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Some reviews:

La 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.

Ámbito 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 own compositions....

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 and
compromise can go hand in hand.

Revista XXIII - 10/16/03 -
BY Miguel Russo
"La dama rea del jazz" - Esthesia " The heavy - leady of jazz"

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.

By Humphrey Inzillo
Rolling Stone Magazine - July 2003

The quality of the music, including the beautiful version of Stevie Wonder´s "The secret life of plants", demands careful listening and guarantees pleasure...

By Carlos Iglesias
Caminos de Música -
- Esthesia - "Anesthesia Not"

... Eleonora´s exquisit songs , ... Lots of swing and sensibility

By Nicolás Miguelez
Inrockuptibles Magazine - June 2003.

FIRST 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 jazz .

By César Pradines
La Nación - May 2003

This 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 jazz.

By Juan Andrade
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.

By Miguel Russo
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.

Section: "El Explorador"
La Nación magazine, Sunday April  20, 2003.

"It is 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.”


By Miguel Russo
Veintitrés Magazine
Music/ April 3, 2003


During 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.

…And 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. Adler



Eleonora Eubel (Ind.)

Argentinian 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.

She’s also 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.

Track Listing: 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

Personnel: 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, bass.


By David Rickert



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

From Cuadernos de Jazz/Spain

March 2001

About Full Moon

Dear reader:

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.

Eleonora Eubel 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”.

However it 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.

Unfortunately 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.

By Andrés Casak

From TERRA/Interview (spanish only)

By César Pradines

La Nación

14th. of January 2001

-Eubel and 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.

By Ricardo Saltón

Ambito Financiero

7th. of novenber 2000

-Austerity as a virtue-

“Technically 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 guitar”

By Miguel Russo

XXIII Magazine

November 2000

-Full Moon (* * * *)-

“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”.

Luis León


February 1999

-Jazz colored mirrors-

“The Jazz 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 musical improvisation”.

By Ricardo Saltón

Ambito Financiero

23rd. of February 1999

“-Lots of voice and emotion-

“…Eleonora Eubel has enough throat and worked-out voice to plunge into any challenge”

By René Vargas Vera

La Nación

February 1999

-Some Jazz, some Borges-

“…A repertoire not very usual in local Jazz”


By César Pradines

La Nación

11th. of April 1998

- Eubel lends her voice to Jazz-

…“Her style has some reminiscence of Cassandra Wilson’s and the “Divine Sarah” [Vaughn]. Her vocal register is wide and her phrasing agile and moving”