor. The music was big enough for
both of us."
The game
changer occurred in September 2011 within the idyllic setting of Village Square
in British Columbia at the inaugural Jazz on the Mountain at Whistler festival.
Both guitarists were on the bill with Eubanks also presiding as Artist in
Residence. Jordan stopped to watch Eubanks give an outdoor interview and found
himself additionally impressed by several beliefs and principles he was
sharing. "It's about the challenges of being an eclectic musician in a
world where everything is so tightly formatted," Jordan explains. "He
had a lot to say. Afterwards, we talked for a really long time - hours. That's
when the seed for us doing something together was planted." Eubanks adds,
"Stanley and I are in alignment on a number of things. We share an
open-mindedness that's about inclusiveness instead of exclusiveness - that,
ultimately, sharing is better than not."
They
decided to do a short tour; initially playing separate sets with someone
occasionally popping in on the other's time. Word got back that audiences liked
it best in those moments when they played together. Everything changed during a
sound check in Texas, April 2013. "We were in an all wooden church where
the acoustics were fantastic," Eubanks recalls. "We started playing,
looked at each other, and felt how easy and nice everything flowed. That
exchange created a lot of energy. The show flipped to us starting the show
together, playing a couple songs alone, then us back together to close.
Musicians sometimes get so myopic in their own world and need to get their
minds past the foot of the stage. This was a case where the audience had a
broader picture of what was possible than we did."
The next
step was documenting their developing concepts on a recording. Their disparate
schedules delayed not only their recording but even making time to prepare
before they went in. Most of what you hear on Duets was conceptualized during
the week of recording in Eubanks' state of the art facility - a studio as good
as most in Hollywood down where his basement used to be, complete with Neve
console, a Steinway piano and booths for every instrument. He recorded all of
his most recent Mack Avenue releases there. "We didn't know anything we
were going to do until Stanley came to the house," Eubanks says.
"We'd planned to get together to hash it all out but we never got around
to it until we had to - on the session." Jordan explains, "I had a
lot of gigs during that time. I relied on Kevin to do a lot of the detail work
that made the album feel like a whole. I knew from his experience creating 'The
Tonight Show' arrangements night after night that the process for him had
become as effortless as breathing."
One
interesting reveal is both of them playing some piano in addition to guitars,
an especially major deal for Eubanks. "My Mom played, my uncle Ray Bryant played
and I grew up listening to piano, transcribing Oscar Peterson," he says.
"Guitar was my career. Piano was for relaxing. I enjoyed the freedom of
not having to be good on piano but I'm excited now to put myself out there on
Thad Jones' 'A Child Is Born,' the first song that made me feel like I was
really playing something years ago. It opened up a lot of things for me on
piano."
Also of
note are their delicate spins on more mod covers. "I brought in the Adele
and Stanley brought in 'Lights.' I looked at it as a real opportunity to
incorporate them into something with a nice fresh feel but still be appreciated
by the artists that wrote them." Stanley adds, "During my road trips
I comb the radio dial and I listen to all kinds of music. When I heard 'Lights'
I knew this was a recognizable song we could do in our own way. It was a little
tricky because production plays such a big role in songs today. Jazz is more
about melody and harmony. I chose 'Lights' because of its hauntingly beautiful
melody and sweet chords. I think the version we created is something special on
its own."
Most
exciting are the four "skull arrangements" that started as jams then
evolved in the studio over a few takes which gave the duo organic arranging
ideas to get from point A to B. Jordan defines these pieces as "the real
essence of what we do." Eubanks adds, "You get more out of the deal
when people are involved with a willingness to make the whole thing bigger than
'my part and your part.' Together we've got this thing that's bigger than
anything we can do alone." Kevin absorbed substantial inspiration toward
this direction from young musicians he encounters today. "I really love
the cats coming up in jazz. They are the most respectful group of ladies and
gentlemen. Their excitement has no trace of bitterness and they bring so much
more to the table. One cat is designing an app to help him keep a band
together. That wasn't around when I was coming up. It makes them more open
minded about, 'How do we get the music out there?' Music should be the portal
that unites instead of the door that separates people."
Summing
up Kevin Eubanks and Stanley Jordan's inaugural Duets recording, Jordan
thoughtfully concludes, "This album fills a nice niche because it's
relaxing yet engaging. When you hear Kevin and me playing together, it's all
about the music and supporting each other. I just love the feel of it - it has
a real sweetness. People who listen from their heart are really going to love
this record as an antidote to the norm."
Kevin
Eubanks and Stanley Jordan - Duets is set for release on March 24, 2015.
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