Eric Reed began touring the world with his own ensembles and recording both as a leader and sideman, making serious waves in the world of music: New video 2018

21.06. – Happy Birthday !!! When you think of hard-driving swing, daring expression, sophistication and elegance in artistry, formidable technique and a thunderous sound, there are only a very small handful of contemporary pianists you think of and one of them is most assuredly Eric Reed. But don’t think of him as a just a pianist; Eric is one of his generation’s most advanced thinkers in music.

Born in the musically rich city of Philadelphia, PA. Eric grew up playing in his father’s storefront Baptist church, starting at the age of five: “My father was a minister but he also used to sing with a Gospel group in Philly called the Bay State Singers. He is my earliest musical influence. I also was hit heavily by the sound of Christian and secular music of the 1970s (most notably Edwin & Walter Hawkins, Andrae Crouch and James Cleveland). “ Soon after, young Reed was bitten by the Jazz bug after hearing recordings by Art Blakey, Ramsey Lewis and Dave Brubeck.

Blessed by God as a child prodigy, Eric started playing piano at age two, beginning formal instruction at age five, starting at Philadelphia’s Settlement Music School at age seven. However, he remained primarily self-taught, often confounding his instructors by not learning the written music, but listening to them play it first and memorizing musical pieces note-for-note: “I wasn’t interested in practicing Bach; I was too busy digging Horace Silver!”

By age eleven, his family moved to the greater Los Angeles area and he continued his formal instruction at the R.D. Colburn School of Arts where his theory teacher Jeff Lavner, finally realizing that Eric was destined for swinging, turned him onto recordings of great Jazz pianists: “My neighborhood library had all kinds of hip Jazz albums and I was in there every day checking them out. Everything was there: Ahmad Jamal, Erroll Garner, Oscar Peterson, McCoy Tyner — it was incredible! By the time I was thirteen, I didn’t realize it but, I had digested all of the standard Jazz recordings that working musicians were expected to know.”

At 18, Eric began touring the world with his own ensembles and recording both as a leader and sideman, making serious waves in the world of music. He garnered great notice with Wynton Marsalis’ Septet (1990-91; 1992-95) and spent two years with the Lincoln Center Jazz Orchestra (1996-98), making countless recordings and TV appearances with them. Reed also worked in the bands of Freddie Hubbard and Joe Henderson (1991-92).

In 2005, Eric formed a quartet with fellow Los Angelean Willie Jones III, bassist Gerald Cannon and tenor & soprano saxophonist Stacy Dillard. They currently hit the performing circuit quite vigorously: “Willie and Gerald have been pretty tight for years and they have one serious hook up.” Holding up his reputation as providing a musical haven for new, young arrivals on the Jazz scene, Eric has this to say of Stacy Dillard: “Stacy’s concept is original and inspiring. He is completely unpredictable and doesn’t bore you with stock licks. In fact he doesn’t bog himself down with just playing chord changes—he plays ideas. He’s a true improviser.”

Eric’s latest release, which is due out in May 2006 on the MaxJazz label is entitled “Here” and features drummer Willie Jones III and bassist Rodney Whitaker: “’Here,’ just like any recorded document, represents my personal, spiritual and musical POV at that place and time. The downside of making records is that once one comes out, an artist has already moved on to a different set of ideas, but I’m pretty elated about this project. For me, it’s on par with past recordings of mine that stand out like, “It’s All Right to Swing,” “The Swing and I,” and “Pure Imagination.”