Nación "Planeta Jazz" - 2/21/04
By César Pradines
Tonight, vocalist Eleonora Eubel presents her newest show: "Other
voices" accompanied by an outstanding duet: Marcelo Gutfraind
(guitar) and Julián Montauti (bass). She is performing songs
from "Esthesia", an excellent work.
Financiero - 2/3/04
"Eubel: la protesta, en inglés"
Por Ricardo Saltón
Vocalist Eleonora Eubel is an atypical case in the prosperous jazz
media of Argentina. She recorded her first album "Full Moon",
in 2000, according to conventional jazz patterns. But in her last
album "Esthesia", she chose to include exclusively her
Revista Rolling Stone - Nº 64/ July 2003
Ranking R. Stone - Argentina
"Best jazz album of the year 2003"
1. Eleonora Eubel "Esthesia"
The argentine jazz- scene did not have something like this. Eubel
sings her own compositions with lyrics written in English, which
talk about the social reality in Argentina and shows that swing
compromise can go hand in hand.
Revista XXIII - 10/16/03 -
BY Miguel Russo
"La dama rea del jazz" - Esthesia " The heavy - leady
Only she, E. Eubel could have the courage to sing jazz in English
in Argentina, because “it’s the language of Jazz, the
music which offers vast spaces for freedom" in her own words
she tells us stories about the suffering of the real owners of this
land. With an incomparable voice in the genre and accompanied by
a remarkable trio and guests, Eubel also shows her solid talent
as a composer.
... By hearing Eubel one can understand that culture and globalization
are not only impositions of amounts and merchandising.
Rolling Stone Magazine - July 2003
quality of the music, including the beautiful version of Stevie
Wonder´s "The secret life of plants", demands careful
listening and guarantees pleasure...
Caminos de Música - http://www.consudec.org/musicaindex.htm
- Esthesia - "Anesthesia Not"
Eleonora´s exquisit songs , ...
Lots of swing and sensibility
Inrockuptibles Magazine - June 2003.
LADY - At the age of 51 , there’s more blood flowing through
crooner Eleonora Eubel´s veins than through those of many
youngsters in full adolescent effervescence. There are more than
sufficient reasons to see Esthesia, her second solo-release, as
the birth of a new local, musical genre: rebellious, self-managed
La Nación - May 2003
female vocalist’s second release - she has a long career in
the local jazz scene - reveals she has taken an important step forward.
Her work has opened a door which remains shut in the world of vocal
Revista TXT (Revista Textual) - Nº 14/ 20 de junio de 2003
- Esthesia- Independent
Eubel sings about love, about a kid killed by the “shoot first-ask
later” police and the Kultrun in an delicate (and not always
possible) balance between seduction and compromise.
La Nación - Magazine
"The explorer", April 2003.
One does not frequently run into a local jazz release in which the
repertoire, the singer, the arrangements, the sound and the band
come together to produce such a balanced result as happens in Esthesia.
Veintitrés Magazine - April 2003
The excellent jazz vocalist Eleonora Eubel is presenting songs from
her recent CD Esthesia.
And in many of the songs she will be presenting tonight, Argentine
audiences will be able to hear about Argentine reality in jazz tempo,
something unheard of until now.
Nación magazine, Sunday April 20, 2003.
CD - ESTHESIA
not too frequently that a work of domestic Jazz is found in which
the repertoire, the singer, the arrangements, the sound and the
band come together in such a balanced result as in Esthesia.
With her own
songs and arrangements, the singer, Eleonora Eubel and her band,
formed by Jerónimo Carmona (counterbass), Enrique Norris (trumpet),
Miguel Tarzia (guitars) and Carlos Brandán (drums), are soothing.
Eleonora sings in English and she explains why.”
Music/ April 3, 2003
the month of April there are two clear options – not opposed but
complementary – for the lovers of good music, and specially Jazz:
On Friday April 1, at 9:00 P.M. the excelent Jazz voice of Eleonora
Eubel will present songs of her recent recording Esthesia.
in many of the songs by Eublel tonight, the Argentinean public will
listen to the Argentinean reality in a Jazz tempo. Something almost
unthought of up to now.
By David R.
ALL ABOUT JAZZ
vocalist Eleonora Eubel is in fine form on this independent release.
Her main collaborator on the project is guitarist and fellow argentinian
Guillermo Bazzola, who did many of the arrangements. In widely varying
ensemble contexts, Eubel offers an engaging menu of standards and
originals, sung in English. Her voice is forceful yet subtle, revealing
influences that range from Ella Fitzgerald, to Abbey Lincoln and
to Cassandra Wilson.
an exceptional songwriter, leading off with the Joni Mitchell-esque
“Running for your love” and going on to include other inviting tracks
like “Black Mirror” and the brooding “Cradle Song”. Bazzola’s presence
is strong on both electric and acoustic guitars; his acoustic treatment
of “Cry me a river” is a highlight. Eubel’s versatility also comes
trough on three tracks in which she’s accompanied by only one instrument:
guitar on “Good morning heartache”, bass on “Speak low” and –most
unusual off all- drums on an abbreviated “Bye, bye blackbird”. She
also communicates a light-hearted sense of fun throughout the session
– most explicitly at the end of “Black mirror”, when she breaks
into spontaneous laughter. Recommended.
1. Running for your love 2. It ain’t necessarily so 3. Good morning
heartache 4. Black mirror 5.One for Eddie (Pequenino) 6. Speak low
7. Love for sale 8. Jack the Ripper 9. Cry me a river 10. Caravan
11. Cradle song 12. Nature boy 13. Bye, bye blackbird
Eleonora Eubel, voice; Guillermo Bazzola, guitar; Fernando Gallimany,
bass; Oscar Giunta, drums. Guests: Jorge Navarro, piano; Rodrigo
Domínguez, tenor and soprano saxophone; Yeye López, percussion;
Eduardo Manentti, trombone; Rodolfo Paccapelo and Roberto Tormo,
By David Rickert
ALL ABOUT JAZZ
Some of the
most original and vibrant Jazz played today comes not from New York
or Chicago but rather from a much warmer climate: Latin America.
Musicians such as pianist Adrian Iaies and guitarist Guillermo Bazzola
are taking the idioms of America’s so-called classical music and
infusing it with new life via a Latin sensibility, creating arresting
and haunting records of great beauty. Add to this list Eleonora
Eubel, a talented singer who can not only interpret standards with
delicacy and taste, but also has a knack for writing original compositions
that fit in comfortably with the canon. Consider the slow swagger
of tunes like “It ain’t necessarily so” and “Caravan” (both highlights
of the album) next to originals like “Running for your love” and
“Black mirror”, both melancholy songs of longing with breezy percussion
and deftly plucked guitar. Like these, most songs here have a steady
latin rhythm which gives even well worn originals like “Love for
sale” a fresh coat of paint. Bazzola, whose nebulous, swirling accompaniment
is used to good effect here with Giunta’s percussion, is given plenty
of room to shine in what amounts to a somewhat spare backing for
a singer. Instead of an orchestra or even a Jazz combo, most songs
are accompanied solely by bass, guitar and percussion (with a few
horns and piano occasionally darting in and out) allowing Eubel’s
sumptuous and robust vocals to come to the foreground. Eubel is
quite a singer; she can swing like mad by relaxing the beat a bit
and has a pitch you could tune a piano to. Confident in her abilities,
Eubel runs trough “Speak low” backed solely by Roberto Tormo’s jumpy
bass lines. This is a fantastic album by a talented singer and composer
who has a lot yet to offer us.
By P. Wessel
Cuadernos de Jazz/Spain
Even if you
don’t buy this album, notice the singer’s name, Eleonora Eubel.
She has an excellent voice, good register, capacity for swing, feeling
and talent for the interpretation of great and sometimes tragic
ballads. What she needs now is a producer on a par with her potential.
It’s not that “Full Moon” is a bad album, it’s just that it could
have been much better with some more careful arrangements and a
more demanding selection of musicians.
has probably bet everything she could in this project, and as far
as the material, it shows she does not lack courage. Not anyone
would dare in their first album to mix their own songs with some
of the evergreens that have been the subject of unforgettable interpretations.
But the Argentinean singer does not allow herself to be impressed:
she appears hurt, proud and defiant in “Cry me a river”, intimate
and sensuous in “Speak low”, ironic and fatalistic in “Good morning
heartache”; arrogant, disdainful and able of planting doubt in “It
ain’t necessarily so”.
is obvious she identifies even more with songs she has taken from
her own life, and with her devotion and humor, manages not to let
them pale at all next to such famous compositions. The album has
been recorded in a studio, but has a very clublike atmosphere.
the informal atmosphere also includes the intermittent appearance
of some musicians who don’t add anything to the album. When the
singer is alone with her trio (with any one of her two stupendous
contrabassists, and the very competent guitarist Guillermo Bazzola),
the home cooking is good in all it’s simplicity.
TERRA/Interview (spanish only)
By César Pradines
14th. of January
Fernández, two good Jazz singers-
... In “Full
Moon”, Eubel shows she is one of the most experienced singers
on stage. This is noticeable in her album in which she moves comfortably
from the slow tempos to the faster ones. Her register flows, specially
in the high notes. A vital singer who brings to her compositions
an attempt to reflect her inner world.
7th. of novenber
as a virtue-
she exhibits mastery of her voice, a good English accent and a through
knowledge of Jazz standards, Blues and Bossa”.
... “And this
way of singing, much more straight, with no special effects, places
her on the highest level. She looks relaxed amused by her performance
and in a tune with her companion [guitar-player Guillermo Bazzola].
All of this
shows that many good things can be done with just a voice and a
(* * * *)-
“One of the
riskiest jobs in the musical arena in Argentina is to explore Jazz.
But even more dangerous is to sing Jazz. Eleonora Eubel does it
superbly. With the support of her remarcable trio, G. Bazzola (on
guitar) F. Galimany (on bass) and O. Giunta (on drums), Eubel performs
with a high degree of precision thirteen songs (five of her own)
and dares to a jump without a net, specially in “It ain’t necessarily
so” by Ira & George Gershwin, where she stands out as one of
the best voices of contemporary Jazz. Something to appreciate and
enjoy. She has her shows at “Te Mataré Ramírez” and the “Café de
las Malas Artes”.
improvisation, vocal and instrumental, creates the mystery of spontaneity,
a counterpoint of each instrument with the voice, which plays with
the pleasure of creation each moment of the performance. Borges
[Jorge Luis Borges, Argentine writer] seeds bring a local and universal
reference as one more instrument, which pointedly integrates the
23rd. of February
voice and emotion-
Eubel has enough throat and worked-out voice to plunge into any
By René Vargas
not very usual in local Jazz”
By César Pradines
11th. of April
- Eubel lends
her voice to Jazz-
has some reminiscence of Cassandra Wilson’s and the “Divine Sarah”
[Vaughn]. Her vocal register is wide and her phrasing agile and