1) When did you start developing a love for Jazz music?

As far back as I can remember, jazz was very appealing to me.  On the rare occasions where a black gospel or otherwise jazzy tune would show up in church (such as the Clara Ward Gospel Singers), I would sit enthralled by the sounds.  I also remember catching a TV show called “Cal’s Corral” once in a great while, which was actually probably bits of Texas swing, but it sounded great to me as well.  Groups like the Paul Butterfield Blues Band held great fascination for me, but the first real jazz album I got was the Jo Jones Trio which included Ray Bryant on piano.  I wore the grooves off that vinyl, which led to the pursuit of Oscar Peterson, Bill Evans, and many others.

2) Did you study Jazz formally and if so where?  

I studied jazz piano privately with Dick Powell in Orange County, CA, then arranging with Bill Baker, orchestration with Albert Harris, conducting with Alan Fierman, but the main influence was Dick Grove, with whom I studied privately in Hollywood prior to the inception of his jazz school.  Dick made it all happen for me, and I really enjoyed his concept for big band writing - sort of in the Gil Evans bag.  I also took college courses along the way and amassed a few hundred thousand units in stage band, including at L.A. City College which included players like David Paich, Jon Clayton, Don Grusin, John Hernandez (Oingo Boingo), and various members of Buddy Rich’s band, whom I heard by traveling 2 blocks from my home to Disneyland, and paying the 60 cents child entrance fee.

3) Who do you consider some of the main influences on your writing and playing?

There are so many, I hardly know where to begin. Actually Burt Bacharach had a big influence on my compositional style.  I loved the way his melodies jumped large intervals, and also loved his unexpected harmonic surprises.  I always loved Quincy Jones, and ate up the Buddy Rich Big Band albums in junior high featuring the writing of Don Piestrup.  Also in junior high the Sergio Mendes albums had a large influence on me, including the beautiful arrangements of Dave Grusin.  Michel Legrand was probably the major arranging influence with his adventurous soaring strings – a sound I discovered from viewing the Summer of 42 film.

4) You have mentioned Claus Ogerman and Bob James as influences on your music. How did that come about? I discovered Claus via the gorgeous Jobim albums, of which I have many.  I love his classically influenced style, and found it to be the perfect compliment for Jobim’s melodies.  And Bob James’ early albums for CTI were also very harmonically interesting and provided “lessons” for me.

5) What was the nature of your involvement with Quincy Jones?
 Quincy called my answer machine and asked if I could do some arranging for a couple of Japanese tours he was doing, which of course I was thrilled to do.  My only regret was not saving the recording of his voice – which almost made me faint initially.

6) You have a new CD release of your own, " Jazzwerk". Tell us more about that project.

Jazzwerk is a “double cd on one” that includes all 12 songs from our surround sound DVD-Audio “Eklektrik” plus 6 new songs – all in stereo cd format.  ( You can listen to audio excerpts and purchase David's CD here  )

7) There are some tunes on your new CD that have a Brazilian/Latin influence.  Share with us where that influence comes from. ( By the way I really love the tune "Stumble" which is a mixture of jazz and R & B from your Jazzwerk CD!)

Glad you’ve enjoyed Stumble – thanks.  As earlier mentioned, I’ve always enjoyed Brazilian music, and have composed many sambas, bossa novas, etc.  “Sou Feliz” from Jazzwerk was a tune I recently wrote and gave to Ana Gazzola, from the group Brazil Brasil, and she was gracious enough to write some Portuguese lyrics, and also to sing the song on the CD.  Joey Heredia is an amazing latin/jazz drummer who plays in my group and always lends a latin touch to the tunes as well.
                                                                                                                                         8) Who are some of the musicians that played on Jazzwerk?  

I was fortunate to have the great musicians from my live band – the above mentioned Joey Heredia, as well as Brandon Fields-sax, and Hussain Jiffry-bass.  The album also features my daughter Rachel, who is an amazing singer, composer, and performer.  Rachel wrote many of the vocal tunes, and sings a couple of mine as well.  We were also happy to have guest appearances by Jimmy Haslip from Yellowjackets, Vinnie Colaiuta of Sting fame, Bobby Rodriguez, Doug Cameron, Steve Lukather, and many other great musicians.

9) What has been your most challenging recording project that you have ever worked on?

Probably a TV special called “Firewind” which was challenging in a bad way.  I didn’t yet understand the politics and physics of the music business, which is about 90% of what one has to deal with in a music career.  Other than that, most projects have challenges, which are what makes each of them new and exciting, allowing us the variety that we need as artistic people.
 

10) There is an unusual increase in the amount of Jazz that is being used in churches these days. This may be a response to many writers and musicians being burnt out on much of the recent alternative worship music. Share your thoughts about this.

I’d give Koinonia some credit along with groups like Seawind who pioneered the early appearance of jazz in contemporary Christian music.  I’d also say that some of the worship music is a bit simple in its lyrical content these days.  It’s hard to compare some of the simpler praise tunes which talk about “just believing and everything will be fine” to the amazing hymns that have withstood centuries and were written in many cases after major catastrophes such as losing one’s whole family – things like that.  Since jazz is such an expressive musical form, I think it fits like a glove with praise and worship to the One who created all music.

11) I noticed that recently you were doing a concert at a Christian College In La Mirada, CA? Was this specifically a jazz gig or what? Are you finding more opportunities to play jazz as a Christian Artist or are most of your gigs considered secular?
                                                                                                                                      I’m on the board of the Conservatory of Music at Biola University of late, along with Wil Kennedy formally of Yellowjackets, and some other great musicians, and Biola has a “Music at Noon” concert series which we’ve been blessed to play at the last 2 years.  The first time we played it was the 1 year anniversary of 9/11 so it was a somber event.  This last one was on Ash Wednesday and was also on the day of release of Mel Gibson’s Passion film, which was a much more positive day.  We love sharing God’s musical gifts with college students, particularly the great kids at Christian schools.  Otherwise, many of our gigs are at local secular jazz establishments.

12) Do you play keys in church? If so tell us a little about that.

I do.  We attend a small church in Westlake, CA called Rivers Community.  Being small, they have much more need for what I can bring to help with the music & worship.

13) What is your favorite church hymn and why?

I would have to say, “In The Garden” since it was sung by my mother’s 4 year old sister as she passed away many years ago.  I recorded a jazz version on the “Eye of the Storm” CD, and have since played it at both my father’s and my mother’s funerals, so it holds a special place in my heart.  It’s another example of the fine inspired truth of the Lord as He’s given it to us through the great hymn writers of history. ( *Note David’s jazz arrangement of “In The Garden” will be included on the upcoming CJA Hymn Compilation CD to be released very soon!)

14) Do you find a spiritual connection in playing and writing music? Do you feel a spiritual connection while writing music?

Yes, I do, particularly in those rare occasions when the song literally comes in minutes, to be written down on an available paper napkin – something like that.  Without being too mystical, all music is a gift from God and it continues to amaze me as it reveals His glory and truth.
 
15) Out of all the songs you have ever heard or played share with us one song that has really touched you in a profound way.

I played tympani in several different church performances of “The Seven Last Words of Christ” by Dubois as a young teen.  One of the “words” is a beautiful piece of music which goes something like “Verily thou shalt be, with Me in paradise today”.  I was very affected by that experience, and that was one of the things that led me to explore the beauty of the hymns, which I had previously found rather simple and (ahem) boring.  My mistake.
 
16) What future goals do you have planned for yourself as an artist and a person?

In many ways, I’ve accomplished a great deal of what I would have hoped to in my life.  I have a wonderful family, and even a grandchild now.  I’ve worked for many wonderful people for many years including Pat Boone, Richie Furay and others, and I would say just to continue to do more of the same, and to use His gifts to hopefully bless others in the process.  I’m enjoying electronica these days, in spite of some of the trappings of its origin (raves, etc.), but I’m always open to new ways to create the music we all love.