An Article For Jazz Educators: An Interview With Guitarist Kevin Eubanks Thomas Amoriello Fleminton Raritan School District tamoriel@frsd.k12.nj.us
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t is safe to say that as bandleader for The Tonight Show With Jay Leno from 1995-2010, jazz guitarist Kevin Eubanks is probably the most visible figure in the history of his instrument style. The jazz guitar was never featured in such a spotlight before. At its peak, the late night show ratings averaged 5.7 million viewers. As a native of Philadelphia, Eubanks can be listed alongside many Philly jazz guitar figures (and educators) such as Eddie Lang, Pat Martino, Jimmy Bruno, Dennis Sandole, Joe Sgro, Joseph Federico and Tom Giacabetti, all from the City of Brotherly Love. If you are unfamiliar with some of these names then you are in for a treat. Eubanks began his studies at the Settlement Music School in Philly and then studied at Rutgers with jazz educator Ted Dunbar, eventually completing his studies at the Berklee College of Music in Boston, graduating with a B.A. in composition.
He then went on to perform and record with jazz icons such as drummer Art Blakey, bassist Dave Holland, violinist Jean-Luc Ponty and guitarist Stanley Jordan. Eubanks joined the famous late night show as guitarist in 1992, when Branford Marsalis was the music director and before he took over three years later when Marsalis stepped down. The guitar in jazz has occupied many roles, such as the lead stylings of Charlie Christian, the “Four-to-the-bar” rhythm comping of Freddie Green, the octave technique of Wes Montgomery, the chord melody solos of Johnny Smith and Joe Pass, and the modern shredding of John McLaughlin. Over his long and successful career, Kevin has played comfortably in all of these styles without being an imitator. To put it simply, Kevin Eubanks can play the guitar very well.
You served as Artistic Director of the Thelonious Monk Institute’s Jazz in the Classroom program. What was your role and what was a rewarding experience that comes to mind? For two years I served as Artistic Director of the Thelonious Monk Institute’s Jazz in the Classroom program. Traveling to different high schools in the Los Angeles area and a few cities around the country, I had a great opportunity to work with and learn from younger students involved with the arts. My general role was as teacher/coach. I tried to expand the perception of jazz in the minds of the students by inviting all of the students that were involved in any of the school’s arts programs to join us. By us, I mean the jazz department. I invited instrumentalists, vocalists, dancers, artists, actors, etc. The challenge was to create an all inclusive work/song/ presentation, in an hour and thirty minute comprehensive artistic session, that utilized the creativity and open-mindedness of all the students. I coached and encouraged the students to use their talent creatively, trust in each other and the willingness to work together to enjoy the entire process. It was amazing to see the communication and how much could be done in such a relatively short time. Jazz is truly an amazing art form. It can range from the mind of a soloist to an entire arts program of contributing students. It is so important for a student’s growth in all areas of life, not just in music, to grasp the importance of creative solutions to problems one faces as a young person and eventually as an adult. My final question to the entire student arts body was one I unfortunately was never around to hear their answers. No matter. The important thing was if they would consider the question long after I was gone. I always asked, ”What if anything did you learn today based on how and what we accomplished in this room, in this auditorium, and what might be possible tomorrow, outside of this room, outside in the world? If YOU can’t find the solutions, no one will. The future of this world really is in your hands.” I grew up with music my whole life. It was in my house, in my heart, and it was in the streets, and with it came a lot of compassion, fun, socialization, education and yes, respect. Things are very different now, aren’t they? You were a member of Art Blakey and the Jazz Messengers in your early 20’s and you performed with him at the Montreux Jazz
TEMPO 62
JANUARY 2017
