Dave Painchaud Quartet
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Dave Painchaud Quartet

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This band has not uploaded any videos


The best kept secret in music


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The quartet has recently recorded a set of standards for demo purposes with the intent of acquiring general business and corporate function gigs which can be heard at Dave Painchaud's website (link above) and elsewhere here on Sonicbids.

Dave Painchaud’s popular music credits on trumpet and flugelhorn include work with The Doors (aka D21C for VH1 Classic's Decades Rock Live which will be aired in September '05), The Temptations, performances and a recording credit on the CD “Coelacanth” with George Hrab and The Geologic Orchestra and opening for Elton John as a member of the Philadelphia Funk Authority. Dave was also a featured soloist in the horn section of New York based rock/blues band Urban Blue and received a recording credit on their CD “It’s Different Today”. Dave’s jazz groups have played throughout the New York metropolitan area at a number of clubs. One highlight was having the house gig at the old Village Gate and having the opportunity to open up for the likes of George Coleman and Jimmy Cobb, amongst others.

Kevin Lutke is a veteran of the New York jazz scene. Kevin's first recording "The Road To Santa Ynez" received rave reviews and also featured jazz piano great Art Lande. On his second CD Fallenwood, Kevin showed his skills as both composer and soloist, along with featured performances by Blue Note recording artist Bill Charlap. Besides receiving two National Endowment grants, Kevin also received many excellent high profile reviews for his music- Jazz Times wrote: "With a smooth chorusey tone and a fluid, seamless technique, guitarist Kevin Lutke packs his Fallenwood with accessible, illustrative melodies which never lack for inventive timing."

Bassist Dave Edwards has performed in a wide variety of music styles and venues, from the White House to Texas prisons, from CBGB's to Birdland, from living rooms to large churches. Dave has performed with Sony Jazz recording artist Vivian Lord, Jazz vocalist Jeanie Bryson, Judy Bady, bassist Rufus Reid, Greg and Rebecca Sparks, Three Crosses, Glad, Mary Taylor, Wayne Scott Farley, the Trenton Symphony, the Wayne Chamber Orchestra, and has been heard on jazz 88, WBGO. His work as a composer/producer has now entered the cable television arena as theme music for "Heartfelt", a homegoods show on QVC with host Valerie Parr-Hill. Dave can also be heard on national network T.V. playing upright and electric bass with Michael Brecker, Ronnie Cuber, and others, backing up the unmistakable voice of Joe Pesci in a couple of Cannon Copier jingles.

Hailing from Upstate New York, drummer Vinnie Sperrazza began working with the late pianist James Williams (accompanying him on a tour of Japan in 2000), while still a student in William Paterson University’s Jazz Studies Program. Through the auspices of Mr. Williams, he participated in numerous concerts and recording sessions featuring such artists as Richard Davis, Steve Wilson, Javon Jackson, and Bill Mobley. He remained associated with Mr. Williams until his passing in July of 2004. Upon completion of his studies at William Paterson, Vinnie moved to Brooklyn, to participate in the thriving New York City jazz scene where he is currently involved in several creative projects.


Feeling a bit camera shy


The quartet has two stylistic modes. In one we play standards and are heavily influenced by the sound of Miles Davis, Chet Baker, Art Farmer and a quieter, minimal approach to jazz. This is appropriate for restaurants, private functions and corporate events where we keep things at a low volume to set a mood without being intrusive.

Our second mode is one in which original music is featured and a more robust approach is pursued that is appropriate for jazz clubs and festivals where the function of the music is to be listened to for artistic reasons.

The group retains a lightness, restraint and sense of grace that is rarely heard. Audiences find themselves surprised and drawn in by a kind of jazz that seems relevant and not merely an imitation of older styles.

The members believe that their ability to radically change their approach from performance to performance greatly strengthens them as musicians. Standards never get stale and new music, while stretching, never ceases to be informed and linked to the prodigious history of jazz.

There is such a thing as new, culturally relevant jazz and the quartet is evidence that there are artists that can perform it and entertain at the same time.