Eugene Macari
Blues for Django
Angela Macari O’Looney
A veteran musician with a penchant for jazz, Eugene Macari performs favourites from his extensive repertoire on this lovely CD, which is named after a master guitarist Django Reinhardt.
Produced by Jim Doherty, it was recorded over a period of days with Eugene performing on a variety of instruments including Double Bass on certain tracks. It’s a relaxed and extremely stimulating collection of standards, with a few easily recognisable classics thrown into the mix.
Eugene’s pedigree as a former professional musician is diamond standard, with a star studded list of accomplishments to his name. He has done it all where live appearances are concerned.
Red Hurley, Dickie Rock, Tony Kenny are among the list of people he played for. But that’s only national stars!
International stars include such names as Shirley Bassey, Rebecca Storm and Matt Munroe. Bands he previously played with include The Jim Farley Band, Earl Gill’s band, Bebop Gold, The Gaiety Orchestra and The National Concert Orchestra.
Eugene was also a regular sight on R.T.E. Late Late Show during Gay Byrne’s reign and also on The Proms. He often found himself performing background music for the film industry too, and his guitar prowess can be heard on many well known Themes.
Not a bad profile for a guy who drives a Dublin Taxi!
After his few years away from the music scene, Eugene dreams of returning to his True calling, but hasn’t yet decided at what level. However, if you sat with a glass of wine and just let yourself be indulged with Blues for Django, you’d never be able to say you don’t like jazz again.
Blues for Django Acoustic
This number is a slinky piece with a divine melody line and involves lots of variation, which Eugene addresses with the flair and flamboyance of the expert Jazz Guitarist. Its three and a half minutes of pure pleasure.
That’s all
A slow, melancholic song, this would bring a tear to a stone it is so sweet. It’s a number that simply beckons the musician to play it with reverence. Chords in it are wonderful and for the first verse and chorus, Eugene plays the melody through. Then he begins the jazzier second phase of the song, where he caresses each note and bar with just the right amount of elaborate riffs to make it tantalizing.
Eugene performs a second version of the title song from this album on his Byrdland guitar. This instrument is a dear friend to him and when you hear this track you understand why it’s his favourite.
Blues for Django has a very haunting but beautiful melody line and as Eugene bends notes and glides his fingers, effortlessly performing the elaborate fretwork, he expresses his love for both jazz and his Byrdland!
Secret Love
This is where the Double Bass comes in!
A soft drumbeat with brushes lends to the atmosphere of this upbeat cover. It’s a much loved song from the musical Calamity Jane and Eugene ensures that you hear the familiar notes before performing the jazzed up second phase. However, he gives it the Macari treatment later on, where he adds superb improvisation with mind blowing chords and lead combined!
The Way You Look Tonight is one of the most romantic love songs of all time. When you hear it being sung to you by a deliciously seductive guitar, it’s a million times more romantic!
As in each track on his album, Eugene performs the number in its entirety first, before putting his elaborate slant onto it. Yet he’s able to do this sensitively enough to allow his music to be accessible to people less familiar with contemporary jazz. This would be for me, what sets him apart from some of the musicians one might hear playing jazz.
One of my favourites on this CD, Jersey Bounce is a number that would have been played by big bands such as Benny Goodman’s. Eugene can turn it into an ideal piece for his Byrdland. He and his guitar take you to heaven and back, as he adds those unique flourishes to it and seduces the listener throughout with jazzy riffs and chords that are undeniably special!
Nuages which is one of Django’s most popular compositions, has an exotic melody line and involves slinky chords, accompanying delectable notation, as Eugene bends notes here and there and performs twists and turns that are unforgettable. It inspires thoughts of Hawaiian beaches and orange sunsets. He returns to the haunting chorus, reminding you of how beautiful this composition is and fades with a few jazzier bars.
This Song is you
Fast, with a superb key change, outstanding chord combinations and stunning improvisation, this number is a Feel good journey from beginning to end!
Stardust
The intro to this is unbelievably beautiful and when you hear the chorus, you say ‘Oh yes, I know this one’.
Performed by many singers and played by almost all of the big bands, this standard never loses its charm. However there’s certain tranquillity about this version with just a guitar featuring, allowing the pretty melody to be the focal point. A flawless touch of improvisation adds to this and Eugene once again makes a gorgeous classic his own.
Stevie Wonder’s Isn’t She Lovely is a cheerful number and I find it really refreshing when performed as an instrumental. Choppy chords and a hint of jazz here and there give it a bit of extra oomph.
Autumn Leaves
Rich and memorable, this would have been sung by Nat King Cole and a number of legendary singers. Autumn Leaves is an extraordinary number that has some dramatic chord combinations. In this version, Eugene changes octaves during the chorus, lending a little more dynamic. Fingers fly across the guitar frets and stylish flourishes are injected, while chords set the lively, slinky pace!
Moonlight in Vermont
This number is quite popular with lovers of jazz and it must be one of the finest compositions ever written. Performed with soft drums in the background, Double bass infused to add depth and the subtle key change that lifts this piece completely, are key features. Chords are gently strummed and elaborate improvisation makes this lovely number even more irresistible.
In the wee small hours of the morning would have been one from Sinatra’s repertoire. A lovely choice for a slower number, this is a soulful and beautiful love song. Eugene’s guitar pours out each note with velvety smoothness and his imaginative rendition here is touching.
Where or when is a standard that would for me bring back memories of famous female Jazz singers such as Lena Horne and Peggy Lee and was also recorded by Old Blue eyes. This jaunty Rodgers and Hart composition from the film Babes in Arms is played here with artistic twists here and there and sweet slides or bends where necessary to flavour it. Eugene plays double bass too, which gives it fullness.
Stardust is performed on Eugene’s Martin as a finale to his one man show. And somehow it fits just right, especially if you enjoyed hearing it the first time round. I would imagine that only a true musician or guitar lover could empathise with this philosophy, but it being one of the most well known and well liked Jazz standards makes it the perfect encore!
To sample any of these inspiring instrumentals, visit Eugene’s My Space page and prepare for a soothing and unforgettable experience!
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