Kevin Eubanks, the art of the guitar

We know that in a musical style as the jazz, that demand technique and creativity, all instrument has its history stigmatized for the trajectory of one, two, three… little more than what five instrumentalists that, for having contributed with the development technician and style of the instrument, had finished if becoming legends for all the others that they had come after them - the jazzistic guitar, for example, can genealogically be summarized around some few names as Charlie Christian, Wess Montgomery, Grant Green, Pat Metheny, not much more of what these.

Then, the exit pra to sound original and not to be always in the shade of the experienced influences already is to create a proper style or to use a new formula: to form one combo with a different configuration of the convecionals formations, to risk for inusuais experiments, different arrangements and different compositions of the used dantes, and for goes there. E was this, then, that the guitarist young lion Kevin Eubanks made in middle of the decade of 80 for the beginning of the decade of 90. Soon after to have last its phase of learning as sideman and to leader beginning, Kevin started to give to an attention all special one to the guitar (or guitar acoustics), instrument not so usual in the jazzística sphere how much it is in Brazilian and Spanish music.
Bands of the World records Trio & Spiritalk Initially influenced for the guitars of Wes Montgomery and Pat Martino, Kevin Eubanks - brother of the trombonist Robin Eubanks and the trompeter Duane Eubanks - abandoned the course of music of the sanctioned conservatory Berklee College of Music, of Boston, to run behind work in the bands of New Iorque. It gave certain. The enormous talent of the Eubanks young soon called the attention the biggest finder of talents of the history of the jazz: the veteran to hardbopper and baterista Art Blakey, musician whom Messengers Jazz not only made of its band (1954-1990) the biggest source of talents, but the band of bigger duration in the history that, also, collaborated to discover the majority of the young lions, young musicians that they had renewed the aesthetic ones of the acoustic jazz in the 80 decade of e, consequently, had buried the trend of the special guitars, grooves electronic and all the metallic equipment that distune the jazz of its natural indentity imposed by the great masters until middle of years 60.

And Kevin Eubanks, plus one of these " young lyons" , it passed, from now on, to applaused in its performances in the bands of Art Blakey, Sam Rivers, Slide Hampton, Roy Haynes and Dave Holland, with who it finished firming great friendship and partnership. Also remembering that, in parallel to its contribution with Holland, Eubanks started to collaborate with Steve Coleman in the formation of the M-Base style in some of the first albums of this aesthetic one. Since the start of its launchings from 1982, Kevin Eubanks already came using the guitar (or acoustic to guitar, as it is mentioned in linners you notice of records) to the side of the conventional electric or half-electric guitar, used, for times, close to the style " montgomeryano" bop of the time (or neo-bop) and post-bop more elastic with tenuous influences of the rock and fusion enters new hard.

However, from the beginning of the years 90, Kevin it started to give to greater attention to the possibilities acoustics of the guitar through formations in trio and quartet, which had started to have great regular contributions of sidemans as the contrastock exchange operators Dave Holland and Charnett Moffett, the drummer of M-Base Marvin " Smitty" Smith, the flautista Kent Jordan, the trombonista Robin Eubanks (its older brother) and the French drummer I mine Cinelu. With these musicians, Kevin started to launch fantastic records where the guitar took the line of front as soilist and harmonizer - some of the times to the side of a melodic instrument (flute or trombone), whereas the contrabass and the drum almost always dictated to the pulsations and beats in rhythmic funky and proliferated. The special drum of Marvin " Smitty" Smith sounds perfect in this boarding when dictating the intensity of the improvisation, at the same time where the attacks, the fingerings and the phrases emitted for the steel ropes of the guitar of Kevin sound virtuous.
www.farofamoderna.blogspot.com.br