Charlie Peacock: Accepting the Gift of Freedom
AAJ: How was playing in Nashville?
CP: It was great! And really rewarding that all the music worked live; I've done enough records to know that sometimes things that you think are so clever and interestingthey just totally bomb live. So the fact that we were able to have one rehearsal and it sounded like the record was really rewarding. I'm happy with the way it's going so far. It'll be a big test for me playing in the city; I'm used to having things a lot more together than this, you knowbut the economics of the jazz world are so sketchy. It's hard to get everybody together to rehearse, to be well-prepared. I'm hoping that over the course of the next year, as I play with a number of people in different cities and kind of try this out, I'll be able to put together a band that I can count on and just commit to it financially to rehearse and play the music at the level I really want to play it at.
AAJ: You've already told me about one of your upcoming project, which should be out in February. Anything else?
CP: Yeah, I'm working on what will be the followup, I guess, to Love Press; I just started on that. I did one session in New York with Ben Perowsky on drums, Felix on bass. Tony and Jeff were there for that session, and then I used a guitarist from Iceland named Hilmar Jensson, who's really, really great. He plays withyou know this drummer, Jim Black?
AAJ: Yeah, I especially like his stuff with Ben Monder.
CP: Jim has a group and Helmar plays in it. That's all the recordings I know of Helmar's. He's greatone of those guys where everything sounds upside-down. Really good player. Good gentleman, good hang.
AAJ: Well, this has become a big side of what you're doing. You sound pretty excited about it. I assume you're going to continue with your pop solo stuff and production?
CP: Well, I definitely won't do any more records for any of the Christian labels, as far as pop solo stuff. My moment has long been over with there. And I actually don't intend to do any production in that area, just because it's taken all the fun out of everything. The production that I'm working on now is Karl Denson's Tiny Universe. So I'm working on their next record and that's a lot of fun; Karl's a great saxophonist. Then, all the rest of them are artists that I'm developing, so I've got three, four artists right now that we're all presenting to labels, kind of getting to that point of making record deals for them.
AAJ: Where do you find these artists?
CP: Well, a lot of this current generation of young musicians have come to me because of Switchfoot, my signing and developing them. They're big fans of theirs, so they want to find the guy that did that. I think that's the main attraction. And then also just the normal routes, whether it's attorneys or somebody's grandma [laughing]. I actually have an artist right now that we're working with; she's fantastic. She's seventeen years old, great singer, great developing songwriter, and I got her CD from her grandmother.
Charlie Peacock, Love Press Ex-Curio (Runway Network, 2005)
Sam Ashworth, Gonna Get It Wrong Before I Get It Right (Runway Network, 2005)
Charlie Peacock & Friends, Full Circle (Sparrow, 2004)
Sara Groves, The Other Side of Something (INO, 2004)
Audio Adrenalin, Worldwide (Forefront, 2003)
Switchfoot, Beautiful Letdown (RED Ink/Columbia, 2003) (Producer only)
Twila Paris, True North (Sparrow, 1999) (Producer only)
Charlie Peacock, Kingdom Come (Rethink, 1999)
Sarah Masen, Carry Us Through Chordant, 1998)
Switchfoot, Legend of Chin (Rethink, 1997)
Eric Champion, Transformation (Essential Records, 1996)
Charlie Peacock, Strangelanguage (Forefront, 1996)
Charlie Peacock, Everything That's On My Mind (Sparrow, 1995)
Phil Keaggy, Time 1 (Myrrh, 1995)
Out of the Gray, Gravity (Sparrow, 1995)
Margaret Becker, Soul (Sparrow, 1993)
Amy Grant, Heart in Motion (A&M, 1991)
Charlie Peacock, The Secret of Time (Sparrow, 1990)
Photo Credit: Courtesy of Charlie Peacock