Lyle Mays
piano, synthesizers
The piece is a very serious tribute to German bassist and composer Eberhard Weber who was a huge influence on me when I first started out. It’s my humble tribute to Eberhard.
Bob Sheppard
tenor sax, woodwinds
“Eberhard” is a clear reflection of Lyle's far-reaching imagination and musical landscapes. Lyle's devotion to texture and structural balance are clearly demonstrated in this sublime composition. He loved to tell a story, always guided by a melody that would grab you and take you on a journey, making you wait and wonder until the moment arrives. Lyle's musical intent was very serious, specific and fully open to individual interpretation. Lyle absolutely knew what he wanted and was uncompromising in a most supportive and gracious way. How lucky for me to have gained Lyle’s trust to interpret his music. Such a thrill and honor it was to be a part of his ultimate offering.
Mitchel Forman
Wurlitzer electric piano, Hammond B-3 organ
I was moved by the scope of “Eberhard”. I love the dynamic contours. It's hauntingly beautiful at the end. I've been a fan of Lyle’s writing and playing forever and It was somewhat daunting to play a keyboard with Lyle listening. He's truly shaped the landscape of piano and synth playing forever. So proud and honored to play rhythm keys to Lyles lead. I'm honored to have gotten to know him as a friend and my pool instructor.
Steve Rodby
acoustic bass, associate producer
The beauty of the music, the large canvas he painted on, the transformation of the vibe from elegant to fierce, and the way it's all just so "Lyle" ...
A year and a half since his passing, some of the emotional complexity of that time has softened, and I think I hear the piece more and more as standing on its own, another terrific composition by one of my favorite composers. And an excellent recorded version of it. I'm so happy that this is coming out, going to be shared with the world. As with so many of Lyle's recordings, it's about the notes he wrote, the textures he imagined, and the forms he built, as much as it's about the performances. It was an honor to be a part of the process, for sure. It was a happy time to be back in the studio making music with my dear friend, who will always remain a great inspiration to me. I'd like to add a thank you to everyone on the team that Lyle assembled to make this happen, for all their hard work and soulful contributions.
Jimmy Johnson
electric bass
A lovely piece of music, an emotional journey from start to finish. Lyle’s writing and playing has always been heartfelt and a joy to listen to. Pleasing sonic surprises around every corner. I was simply honored to be invited to play on anything he was working on. We're all saddened to realize there will be no more beautiful original music from Lyle. Thankfully he left us a good trove of recorded work to be discovered and rediscovered into the future.
Alex Acuña
drums, percussion
Lyle is one of my favorite composers. “Eberhard” - melodically, harmonically and rhythmically excellent - it’s rare to play music that has all three of these elements covered so beautifully and so completely. It’s a great privilege to be on the recording. Glad to know “Eberhard” will be coming out for the world to embrace and with a great line up of musicians.
Lyle always knew what sounds he needed for “Eberhard” and always explained his concept very clearly for this composition - I sent lots of my percussion sounds to be able to cover his musical desires and ideas. It was fun and is still and always will be very precious in my heart and memory. I was praying for his health all the time since I saw him. I asked Lyle if it was okay to pray for him, he said yes please and we embraced. Lyle, I miss you!!
Jimmy Branly
drums, percussion
When I first heard the demo of “Eberhard” Lyle sent me, my tears started to come out. I always loved Lyle's music and his unique sound. “Eberhard” is a beautiful composition, the harmony, melodies and dynamics throughout the song are incredible. I love music that tells you a story. Working with Lyle at the studio and being able to reproduce his ideas with my instrument and to see him happy with the outcome, is one of the best gifts I have ever received.
Lyle was a very special artist and a beautiful person who always makes you bring the best of your performance, with confidence and with a smile in return. I truly didn't know before we met at the studio for this production that this was going to be Lyle's final recording. I knew he was not well, but I had confidence that he was going to be ok. But during the recording, I saw him going through these moments where he needed to rest for some time and the people around him helping, then I started to realize this might be my last moments with him. I met Lyle a while back when we did a concert at CalTech and had the opportunity to spend some valuable time with him during rehearsals and the concert. I learned so much with him. I'm very fortunate to have been part of this experience. “Eberhard” will always be a special gift from Lyle.
Wade Culbreath
marimba, vibraphone
This piece captures everything that I love about Lyle’s music. I first heard him in 1982 when I was in high school and bought the Metheny album, "Watercolors." I followed him closely with all the Metheny recordings and finally heard The Metheny Group live at the Greek Theater after moving to L.A. in the late 80's. I remember listening to this music so much in college like it was some kind of drug, but his collaboration with Metheny is unique and transporting. All of the compositions they created are like musical journeys. Working on "Eberhard" gave me a glimpse into Lyle's process. He is meticulous and thoughtful about every facet of his music.
We actually didn't know this would be the last project. After the session, he sent me a positive note to say that he was looking forward to the next one. He was always so gracious and appreciative. It is painful to realize that at the time he was likely fighting for every day. I believe he persevered because he may have suspected that this could be his last musical gift to the world.
Bill Frisell
guitar
The first time I heard Lyle was at the Jazz Workshop in Boston with The Pat Metheny Group in 1977. I think it was one of their very first gigs. I immediately became a fan. At the time, I never could have imagined that a few years later I would have the chance to meet him and that we’d be playing together on an Eberhard Weber album “Later that Evening” (1982). Eberhard was a big inspiration to us both.
Lyle then invited me to play on his albums “Lyle Mays” (1986), and Street Dreams (1988). Here was where I had the luxury of getting a first hand look at his compositional process. I feel so lucky to have gotten a little peek inside the workings of his extraordinary mind. A beautiful mind. Beautiful music. I learned so much.
Knowing that this was Lyle’s final recording … this is very difficult to put into words …impossible. So much history. So many incredible memories. I’m just so grateful that he invited me to be a part of this project and to have the chance to be back together with him again. I’ll never forget it. I feel so lucky. Thank you Lyle.
Aubrey Johnson
vocals
My favorite thing about "Eberhard" is that it is transcendent. Every time I listen to it, I find that my mental state is affected remarkably, that wherever I am emotionally and intellectually when I press play is not the same place I return to when the piece is over. Art is meant to transport us, and to show us what could be--"Eberhard" accomplishes this profoundly.
Well, throughout the recording process no one really believed (though they may have had an inkling) that this would be Lyle's final recording. Lyle's unexpected return to music after an eight-year hiatus filled him with such excitement, energy, and joy, that it seemed there was no one way he wouldn't find a way to continue creating. There were moments when the music, and the loved ones that surrounded him, seemed to be a miraculous cure.
It is heartbreaking, even devastating, to accept that "Eberhard" is Lyle's final recording, especially knowing that he had renewed plans for so much more, but also deeply moving that he left us with such a masterpiece to remember him by. Nando Lauria said he could hear Lyle's love bursting out of the piece, and I believe that's what it is: a love letter to his family, friends, and fans.
Rosana Eckert
vocals
”Eberhard” is a masterpiece. It feels like the story of Lyle's life, a beautiful and dynamic arc. When I hear it, I'm transported and taken on a ride of emotions.
Lyle served all with his music. There was beauty at its core for all types of listeners to enjoy, but there was also complexity and intention at its core to feed the deepest listener. That kind of balance is special (and I think difficult to achieve), and he and I spoke many times of how much he valued that balance.
It is difficult to put this into words knowing that this was Lyle’s final recording. It was a privilege and an honor to have been a part of this - one of the highlights of my life. That he would think of including me and my husband Gary (Eckert) is a precious gift. The memory of those sessions, of his facial expressions and joy, of his brilliance, will stay with me until the end of my days.
Rich Breen
recording, mix, mastering
I had the privilege of knowing and working with Lyle off and on over the last 3 decades on various recording projects. A composer/performer of Lyle’s depth can’t be represented by a single composition, but “Eberhard” contains so much of what I’ve always loved about Lyle’s music; lyrical and impressionistic but not overly sentimental. Full of sophistication, intelligence, and surprise, and yet *always* deeply soulful and grooving.
I hadn’t seen him for a good 5 or 6 months prior to sitting down with him to listen to his mockup and 'talk' about the music, and it was clear his health wasn’t good. While I hoped it might turn around, I think we knew all along that he was coming to the end. Through it all, Lyle’s ability to muster his energy and concentrate, despite his physical condition, on the music was remarkable - this was a *big* piece with a lot of details, and Lyle paid attention to every single one of them. It was a joy and an honor to help him see this recording through to the end. I hope this parting gift from Lyle brings joy to all those who love his music - I know it brought Lyle joy to work on it and to hear it finally and completely realized.
Bob Rice
associate producer
My history with the piece “Eberhard” began around the time it was originally composed, maybe 2009-2010.
Lyle asked me to come up to the house to mix his original “midi demo" of the work, which we both lived with, and periodically reviewed over the next 9 years. He finally called me in July 2019, while I was on tour in Ireland, and said “call me when you get home. We’re going to finish recording Eberhard.”
The composition represents for me, many cups of coffee with my dear friend, and a unique opportunity to become immersed in the realization of this very special piece of music.
I enjoy a million things about “Eberhard", but those that stand out to me at this moment are: the masterful development of thematic materials, the elegance of each transition, the musical puzzles that unfold throughout, the clarity of lines, the profound beauty of every sound you hear, and, of course, his incredible touch on the piano.
Every time I listen, something else reveals itself.
The piece also represents a gathering of many incredible people who Lyle loved and respected, some old friends, some new friends. I was very moved by some of the reunions that I witnessed in the course of those sessions. Everyone brought their heart, their respect of his music, and their virtuosity. It was a powerful time.
I consider it a gift to have been able to spend so much meaningful time with Lyle before he left us. It’s rare to have something so profoundly beautiful to show for that kind of an experience. I will miss his company, but his spirit is very much alive in this music. Everything about him is in there.
Jon Papenbrook
project coordinator, musician contractor, music preparation
Lyle Mays was a true friend of mine for over thirty years. His life exemplified the architecture of living, carefully crafting a complex and careful self-design structure. Lyle demonstrated his versatility across many life ventures including music, architecture design, computer programming, billiards, and even Legos.
Lyle’s greatest gift and true genius remains music. His lasting legacy is encapsulated in the “Eberhard” project. His final in-person musical experience, “Eberhard” takes the listener on a Lyle Mays compositional journey. A telling true story of his musical camaraderie with Eberhard Weber.
The “Eberhard” project was composed approximately 10 years earlier just before Lyle stepped back from the music business. The impetus for his decision to produce and complete it was likely his health decline. Demanding this work be produced "world class" with no expense spared, musicians were hand picked for each part. Not one time during the production of “Eberhard” did Lyle let his heath impede the integrity of his music or final product. The energy and focus he exhibited amazed and inspired all involved. Personally, I never imagined this would be his last in-person musical project. So please enjoy the “Eberhard” journey… Lyle Mays's best.
Photo credits: Beth Herzhaft | Joey Martinez | Ryan Andrews | Claudia Hansen