Roch Lockyer

Biography
Press

Roch picked up his first guitar at the age of three, but it would be over thirty years later after a life in endurance athletics and various other austerities that he would study music. After returning from a trip to India in 2003 Roch sought out the guidance of master guitarist Jimmy Bruno and began his musical journey in earnest. After several months of study Roch began sitting in and playing locally wherever his gypsy existence found him to roam. Though essentially self-taught Roch wishes to thank all the musicians that he has had the privilege of playing with and learning from.

“Only recently have I begun to honor my own path and the direction of my fledgling musical journey. Having begun the pursuit of music at what in this age of ‘prodigies’ is considered a relatively late stage, I have begun to realize my strength comes from the belief that I am not actually pursuing any sort of final destination other than the rewards inherent in practicing, and participating on any given day. Given some aptitude anyone can learn to speak a foreign language as an adult, but once that person is fluent, the structure of language is only as useful as what the speaker has to say according to their own life experience. I enjoy a conversation with someone who quotes themselves more than others. I am finding solace in recognizing my own unique voice that is already manifest in all that I do...with this music being an expression of that. My musical language does not come from copying, transcribing, or parroting those that I admire. I find joy in the process of learning a Bach prelude, or arranging a bit of DeBussey for the guitar, or listening to the jazz greats, but I know better than to try and compare myself to, or try to be like these masters. In the attempts to become something, a student of music can often forget that the people they want to emulate were just people living their lives and fighting the good fight...trying to find a sense of purpose and meaning like anyone who lives. It just so happens that over time (and sometimes great lengths of time relative to the artists lives) listeners and observers noticed that these artists made themselves available as conduits for the highest possible within the realm of human expression. I think we all have the capacity to do this in our own small way but the potential does not lie in how cool or sophisticated our improvisations are, or what school we went to, or who we know, or ultimately even how well we do or do not play. Our personal potential, and thus our musical potential lies in how willing we are to discover who we are and what our voice is...we don’t do this through trying to understand others and their relationships...we do this by striving to understand ourselves and our relationship to others, and for me this applies to the process of learning music as well. I think it is best to explore and serve the environment that we arise from while also peripherally maintaining an awareness of the infinite possibilities that are always available within this family of humanity. Today I hope for the continued opportunity to strive through the instrument of music. If I can even scratch the surface and eventually share something that I can at least be temporarily satisfied with, that will be enough.”

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JazzReview.com
Every once in a while a CD comes along that so captures a reviewer’s attention it’s almost as if there aren’t enough superlatives to describe it. This is the case with guitarist Roch Lockyer’s first CD, Nondirectional. Joined by well- known trumpeter Ron Miles and pianist Art Lande, the two different ensembles Lockyer uses play with a fire, attention to detail and subtle shadings of style that set this disc apart from so much of today’s jazz.

Lockyer, a student of Lande and guitarists Jimmy Bruno and John Stowell, plays with a grace and slow rolling-boil fervor so lacking in today’s much too prevalent “jazz play- along” style that neither lends itself to excitement or the soul of jazz - namely musical communication. Lockyer, and his bandmates, listen carefully to what’s going on around them so acutely it’s obvious there is no point when each of the musicians isn’t totally in-the-moment. The resultant energy lights up this recording from the first to the last note.

With regard to technical chops, Lockyer shows he has taken his ample gifts and found a way to allow them to enhance his playing rather than be the reason for it. On “Hutch” the fast and flying bebopish melody gives way to a series of solos that are incredible. Lockyer plays the changes with an ease that belies the fact this is his first disc as a leader. Lande, who is incredible throughout this recording - does anybody remember the astonishing “We Begin” disc he did on ECM with Mark Isham? - plays a solo so superbly well- conceived it’s hard to understand why he hasn’t released a disc as a leader on a large label in a long time. With lines that are so logical the removal of any single note would diminish the solo greatly, Lande proves why he’s developed a reputation for being such a noted teacher.

Trumpeter Ron Miles adds a strong voice on a few of the cuts, but perhaps no more poignant than on “Mim.” Miles has been an undervalued trumpeter for too long, and his silky tone, turned on its side with a biting edge at the most appropriate of moments, is as beautiful as ever. His moments of slight avant-gardism only emphasize just how colorful he can be, as well as endlessly inventive.

There is no moment or track that isn’t full of beautiful melodies, sleight of hand wit or marvelous interplay. It’s a shame recordings like this come along so infrequently.
Dr. Thomas Erdmann, Elon University professor and symphony director
JazzReview.com

Jazz Critic: Scott Yanow
Although he first played guitar when he was three, Roch Lockyer did not begin seriously studying it until he was in his thirties. He has made up for lost time during the past six years, studying with Jimmy Bruno, John Stowell, and pianist Art Lande while developing his own fresh and distinctive sound.

Nondirectional is notable not only for Lockyer’s thoughtful solos and original voice on the guitar but for his intriguing compositions. To name three of his five contributions, “Major Transitions (A Life)” is a relaxed scalar piece in 7/4, “Mim” is an introspective number that has subtle but tricky rhythms (try tapping your foot to this one ), and “Monk’s House” is a witty romp that Thelonious Monk would have enjoyed.

The set (which also includes a song apiece by Lande and drummer Eddie Marshall) teams Lockyer with Lande, bassist Bijoux Barbosa and drummer Mike Marlier on four songs while the other three have the guitarist joined by vibraphonist Adams Collins, bassist Jean Luc Davis and drummer Josh Moore. A major asset on four of the performances is trumpeter Ron Miles, whose restrained but coolly emotional solos perfectly fit the music.

The improvisations develop logically, there is a surprising amount of variety on the set and Roch Lockyer shows a lot of versatility and creativity in his playing. This excellent modern jazz set is highly recommended.
Scott Yanow
Jazz Critic and well-respected music writer/author

©Cadence Magazine
Nondirectional, by guitarist Roch Lockyer is a more eclectic effort. Most of it is crisp progressive Jazz-Rock with folk influences but there are also left turns into funk on “Hutch,” bossa nova on “Here Now But Forever,” and heavier modern Jazz on “Monk’s House.” Lockyer is an impressively versatile player with a sense of space and clarity reminiscent of Jim Hall or Pat Metheny and he sounds fine dialoguing with excellent musicians like pianist Art Lande and trumpeter Ron Miles. “Melancholies,” a delicate weave of guitar, trumpet, piano, and kalimba, and “Quintennaisance,” with its rolling guitar and vibes groove, sound like vintage Gary Burton tracks. Lockyer masterminds a frisky and smart set of music here.
Jerome Wilson
©Cadence Magazine

“...Roch has created another compelling and virtuosic chord melody arrangement. This guy can play, write, and he wears many hats, going from straight ahead to funk to blues to bossa nova and beyond, while always retaining his own identity. What really comes through is how much Roch enjoys playing, and that is contagious to the listener.”
Jazz Improv Magazine

Jazz.com
Roch Lockyer: Major Transitions (a life)
This is the first cut on guitarist Roch Lockyer's Nondirectional. Pianist Art Lande, whom Lockyer cites as a major influence, opens with a spatial piano and finger harp. Lockyer enters with some nice jazz chords and a series of catchy skittering riffs executed at breakneck speed, forming an impressive display. Bassist Bijoux Barbosa and drummer Mike Marlier provide a slight funk-leaning support for Lande's blues-tinged solo. Barbosa then takes his own turn. He is quite nimble and inventive. Lockyer can play the guitar. His tone is set so that even the notes he plays at the bottom of the neck sound like they are coming from the lower register. After his solo, he and Lande communicate using the least possible notes in an unusually entertaining call and response. This major transition then fades away, making room for the next. This is intricate music performed with an ease that disguises its difficulty.

Roch Lockyer: Hutch
Though guitarist Roch Lockyer learned music though osmosis, as he likes to say, it was not until age 33 that he sought out guitarist Jimmy Bruno to get really educated. Hutch opens up with a funny Mike Marlier drum-and-vocal outtake. He rights himself to kick off the piece. Quickly we find ourselves immersed in a blues bebop mix. Heading the tune in that direction, with a touch of funk, are bassist Bijoux Barbosa and pianist Art Lande. The bouncing lines contain plenty of intricate unison playing and scalar runs. Lockyer is a fine player above and beyond his technique and ideas. His choice of tone here is borderline muddy, which gives Hutch a deeper quality. Drummer Marlier leads the band into a swinging section before Lockyer, Lande and Barbosa take effective solos. The engaging melody returns as foil to more unison playing and interplay. Hutch is a fun yet challenging number. Lockyer has surrounded himself, and his composition, with a highly skilled unit that can play music of high caliber no sweat.
Walter Kolosky, Jazz critic and author of Power, Passion, and Beauty - The Story of the Legendary Mahavishnu Orchestra
Jazz.com

Jazz.com
Roch Lockyer: Monk’s House
For his first CD, “Nondirectional,” Denver-are guitarist Roch Lockyer wanted his music to “reflect my respect for all whose shoulders I stand on.” Obviously for “Monk’s house,” he’s standing on the broad artistic shoulders of Thelonious Monk. In the song’s opening statement, which vaguely evokes “Well You Needn’t,” Lockyer successfully transfers Monk’s disjointed, angular style to his guitar. After settling into a more conventional bop vibe when trumpeter Ron Miles plays, Lockyer returns to model his solo after Monk’s predilection for thick comping chords with a hint of atonality, prickly trips up and down the scales, and other unconventional tricks. He also throws in a few quick octaves for good measure. The guitarist skillfully conjures up the old ghost while maintaining a distinct character of his own. After all, a piece is not truly Monk-like unless it’s a little off-kilter, in a charming but imaginative way. “Monk’s House” fits the bill.
Victor Aaron
Jazz.com

“Lockyer’s jazz guitar skills are right up there with the likes of Pat Metheny and John Scofield. His licks are most defiant on tracks like ‘Major Transitions (a life)” and ‘Monk’s House.’ Roch’s improvisational jazz runs will make any guitarist stand up and take listen to this album.”
RadioIndy

“It’s always amazing to hear some new music that is soulful, creative, challenging and rewarding.”
Ron Miles

“You and the guys are all playing well both individually and together. Everybody is listening, letting the music breathe, and really playing as an ensemble. I also enjoyed your writing, especially the ballads and Brazilian-influenced pieces. This is a good calling card for you.”
John Stowell

“The CD sounds great Good work.”
Jimmy Bruno

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