Album reviews.

Edison Herbert (guitar); Neville Malcolm (bass); Winston Clifford (drums); Sean Hargreaves (piano - tracks 3, 4, 5, 6, 7) + guests Cherisse Scott (vocals - track 4); Kim Cypher (tenor sax - track 5); Kevin Robinson (flugelhorn - track 9); Ben Gilbert (piano - tracks 1, 2, 5, 8); Chris Wells (drums - tracks 4, 5); Graham Maynard (piano - track 7)

All I Need comprises nine tracks, six of them written by Edison Herbert. The title track typifies guitarist Herbert's approach - bright and breezy, his sound bubbling over with glass half full optimism. Bassist Neville Malcolm and drummer Winston Clifford are established names and Herbert's guest contributors include Kim Cypher (tenor sax) and, formerly of the BSH parish, pianist Ben Gilbert.

Stevie Wonder's My Cherie Amour and Lennon and McCartney's With a Little Help from My Friends are given the Herbert treatment and it is to the guitarist's credit that his own compositions stand comparison.

Time Will Tell momentarily (a fleeting phrase) reminds this listener of The Lady is a Tramp, Kim Cypher's rasping tenor is heard to good effect on Let's Take a Walk, E's Dance is trademark bright and breezy E. Herbert, and Kevin Robinson's measured flugelhorn work on Sunrise, the album's closing track, is but one of many impressive moments from Edison Herbert and friends.

All I Need (cat.no. EHCD2401) by Edison Herbert is available from: www.edisonherbert.com. The CD cover artwork is by E. Herbert.

Bebop Spoken Here

EDISON HERBERT — ALL I NEED
Independent label

Edison Herbert, guitar/composer; Neville Malcolm, bass; Ben Gilbert, piano; Sean Hargeaves, keyboards; Winston Clifford, drums; Cherisse Scott, vocals. Kim Cypher, saxophone; Kevin Robinson, flugelhorn.

I enjoyed the fresh introduction Edison Herbert used to preface the familiar Stevie Wonder song, “My Cherie Amour.” It’s a smooth surprise when Wonder’s melody streams in after the first sixteen bars. Herbert is a celebrated United Kingdom jazz guitarist who has been contributing to the world jazz community for the past three decades.

This album is a lovely mix of original songs and three popular classic songs. One is “My Cherie Amour” and the other is Andrew Gold’s “Never Let Her Slip Away.” The third ‘cover’ song is the Beatles hit record “With A Little Help From My Friends.” However, the original music that Herbert has composed himself interested me. I found it pleasant and engaging.

On his tune, “Three Reasons” Herbert’s improvisational solo shows off his guitar technique and creative flair. This is a smooth jazz, contemporary production mixed with R&B/pop roots.

On “Let’s Take A Walk” Herbert adds Kim Cypher on saxophone to fatten the production. Unfortunately, it’s the drummer that is not supportive of the groove. An original called “E’s Dance” has a catchy, melodic line. A funk drummer could have taken this tune over-the-top. It has all the elements of a hit record, but it’s missing that strong drum groove.

The title tune, “All I Need” is a pretty jazz waltz, once again exhibiting Edison Herbert’s ability to create a memorable melody. Herbert slow-swings us out of this production with his final tune called, “Sunrise.”

Sometimes when an artist is this talented, they believe they can do it all: compose, play an instrument, arrange, and produce their own album. I think with the right producer and a strong musical core, the genius of Edison Herbert would become even more elevated and popular.

Dee Dee McNeil · Making A Scene

Edison Herbert — “All I Need”
Self Released

Edison Herbert – guitar, Neville Malcolm – bass, Winston Clifford – drums, Sean Hargreaves, Ben Gilbert – piano with guests; Cherisse Scott – vocals, Kim Cypher – sax, Kevin Robinson – flugel horn, Chris Wells – drums, Graham Maynard – keyboards

In August 2023 I enjoyed a performance by the guitarist and composer Edison Herbert and his quartet at that year’s Brecon Jazz Festival. Herbert was accompanied by a specially curated group featuring pianist Terence Collie, bassist Elliot Roffe and drummer Magdalia Tamez. The programme featured a mix of Herbert originals and jazz standards with Herbert proving to be a skilled guitar soloist and a good audience communicator. A well constructed and carefully paced set was very well received by the audience at Brecon’s Castle Hotel and my review of this performance can be found as part of my Festival coverage here; Brecon Jazz Festival coverage

Herbert was appreciative of my favourable review of the Brecon show and I’m grateful to him for forwarding me a review copy of his latest album “All I Need”, which was released on his own Eherb imprint in August 2024. It represents Herbert’s fourth full length recording and follows “My Favourite Tunes” (2014), “Time For Love” (2021) and “More Beautiful Each Day” (2023).

Edison (aka Eddie) Herbert is a Leeds born, London based guitarist and composer who studied at Yorkshire College of Music and at The Guildhall School of Music & Drama in London. His primary guitar influences are Wes Montgomery and George Benson, and elements of both can be readily detected in his playing. Benson, and particularly his 1976 “In Flight” album, represents a particularly significant source of inspiration and Herbert’s own playing has won the approval of Benson himself.

In addition to his jazz career Herbert has also has served as the musical director for the West End show “Unforgettable” and been part of the band for the Bob Marley themed show “Get Up, Stand Up”. He has also appeared on the Sky Arts television programme “Guitar Star”, where his performance attracted the attention of Benson.

For this latest album Herbert has enlisted the services of a core quartet featuring Neville Malcolm on bass and the great Winston Clifford at the drums. Piano duties are divided between Sean Hargreaves and Ben Gilbert and the recording also features guest appearances from a variety of musicians, but I’ll come to these in due course.

The programme features the usual mix of Herbert originals and covers, but this time round the outside material is comprised of pop songs rather than jazz standards. Indeed the album commences with an imaginative arrangement of Stevie Wonder’s “My Cherie Amour” that sees Clifford giving the tune a Latin lilt and Herbert introducing his trademark Benson inspired archtop guitar sound. The leader shares the solos with Gilbert, who occupies the piano stool for the first two tracks.

The first original is “Three Reasons”, which borrows more obviously from the jazz tradition and which exhibits more of a Montgomery influence. Herbert has spoken of the importance of melody in his music and that is very much in evidence here as he shares the solos with pianist Gilbert and bassist Malcolm, the latter with a suitably tuneful excursion on double bass. The excellent Clifford gives a finely nuanced performance behind the kit, alternating between sticks and brushes as the music requires.

Hargreaves takes over piano duties for “Time Will Tell”, another original that nods to the jazz and bebop traditions. Indeed it’s Hargreaves that takes the first solo, introducing himself as a fluent and imaginative piano soloist. He’s followed by the agile Herbert, who wraps fleet fingers around some tricky, bebop style melody lines.

The first guest appearance comes from vocalist Cherisse Scott who delivers the lyrics in a jazz / soul adaptation of Andrew Gold’s hit song “Never Her Let Her Slip Way”. Soulful vocals alternate with brief scatting episodes in an arrangement that places most of the emphasis on Scott’s singing, with the leader’s guitar occasionally assuming the lead.

The original “Let’s Talk A Walk” introduces another guest with the appearance of saxophonist Kim Cypher. Ushered in by Clifford at the drums the piece has a subtle funk feel with Cypher’s tenor sax featuring prominently in the arrangement. However its Herbert who takes the first solo, followed by Cypher’s earthy tenor.

Clifford also introduces an arrangement of The Beatles tune “With A Little Help From My Friends”, a song already famously transformed by Joe Cocker. Following a more extended drum intro than previously Herbert takes up the melody in an effective jazz styled arrangement that also features piano (Hargreaves), double bass and brushed drums. Solos come from Herbert, who combines soaring melody with sophisticated jazz chording, and Hargreaves, with a further brushed drum feature for Clifford.

The breezy and uplifting original “E’s Dance” includes contributions from both Hargreaves and second keyboard player Graham Maynard, but the main focus is on Herbert’s own playing as he soars joyously above Clifford’s busy rhythms. Eventually Hargreaves is also featured more fully with a melodic and lyrical piano solo.

Herbert’s title track also places the emphasis on melody, but this time within a ballad like arrangement that includes a melodic double bass solo from the impressive Malcolm. The bright, melodic sound of the leader’s guitar is augmented by Clifford’s sensitive and imaginative brush work. I’ve always thought of Clifford as being one of the UK’s most inherently ‘musical’ drummers. It comes as no surprise to learn that he is also sometimes featured as a vocalist.

The final track is “Sunrise”, a suitably uplifting piece with a strong melodic theme that features the always clean, ringing sound of Herbert’s guitar alongside guest Kevin Robinson’s flugel horn. The two combine very effectively as well as delivering fluent individual solos. With no piano featured Malcolm and Clifford add subtly propulsive rhythmic support.

“All I Need” is an enjoyable album that features some imaginative arrangements and some excellent playing. Herbert is a fluent guitarist with a clean, orthodox style who eschews the use of effects, but who doesn’t shy away from his acknowledged influences of Benson and Montgomery. His style embraces complex jazz harmonies and sophisticated chording but his music remains melodic and readily accessible.

To these ears it strays a little too close to ‘smooth jazz’ or ‘easy listening’ at times and it would be nice if he roughened things up a bit occasionally, although of course I understand that this is really not what he’s about.

There is undoubtedly much to enjoy here and like much of the best jazz the music will gain even more in live performance, certainly if Herbert’s Brecon Jazz Festival appearance is anything to go by.

Ian Mann · The Jazzmann

My Cherie Amour
I'm so used to hearing this old standard delivered in a particularly mellow, smooth jazz, almost muzak way. At times this does get into that kind of territory, but there are also parts that are much more intense. Even when it does get mellower, it still retains a little bit of meat in the mix. The thing is, the melodies on the song have always been strong. It's just been the arrangements that have let me down. This goes a long way toward fixing that problem. The jam mid-track is great. It reminds me a little of Vince Guaraldi, but it also has some George Benson in the mix.

Three Reasons
This cut features some particularly smoking guitar soloing. The piano gets a chance to shine, too. There are some cool changes in the mix, and overall, this is a killer jazz romp. I like that the standup bass gets a solo, too.

Time Will Tell
Playful percussion starts things here. The track works out from there with plenty of jazz style and charm. I really love the bass groove on this, and the guitar work is so strong. In fact, I'd say that the intensity is ramped up here. This is a killer track that's among my favorites of the set.

Never Let Her Slip Away (feat. Charisse Scott)
This song doesn't work as well for me. The vocals lend a soulful sort of thing, but I think the arrangement is a little less intriguing than it could be. Then again, this is just not my particular flavor of jazz. If you like the "sing" school, you might enjoy this more than I do. It does have some solid guitar work, and I do like the "scat" singing.

Let’s Take A Walk
Slower and bluesy, this jam is all class. It features some smoking hot guitar work and strong performances from other musicians, too. This is another that's among my favorites here.

With A Little Help From My Friends
I really like this Beatles reinterpretation a lot. It includes some great instrumental work and has a nice tone and groove to it. The energy is good, and it just feels fun.

E’s Dance
This jazz groove is classy. It's melodic and has a classic feel to it. While there are pieces here that I like more. this is definitely a standout.

All I Need
The title track is on the more balladic side. It has some strong melodic content. I really dig the bass showcase section a lot. The whole track is on the understated side, but it's also very effective.

Sunrise
I really love just about everything about this track. It's a great traditional jazz number that has some smoking hot jamming built into it.

Music Street Journal

A highly-skilled guitarist who has played at Ronnie Scott's and arranged a West End musical. His fluent style is a delight for the jazz aficionado and the casual listener.

Keith Ames · The Musician · Summer 2014

When, in 2006, I reviewed ‘More Beautiful Each Day’ from London based guitarist Edison Herbert, I described him as delivering a virtuoso performance complemented by his tight production skills. Now, as The Edison Herbert Trio, he has teamed with drummer Winston Clifford and upright bass player Neville Malcolm to reimage nine of his all-time favorite songs that, if personal taste is anything to go by, will quickly become your favorites too.

Titled ‘My Favourite Tunes’ the mood of the entire project is soothing in the extreme and is exemplified by the superbly easy on the ear ‘Loves In Need Of Love Today’ that not only gets the CD up and running but also shows off the combined talents of this fine collective. Much the same can be said of one of Herbert’s own tunes, the wonderfully deconstructed ‘It Takes Time’ and when he delivers a stripped down version of Randy Crawford’s ‘One Hello’ the result is just as good.

Of course, between them, Herbert, Clifford and Malcolm boast some genuinely serious jazz credentials so it’s no surprise when they give a nod to Ellington’s ‘Take The A Train’ with the cleverly created ‘E’s Train’.

Another song that demonstrates the band’s jazz sensibilities is the Herbert penned ‘Is This It’ while elsewhere the Burt Bacharach and Carole Bayer Sager number ‘That’s What Friends Are For’ serves as an ideal subject for Herbert’s smooth approach.

The album’s only vocal track is the entirely beguiling ‘Early Days’ which is right up there with the best that ‘My Favourite Tunes’ has to offer and although Herbert lowers a tranquil curtain on this exquisite collection with his own song, ‘You Never Know’, a real personal favourite is Joe Sample’s ‘Paintings’. Provided in standard form (and as a bonus offering) this melodic charmer is raised to new heights by the addition of sumptuous piano solos from Norman Clarke and Graham Maynard respectively.

‘My Favourite Tunes’ was recorded in London and will be released in June 2014. It comes highly recommended.

Dennis Poole · SmoothJazzTherapy.com

Jazz started in the United States (New Orleans, to be exact), but talented improvisers live in many different parts of the world. And one of the talented guitarists who can be found on the London, England jazz scene is Edison Herbert, whose My Favourite Tunes is an enjoyable bop/post-bop album that occasionally detours into R&B territory.

Herbert usually leads an intimate guitar trio on this 2014 release, employing Neville Malcolm on acoustic bass and Winston Clifford on drums. And as a guitarist, Herbert favors a lyrical approach along the lines of Wes Montgomery and George Benson (two of his main influences). Herbert swings, but he does so in a melodic fashion on accessible performances such as “Paintings,” “Is This It?” and “E’s Train” (which hints at Duke Ellington’s “Take the A Train”). Ballads are one of his strong points, and his proficiency as a ballad player is evident on “It Takes Time,” “You Never Know” and “One Hello” (which was a minor hit for singer Randy Crawford in 1982 and enjoyed some exposure on quiet storm programs in the U.S.).

Herbert’s interpretive powers are nicely illustrated by his arrangement of Stevie Wonder’s “Love’s in Need of Love Today,” the song that opened his classic two-LP set Songs in the Key of Life back in 1976. Putting out a double-LP of new studio recordings was considered risky in those days unless the artist was really well established, but Wonder (who turned 26 that year) was at the height of his commercial and creative powers. And Songs in the Key of Life did fabulously well, selling more than 10 million copies in the United States alone (it was also huge in Canada, Australia, the UK and much of Continental Western Europe).

Songs in the Key of Life boasted some major singles, including “I Wish,” “Sir Duke” and “Isn’t She Lovely”; however, “Love’s in Need of Love Today” was never a single, and the fact that Herbert performs it on this album speaks well of him. “I Wish” or “Sir Duke” would have been a more obvious choice, but by going with “Love’s in Need of Love Today” instead, Herbert demonstrates his ability to dig beneath the surface and surprise us when it comes to choosing material. Herbert does his homework. And the song works well for him: Herbert has no problem transforming “Love’s in Need of Love Today” into an appealing post-bop instrumental.

Edison’s interpretive powers also serve him well on “That’s What Friends Are For,” a Clarence McDonald/Fritz Baskett song that R&B singer Deniece Williams included on her first album, This Is Niecy, in 1976 and revisited two years later on an album of vocal duets with Johnny Mathis (that album was also called That’s What Friends Are For). The song that Herbert performs should not be confused with the Burt Bacharach/ Carole Bayer Sager ballad that was recorded by Rod Stewart in 1982 and become a huge hit for Elton John, Gladys Knight, Dionne Warwick and Stevie Wonder in 1985. And Herbert shows how skillful an improviser he is on the McDonald/ Baskett song, which he transforms into an instrumental bossa nova.

Herbert’s appreciation of Wonder is not only illustrated by his inclusion of “Love’s in Need of Love Today,” but also, by singer Wayne Boucaud’s appearance on “Early Days” (the album’s only vocal offering). Although instrumental jazz dominates this album, “Early Days” is best described as vocal-oriented R&B with jazz overtones. And Boucaud’s singing is a likable combination of Wonder and George Benson. The influence of Benson on this album shows up in both Herbert’s guitar playing and Boucaud’s singing.

Because Herbert includes one vocal track that is more R&B than jazz, some people might wonder if My Favourite Tunes is a “smooth jazz” album. But no, the performances on this release are mostly straight-ahead instrumental jazz. Herbert is clearly an improviser at heart, and his desire to improvise yields pleasing results on My Favourite Tunes.

Alex Henderson · 4 out of 5 stars

On his most recent CD, My Favourite Tunes Vol 1, jazz guitarist Edison Herbert reveals his passion for melody. With the core support of bassist Neville Malcolm and drummer Winston Clifford, Herbert gives listeners more than a taste of his considerable strengths.

Straight out of the gates with Stevie Wonder’s ‘Love’s in need of love today’ on track 1, Herbert’s upbeat and airy interpretation is an immediate winner. The 1970s are conjured up vividly via his spirited electric strumming and plucking.

Herbert, a product of the Leeds College of Music and London’s Guildhall School of Music, is a notable all-rounder who composes compelling music. The evidence of this is plain to discern on this remarkable CD. ‘Early Days’, for instance, which brings to the foreground the lovely vocals of Wayne Boucaud, shows off Herbert as the sensitive accompanist, backing the singer with spare and effective acoustic guitar chords.

Listeners are left in little doubt of the steadying influences Charlie Christian, Wes Montgomery, Grant Green and George Benson on Herbert’s playing. These come to the fore on ‘Is this it?’, a kinetic Be Bop original.

Joe Sample’s ‘Paintings’ gets two bites of the apple (on track 6 and reprised on track 10) featuring two innovative pianists, Norman Clarke and Graham Maynard, respectively. The Track 6 version carries a lilting and attractive reggae accent which is certain to delight fans of the piece.

My favourite (of Herbert’s favourites) is the solo spot, ‘You’ll never know’. Sublime stuff; think Joe Pass!

Edison Herbert is one of the UK’s foremost jazz guitarists. We eagerly await volume 2.

John Stevenson · 10 July 2014