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| 3.906 Ft
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| 1. | Yesterday
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| 2. | Goodbye
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| 3. | I Should Care
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| 4. | Prelude in E Minor
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| 5. | I Got It Bad (And That Ain't Good)
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| 6. | How Deep Is the Ocean?
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| 7. | I'll Never Stop Loving You
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| 8. | Flamenco Sketches
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| 9. | 'Round Midnight
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| 10. | I Fall in Love Too Easily
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Jazz
Eric Reed - Piano
Cecil Brooks III - Drums, Producer
Dwayne Burno - Bass
* Bill Milkowski - Liner Notes
* David Baker - Engineer
* Keiji Obata - Design
* Roy Gumpel - Photography
Pianist Eric Reed's touch has always been a sensitive one, but From My Heart marks the first time Reed has really consummated this side of his playing, going out of his way to bring a mostly unheard side of him to emotional ballads from popular and classical music as well as jazz. On From My Heart, Reed has chosen the minimalist accompaniment of Cecil Brooks III on drums and Dwayne Burno on bass, giving the pianist ample room to stretch out with each song. On the first piece, Lennon and McCartney's famed "Yesterday," Reed does a tasteful take of the melody, gradually easing into the solo with a selection of minor modes and cooled, climbing crescendos while Brooks and Burno back the proceedings with an interesting Latin-style backbeat. Reed gives a more subdued treatment to G. Jenkins' classic "Goodbye," while the CahnStordahlWeston tune "I Should Care" is more upbeat, with Brooks laying down a smooth carpet of brush strokes over which Reed takes off on a long bout of piano acrobatics. Reed is an expert at building tension (his formative years with Wynton Marsalis taught him well), and here he works some amazing technical runs up to a delicious release. An intriguing version of Chopin's "Prelude in E Minor" follows, with Reed gently easing Chopin's melody into a rich, increasingly dense solo. Reed gets back to basics with Duke Ellington's 1941 masterpiece "I Got It Bad (And That Ain't Good)," taking several playful choruses in the upper registers -- even hinting at Donaldson and Kahn's "Makin' Whoopee" at one point. Burno comes in for a nice melodic solo to take the tune out. Reed's take on the Irving Berlin classic "How Deep Is the Ocean" is equally playful, finding the pianist taking his time with the opening melody, using every little bit of space available for embellishment. Reed follows with a moving version of Cahn and Brodszky's "I'll Never Stop Loving You." From My Heart ends with odes to Miles Davis and Monk, with Reed covering Davis' "Flamenco Sketches" and Monk's "'Round Midnight" with equal luster. Of particular note is how Reed takes full advantage of the modal basis of "Flamenco Sketches," building lush chord structures, trills, and tremolo effects on top of each other for a heavy six and a half minutes. Reed does a stretching, gorgeous interpretation of "'Round Midnight," combining his own blazing technical prowess with an ode to Monk's quirky style. Brooks and Burno even go into a bossa nova on one of the last choruses. Reed finishes the album with a gentle, intimate version of Cahn and Styne's "I Fall in Love Too Easily," gracefully and subtly easing the melody in and out of his solo, until finally breaking into several more fine, melodic runs and upper structures to take the song out. From My Heart works as both an ode to several great composers and a fabulous exposition of Reed's ability to make even the most demanding ballads his own. While From My Heart may not have the usual Reed lineup of blazing horn players and original songs (Reed is a fine composer by any standard), it gives this talented pianist a chance to show that he is finally coming into his own as a stylist.
--- Alex Arcone, All Music Guide
Eric Reed
Active Decades: '80s, '90s and '00s
Born: Jun 21, 1970 in Philadelphia, PA
Genre: Jazz
Styles: Post-Bop
Pianist Eric Reed is one of a growing number of talented musicians who have emerged from Wynton Marsalis' bands to pursue rewarding solo careers in their own right. Born in Philadelphia in 1970, Reed's first exposure to music came through his father, a minister and local gospel singer; he began playing piano at age two and soon discovered jazz, quickly developing into a musical prodigy. He entered music school at age seven, and resisted classical training in favor of jazz, inspired early on by Dave Brubeck, Ramsey Lewis, Art Blakey, and Horace Silver. Four years later, he moved with his family to Los Angeles, where he digested enough jazz history that he was able to begin playing around the city's jazz scene as a teenager, both as a leader and a sideman for the likes of Gerald Wilson, Teddy Edwards, John Clayton, and Clora Bryant. He first met Wynton Marsalis at age 17, and toured briefly with the trumpeter the following year (his first and only at Cal State-Northridge). In 1989, Reed officially joined Marsalis' band as the replacement for Marcus Roberts; the following year, he issued his debut album as a leader, A Soldier's Hymn, on Candid, with backing by his regular trio of bassist Dwayne Burno and drummer Gregory Hutchinson.
Over 1991-1992, Reed worked with Freddie Hubbard and Joe Henderson as a sidelight, returning to Marsalis' group by the end of 1992. He cut a pair of well-received albums for MoJazz, It's All Right to Swing and The Swing and I, during 1993-1994, and in 1995 embarked on his first tour as leader of his own group. Two more dates for Impulse!, 1996's Musicale and 1997's Pure Imagination, found his style maturing and his critical and commercial success growing; he also spent 1996-1998 playing with the Lincoln Center Jazz Orchestra. 1999's Manhattan Melodies, his first outing for Verve, was a colorful and sophisticated tribute to New York City; that year, he also undertook the most prominent of several film-scoring projects, the Eddie MurphyMartin Lawrence comedy Life. Reed also continued to record with Marsalis up into the new millennium. 2001 brought the acclaimed Happiness on Nagel-Heyer, and the next year saw two releases, the well-received From My Heart and a duet album with frequent cohort Wycliffe Gordon on trombone, We.
---Steve Huey, All Music Guide |
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