"Whether playing fast ("Loose Trade," "Digature of the Line," "Stain," "Fireball," "Bones Don't Cry"), medium ("Sweet Potato"), or slow ("Blue Wail"), Caine and company imbue every tune with an extraordinary blues feeling and a fat swing groove. But this is not just another straight-ahead piano trio outing. Caine gives the form a shot in the arm with these sophisticated compositions, all of which contain a bevy of surprises. Blue Wail is on the whole an aggressive, burning album, although Caine mellows a bit with "The Face of Space," an ingenious hall of metric mirrors, and "Poem for Shulamit," a rubato piece that evokes a magnificent stillness. Fats Waller's "Honeysuckle Rose," the one non-original of the set, appears as both the first and the last track, with Caine taking the tune apart in a solo setting. It's an inspired move: Why not frame a batch of modernist creations with a statement drawn from jazz piano's earliest days?" (David R. Adler, Allmusic).
"Duane Eubanks was in his late 20s when he made his recording debut as a leader with My Shining Hour, a hard bop/post-bop date that recalls early to mid-1960s Blue Note. Although derivative and not overly original, the music is well executed and generally satisfying. As a trumpeter, Duane Eubanks favors a tone that falls somewhere between Miles Davis and Clifford Brown-influenced trumpeters like Lee Morgan and Freddie Hubbard. Eubanks swings plays passionately, but on some of the more introspective material, he almost sounds like he could be playing a flugelhorn. Though Eubanks' interpretations of "I Love You" and "Dear Old Stockholm" are competent, the CD's most memorable moments come when he embraces his own compositions. The melancholy "Lonelyism," the congenial "Can't Wait 'Til Dawn" and the moody "Clairvoyance" show Eubanks to be a thoughtful composer who doesn't simply write lines -- he writes melodies." (Allmusic).
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