Review: Jubu Smith ‘Jubu’
By Hal Horowitz
The front cover of Jubu Smith’s debut instrumental release Jubu (available July 30) shows the guitarist emerging from the shadows over a dark background. That perfectly illustrates this album’s intent.
It’s likely that many have not heard of Jubu Smith, even though he has been a career musician for four decades. That will hopefully change after the appearance of these ten tunes.
Only R&B fans who carefully scour liner notes might recognize Smith as the longtime backing guitarist for soul vocalists Tony Toni Tone, a position he held for ten years. He was also a key touring member of Frankie Beverly & Maze and contributed studio work for a wide variety of headliners. Those include Mary J. Blige, Toni Braxton and George Benson, the latter whose smooth guitar tone and flexible fingering has clearly influenced his sound. Additionally he fronted under-the-radar vocal-based acts such as Legally Blynd and The Jubu Smith Experience.
But on this impressive set, clocking in at just over an hour, he puts the vocal mics away, placing emphasis on his jazz/soul/blues guitar. Produced by fellow string bender Charlie Hunter (who also contributes bass and guitar—played simultaneously on a custom eight string instrument), the approach is clean, pure and immediate.
Smith and Hunter are joined by drummer Calvin Napper (also a Maze alumnus). Together the three-piece strolls through a terrific batch of mostly upbeat, stripped-down yet fluid selections. From the finger-popping vibe of “Carroll Drive” to the concise rump-shaking funk of “Extreme Pleasure” and “Organization’s Sake,” through the sweet solo musings of the unaccompanied “At Long Last,” Jubu displays class, sophistication and a maturity that being a professional for as long as he has brings.
Unlike some other guitarists whose albums are heavily overdubbed, these guys keep it genuine with most of this seeming like live takes. Hunter generally stays in the background, infusing organ-like textures on his four guitar strings and walking bottom runs on the three bass ones.
Jubu shifts into blues shuffle mode for “McLeansville Blues,” spiraling out sparkling, sparse lines combining a staccato and more flowing style as drummer Napper and Hunter generate insistent rubbery grooves. The guitarist carves out a relaxed, sensuous slant on the late-night crawl of “Totally Convicted,” at over eight minutes, the disc’s longest offering. He creates a slide effect further enhancing the mood and lets Hunter take a rare solo. It closes with precise finger-picking as the song fades, leaving us wondering how much longer that magnificent ambiance continued in the studio.
The tempo drops on the lovely “Jubu’s Poem,” creating a romantic, low-level atmosphere that used to be dubbed “quiet storm” music. It’s perfect for a cozy evening with that special someone.
Eric Gales swings by for the appropriately titled “EG Is Here.” He dials back his usual harder-edged rocking for bubbling under funk as the two swap lines. The focus is on a spontaneous, jazz-inflected jam that hits every sweet spot with elegance, taste and a refined interaction between two masters.
Jubu doesn’t play more notes than needed, just ones that work for the setting. All but one title is credited to the three-piece implying most of this was created as these guys fed off each other, rather than following charts. Imagine lots of finger pointing and head nods in the studio as the threesome work through the changes.
This exquisitely crafted music should move the veteran guitarist to the forefront of his peers after a career spent mostly supporting others.
Lay back, lower the lights, fire up some incense and let Jubu take over.
“EG is Here”
Great review of a truly great album.