DUANE EUBANKS QUARTET

Duane Eubanks was raised in a musical family, but stopped playing in his teens and instead pursued a degree in accounting; six years later, he conceded that this had been an error, and returned to music. He subsequently studied jazz at Temple University, where he played with Wynton Marsalis and Billy Taylor, and also spent two years training with Johnny Coles.

He hass released his first album, My Shining Hour, in 1999, having been approached by a producer who had heard him performing on his brother Robin’s album 4: JJ / Slide / Curtis and Al. In 2002 and 2005, Eubanks shared in the Grammy Awards received by Dave Holland’s big band for the albumsWhat Goes Around and Overtime.

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SEBASTIAN LOIACONO QUINTET

Sebastian Loiacono Quintet Plays Duke Ellington

The Quintet

Sebastián Loiacono ~ saxophone | Mariano Loiacono ~ trumpet | Pablo Raposo ~ piano | Mauricio Dawid ~ double bass | Alejandro Beelmann ~ drums 

Table. One ticket per person ~ $20,000 peso | $15.74

Stools. One ticket per person ~ $16,000 peso | $12.59

Location with reduced vision ~ $10,000 peso | $7.87

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RENE MARIE

Part of René’s musical philosophy has been focused on giving back. In 2010, she launched a series of vocal therapy group sessions called SLAM. “I’ve never been to college or received any ‘professional’ training,” she said at the time, “so I feel a bit anxious about my ability to convey my personal approach to singing. However, I know what I know, and I’ve always been up for a good challenge.” And in a self-deprecating moment, she added: “Although the thought of attempting to share my vocal philosophy often makes me wonder if I have completely lost touch with reality.”

René joined the Motéma label with the 2011 release of Voice of My Beautiful Country, followed later that same year by Black Lace Freudian Slip. Her 2013 followup, I Wanna Be Evil: With Love To Eartha Kitt, earned a Grammy nomination in the Best Jazz Vocals category. Her Sound of Red album has been nominated for a 2016 Grammy Award for Best Jazz Vocal Album.

Perhaps more than most artists, René understands music’s capacity to heal and inspire. Not only has she herself been the beneficiary of it, but she has made every effort along the way to extend those same benefits to others.

“I have never forgotten the early lessons learned about the power of music,” she says. “Today, I try to imbue that feeling of emotion into every song I write and every song I sing – every time. I am very happy to be alive today, doing the things I love to do – singing, composing, writing, teaching and arranging.

Cover: $29.95 ~ $46.35

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EARL PHILIPS BIG BAND

Tribute to Terry Gibbs & His Dream Band | Steve Weiss Mallet Festival)

Earl Phillips is active as composer/arranger, educator, and bass trombonist in the greater Philadelphia area. As a composer/arranger, Earl directs and writes for the Earl Phillips Big Band and has led his own 17-piece big band since 2007.

As an educator, Earl is the Professor of Jazz Trombone and a member of the Composition / Arranging faculty at Rowan University.  Earl is also the Director of thel Jazz Ensemble, and teaches Music Theory and Music Technology at Cherokee High School.  Earl has also directed the Philadelphia Grammy Band (2005-2007), the All South Jersey Jazz Ensemble (2008 &2012), the All Central Jersey Jazz Ensemble (2014) and he has been a clinician/manager with the New Jersey All State Jazz Ensemble (2009-2014).

In 2020, through the COVID pandemic, Earl ran 2 All-State Jazz Ensembles to keep region jazz running and, for those efforts, was recognized as  the 2020 New Jersey Association of Jazz Education “Teacher of the Year” award.

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Requisites

Out Of The Forrest ~ Jimmy Forrest | By Eddie Carter 

This morning’s spotlight shines on Jimmy Forrest, whom I first heard on the 1960 release, “Soul Battle,” with King Curtis and Oliver Nelson. Out of the Forrest (Prestige PRLP 7202) was his fifth outing as a bandleader and hit the stores in 1961. Jimmy was born in St. Louis, Missouri and built his reputation with the Count Basie, Duke Ellington, Andy Kirk, Fate Marable, and Jay McShann bands. Forrest demonstrated impressive versatility on the tenor sax, delivering energetic solos at brisk tempos. He also infused the lively pulse of bop at a medium beat, and he poured deep emotion into every ballad or standard. On this date, he’s supported by Joe Zawinul on piano, Tommy Potter on bass, and Clarence Johnston on drums.

My copy of the album is the 2023 Analogue Productions U.S. stereo audiophile reissue, matching the original catalog number. Side One opens with Bolo Blues, an original by Jimmy Forrest, which was one of his biggest hits. His relaxing introduction sets the melody off to a comfortable groove. The saxophonist has the solo spotlight to himself and delivers a thoughtfully crafted, laid-back interpretation, leading to the theme’s reprise and climax. The beat moves upward for the jazz and pop standard, I Cried For You, by Gus Arnheim, Arthur Freed, and Abe Lyman. Forrest’s brief introduction quickly segues to the ensemble’s medium theme. Jimmy goes to work first with a sparkling solo. Zawinul responds with a performance as refreshing as a cold drink on a hot day until the melody’s restatement and close.

I’ve Got a Right to Cry by Joe Liggins is a beautiful ballad beginning with a delicately expressive introduction by the quartet that continues as the melody unfolds. Jimmy, again, is the lone soloist and awakens poignant memories in a tenderly passionate interpretation before the theme’s return leads to a soft ending. This Can’t Be Love by Richard Rodgers and Lorenz Hart has long been a favorite of jazz musicians and vocalists. The trio’s introduction develops nicely into the ensemble’s lively theme. Forrest takes the first solo with stunning precision and enthusiasm on each note. Zawinul gets the last word and gives an excellent account before the theme is restated.

Side Two gets underway with By the River Sainte Marie by Edgar Leslie and Harry Warren. The rhythm section’s introduction segues into the quartet’s medium melody. Jimmy’s opening statement swings with a joyful spirit. Tommy takes a short, satisfying walk in his first solo next, then the leader makes his return for a concise comment leading to the finale. The quartet takes a nostalgic trip back in time with Yesterdays by Otto Harbach and Jerome Kern. Forrest’s gentle introduction sets things in motion for the foursome’s melody. Jimmy is the song’s only soloist, and his reading is very intimate, complemented by the rhythm section’s tender accompaniment ahead of a soft summation.

Crash Program by Jimmy Forrest and Clarence Johnston is off and running from the outset of the ensemble’s rapid theme. The saxophonist flies out of the gate with a flawlessly executed burst of speed. Joe continues soaring with infectious energy in the following solo. Johnston rounds things out with a swift finale, before the quartet returns to the theme and a quick exit. The album ends with a gorgeous rendition of That’s All by Alan Brandt and Bob Haymes. The pianist’s concise introduction sets the mood for Forrest’s sultry theme and elegantly phrased opening solo. Zawinul has a lovely interlude of tenderness preceding the leader’s return to take the song out softly.

Esmond Edwards supervised the initial session, and Rudy Van Gelder expertly managed the recording dials. Kevin Gray mastered this audiophile reissue from the original tapes at Cohearant Audio. The record was pressed on 180-gram vinyl and is dead silent until the music begins. The album’s sound quality is sensational, with an outstanding soundstage placing your sweet spot in the studio with the musicians. Out of the Forrest impresses not only from the music itself but also from the exceptional support of the ensemble. If you’re in the mood for a top-tier quartet and enjoy the tenor sax, I highly recommend Out of the Forrest by Jimmy Forrest for a spot in your library. If you’re a newcomer to his music, this album is a fine place to start your journey!

~ Soul Battle (Prestige PRLP 7223/PRST 7223) – Source: Discogs.com

~ I Cried For You, That’s All, This Can’t Be Love, Yesterdays – Source: JazzStandards.com

>© 2025 by Edward Thomas Carter

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