Jim Pearce

Pianist/singer Jim Pearce's records inevitably draw comparisons to those of fellow ivory tickling wordsmith Mose Allison. The fact that both are genre-bending virtuosi with dry as champagne humor, who play the same instrument is where all similarities end.
The whimsically titled You Are An Edgy Visionary Seer is quintessential Pearce, replete with his characteristic mixture of levity and thoughtfulness. While Allison's trademark is his blues-drenched and folksy raconteurstyle, Pearce's is more urbane, and his lyrics refreshingly absurdist at times and irreverently satirical at others.
"Even Big Monsters Love Music" features such amusingly off the wall verses as:
"The blob's physique lacks definition
He digs tunes, played with precision
Bebop makes the jelly dude move
Bird and Diz put him in the groove."
Guitarist Ken Gregory adds a boppish flair to the song with his complex and crisp sound. The title track, on the other hand, is a witty parody with words such as:
"Jam in the middle with a bass saxophone
Bring on the lectrified sarrusophone
Microtonal clusters and twelve tone rows
Minimalist bluster, anything goes."
Closing the tune are bassist Herman Burney's intricate and edgy strings, backed by Pearce's bluesy vamps and drummer Paul Fallat's driving beats.
There are also more solemn moments that, nevertheless, are delivered with pleasant repartee and plenty of brio in Pearce's warm, husky baritone. "My Last Parade in New Orleans" is about his own funeral, but the sound is far from funèbre, with exuberant rhythms and cleverly constructed clarinet and trumpet solos. Meanwhile, the lighthearted "Old as Dirt" is a lament about the woes of aging that is simultaneously wistful and droll. Pearce's flowing piano tone also bears hints of melancholy.
The instrumental pieces are equally delightful and intriguing, often emphasizing the musical exchanges amongst the members of the core trio. "In The Evening" is a crepuscular ballad where the piano's lilt, the whisper of brushes on trap drums and the clean, walking bass lines create a sublime group improvisation that remains close to the structure of the melody. Pearce exhibits his contemplative side and classical influences on the gentle and sophisticated sonata, "Open Plain." His strong sense of swing, meanwhile, is showcased on the cool and pastoral "Another Waltz for You," featuring reed player Eric South's idyllic flute and trumpeter Joe Gransden's lyrical horn.
Pearce's seventh release as a leader, You Are An Edgy Visionary Seer is an engaging and well-rounded portrait of this uniquely talented songwriter, vocalist and pianist at his mature and creative peak.
By HRAYR ATTARIAN, Published: January 17, 2013 ?

- AllAboutJazz

As a purveyor of humorous jazz/blues songs, Jim Pearce might be compared to other renowned artists. That would be inappropriate, as Pearce only resembles himself. Certainly, he has some of the sophistication of David Frishberg, and a touch of Mose Allison rawness. But there is something original about his fragmented sketches of musical impressions. The multiple award-winning songwriter has reinvented the troubadour with modern jazz aesthetics.

Like most great storytellers, his life has its own idiosyncratic themes. As the tale is told, he dropped out of college to play at an amusement park. Broke and restless (great attributes for an aspiring musician), he formed a band and went on the road for nearly six years. Playing with regional bands, including Maurice Williams and The Zodiacs, The Catalinas and Sugarcreek on the Southland circuit, Pearce honed his technique and established a reputation as a ferocious performer. Weddings, concerts, festivals, clubs, nursing homes, and a gorilla funeral were all welcome gigs to this road warrior. Eventually, he would alleviate his touring schedule and record with his band.

I’m In The Twilight Of A Mediocre Career is the most current release. Consisting of thirteen original songs, (vocal and instrumental), self-deprecating charm and crisp, jazzy swingtime alternate with ease. The title cut offers a jazz-waltz, autobiographical retrospective. Pearce’s voice will never be confused with Joe Williams, but his sarcastic ebullience is offset nicely by his breezy piano solos. The opening track, “Let’s Run Away”, is offered in the style of “Fly Me To The Moon”. The steady, cool tempo receives a spirited trumpet solo by Joe Gransden, before it gets turned over to the animated piano run by Pearce. “It Just Ain’t Fair” gives the singer a stage for romantic overtone. This time, a tenor sax solo by Eric South frames the composition’s bouncy countenance.

The instrumental pieces are engaging as well. “Almost To Brazil” spins a relaxed, samba cadence with jazzy coloration. With a furtive downbeat, “Refried And Bona Fide” achieves a fusion trio sound with Herman Burney’s solid bass and Paul Fallat’s crisp drumming. The finale, “Happy Keys” is a simple, jaunty piano opus that showcases the depth of Pearce’s harmonics.

Prairie Dog Ballet, released in 2006, utilizes the same musicians with different arrangements. The title piece has a post bop, horn chorus driving the melody. The jazzier feel is maintained on “Unknowable Blue”. Tempo shifts, complemented by trumpet and tenor sax solos, cultivate a deeper aesthetic. A certain highlight is “One More Tomorrow” with a plaintive late-night acoustic resonance. Pearce’s piano play is both nuanced and lyrical in its eloquence. Fans of his idiomatic lyrics will not be disappointed. “Why I Haven’t Got You” (another hilarious rumination on love), “Gone Fishin” (a jump swing incarnation), and “Now That You’re Gone” (more relationship angst) strike the perfect equilibrium of jazz spontaneity and humorous narrative.

These albums are well crafted and very accessible. Perhaps Jim Pearce is at the apex of his “mediocre” career.

-- Robbie Gerson












- Audio Audition

The swing and wit of Jim Pearce
By Jean-Claude Elias
AMMAN - There are many different reasons that make you want to buy a new CD. The artist may be someone you already know and particularly like, or a friend may have recommended the album, or perhaps you have heard excerpts from it on the web. Sometimes it is the CD’s cover art that is very attractive and that begs you “please, buy me”. In the case of the new disc by American jazz pianist Jim Pearce it is the title that did the trick on me. I could not resist buying an album titled “I’m in the twilight of a ?ediocre career.”

The previous album by Pearce was named “Never open with a ballad”! The sense of humour of the musician is one of the essential traits of his music and does not end with titles. It extends deep into the lyrics of his songs and in the very way he does his singing. In the song that bears the same title as the album Pearce goes: “My mother said be an engineer, I didn’t listen so I wound up here. I’m in the twilight of a mediocre career, won’t make much money, yet to these rules I adhere, won’t work for food, exposure or beer.”

Essentially Pearce plays mainline, straight swinging traditional jazz. His piano naturally holds centre stage and is accompanied by first class performers. Herman Burney is on acoustic bass and does a stunning solo on track 3, played with the bow. Paul Fallat does the energised yet very subtle drumming, while Eric South plays the saxophone and the flute and Joe Gransden the trumpet. Ken Gregory contributes nice guitar parts, Rafael Pereira brings on additional percussions and Robert Dickson plays the bass on track 5.

About half of the eleven pieces featured on the album are sung, the rest being instrumentals only. All the music and the lyrics are by Jim Pearce; this alone deserves unrestricted credit.

Traditional does not mean repetitive here. Before anything else, perhaps before even being a performer, Pearce is an amazing innovator, writing pieces that are inventive and original. In that sense the album truly shines. The American jazzman sings with a slightly nasal, hoarse voice, “chewing” half of the words, reminiscent of good old Leon Russel sometimes, and sounding a bit “cartoonesque” by moments. This is in no way the velvet voice of Michael Buble or the crooning sound of Frank Sinatra. Besides, Pearce does not pretend to “be a beautiful voice”.

Instead, his wit and his vocal phrasing, combined with exceptional timing and relaxed delivery of lyrics and notes, unmistakably manage to capture your attention and please you. You are just too happy to hear him play and sing. And yes, this is genuine jazz.

Listen to “I hates to leaves ya but I gots to went” (literally). It opens with a sweet, warm saxophone line, goes on with Pearce belting out more crazy lyrics, and then shifts into a pure jazz piano solo. It would be wrong to be distracted by the funny words and singing, and to overlook the quality of the music and the instrumental parts; they make real good jazz. The harmonies played by the flute and the trumpet are exquisite musical moments and show the craftsmanship of Pearce, as in “Just another spring?song”.

Pearce’s piano style is classy and refined. It is, overall, soft and restrained, almost classical I would say. Yet, not every single piece on the album is traditional. “Refried and bona fide” shows the more daring, slightly more contemporary side of the artist. The piece is played with even more energy than the rest, with heavy, massive chords, an aggressive beat, and a bit of modern dissonance here and there.

“I’m in the twilight of a mediocre a career” is an interesting and very likable album. Pearce may be a better pianist and composer than he is a singer, but he makes jazz music that is attractive and original. He also strikes a good balance between traditional and innovation, guaranteed to please the listener. - The Jordan Times

"It's hard for a jazz musician to garner recognition in an era of music industry indifference toward unknown artists—and the genre as a whole. Musicians like Jim Pearce forge ahead anyway, producing uncompromised, original music. Never Open with a Ballad is a well-conceived showcase for the multi-talented Atlanta-based pianist, vocalist and composer.

Pearce delves into the piano with outstanding technique and a firm modern jazz conception. The beauty of Never Open with a Ballad, however, lies in Pearce's composing. Covering an impressive array of grooves, his tunes combine hip changes, strong melodies and, refreshingly, a sense of humor. From the progressive nature of the brooding "Not This Not That, the slippery 3/4 bounce of "Spectacular Orange Array, the lively propulsion of "Cleebo's Samba and the bebop twists of "Debbie Marie, Pearce presents well-developed themes that swing hard. "Clouded Canyon, the closing track, stands out as the least swinging of all, yet is a beautiful, contemplative solo piano performance.

Pearce is more than willing to let the members of his ensemble, especially trumpeter Joe Gransden and saxophonist Eric South, take center stage throughout the session. Gransden patiently manipulates the middle range on "Barely Touching, a harmonically clustered ballad with an overtly lush melody, and displays well conceived bebop lines on "Cleebo's Samba. South has a smooth tone with just the right amount of aggression to match the eclectic nature of Pearce's music. His gutsy tenor breathes life into the title track, and his solo excursions on "More and More and More and "Left Coast are swinging and inventive. Bassist Herman Burney and drummer Paul Fallat shift stylistic gears effortlessly and provide a rock solid foundation.

Never Open with a Ballad is a delightful collection of modern jazz performed by an outstanding collective of sympathetic musicians who are truly deserving of wider recognition. Pearce proves himself a highly adept leader who approaches every aspect of his music with vision and integrity.
” All About Jazz/ John Barron
- All About Jazz

"It's hard for a jazz musician to garner recognition in an era of music industry indifference toward unknown artists—and the genre as a whole. Musicians like Jim Pearce forge ahead anyway, producing uncompromised, original music. Never Open with a Ballad is a well-conceived showcase for the multi-talented Atlanta-based pianist, vocalist and composer.

Pearce delves into the piano with outstanding technique and a firm modern jazz conception. The beauty of Never Open with a Ballad, however, lies in Pearce's composing. Covering an impressive array of grooves, his tunes combine hip changes, strong melodies and, refreshingly, a sense of humor. From the progressive nature of the brooding "Not This Not That, the slippery 3/4 bounce of "Spectacular Orange Array, the lively propulsion of "Cleebo's Samba and the bebop twists of "Debbie Marie, Pearce presents well-developed themes that swing hard. "Clouded Canyon, the closing track, stands out as the least swinging of all, yet is a beautiful, contemplative solo piano performance.

Pearce is more than willing to let the members of his ensemble, especially trumpeter Joe Gransden and saxophonist Eric South, take center stage throughout the session. Gransden patiently manipulates the middle range on "Barely Touching, a harmonically clustered ballad with an overtly lush melody, and displays well conceived bebop lines on "Cleebo's Samba. South has a smooth tone with just the right amount of aggression to match the eclectic nature of Pearce's music. His gutsy tenor breathes life into the title track, and his solo excursions on "More and More and More and "Left Coast are swinging and inventive. Bassist Herman Burney and drummer Paul Fallat shift stylistic gears effortlessly and provide a rock solid foundation.

Never Open with a Ballad is a delightful collection of modern jazz performed by an outstanding collective of sympathetic musicians who are truly deserving of wider recognition. Pearce proves himself a highly adept leader who approaches every aspect of his music with vision and integrity.
” All About Jazz/ John Barron
- All About Jazz

“Atlanta-based pianist Jim Pearce is such a busy working musician (he averages over four hundred gigs per year ) that one wonders how he even found the time to record his new CD Washington Square Park —his first since 2003's Thirty Year Waltz. All curiosity about his schedule aside, Pearce has produced another winner. This is outstanding mainstream jazz.

Pearce's piano style meshes perfectly with his solid, memorable compositions: his solos exhibit exquisite melodic phrasing with a strategic use of rests coupled with interesting left-hand voicings. His solo choruses on the swaying 6/8 "Debbie's Blue Bicycle, the album's opening track, show these traits off perfectly—and the tune itself is good enough to become a standard. The leader's more than ably supported by a fine band of bassist Herman Burney, drummer Paul Fallat, saxophonist/flautist Eric South and trumpeter Joe Gransden and, to a lesser extent, acoustic guitarist/trombonist Ken Gregory. All of them have their moments, but South is a revelation: he plays various saxophones and flute memorably (Pearce isn't averse to overdubbing him during some of the ensembles to add some color and heft). His greasy tenor brings "Fried Everything to life and he gleefully eats up the changes of the swinging waltz "Thirty Three and a Third on alto—moreover, he looks all of sixteen in the CD's photographs. Who is this guy?

That said, this is Pearce's album and he's packed it with good material. "Washington Square Park is a vocal feature for René Marie, who sings it beautifully and intelligently—the way her voice shoots up an octave on the word "bird is thrilling, but Pearce is always there too, responding. "Not in Nine is a bracing Latin number with memorable comping from the leader and deft ride cymbal work from Fallat. Pearce switches to organ for the aforementioned "Fried Everything, a steaming groove number with Gregory somehow getting funky on nylon-stringed acoustic. (Pearce is his own man on piano, but his Hammond C-3 licks are actually evocative of, of all people, Rod Argent—to these ears, anyway.)

And then there are the album's glorious ballads. "Dreaming in Van Gogh Colors is done in a trio format and here the leader taps deep reservoirs of feeling over delicate brushwork from Fallat and majestic bowed bass from Burney. "Debbie's Birthday Song is more a prayer than a ballad, gorgeously wide-eyed and hopeful; while it features Gransden, it contains some of Pearce's best playing—again, that unique phrasing, that distinctive use of rests.

Pearce does some singing on two of the album's tracks and his voice is very enjoyable—he sounds like a more mush-mouthed Bob Dorough. His big vocal feature, "Buddy's Marmelade, is pure Dixieland, right down to the polyphony of guest Don Erdman's clarinet and Gregory's tailgate trombone. The leader also scats convincingly on "Boppin and a Beepin, which also has some more great tenor work from South.

Which brings us to the album's only real flaw. Every tune on Washington Square Park works. There is, however, an occasional rockiness to its pacing: the organ groove of "Fried Everything sits uneasily between the Latin swing of "Not in Nine and the lush, quasiclassical balladry of "Dreaming in Van Gogh Colors. The Dixieland "Buddy's Marmelade isn't the greatest lead-in to the Blue Note vibe of "Wooden Horses. It's all excellent music, but it's not a cohesive album.

Still, Washington Square Park is a powerful reminder that not all great jazz pianist/composers are signed to Verve or Blue Note—or work out of New York. And as you read these words, Jim Pearce is probably out there playing— somewhere. Let's be thankful he found the time to get this one recorded. Paul Olson/ All About Jazz - All About Jazz

“Atlanta-based pianist Jim Pearce is such a busy working musician (he averages over four hundred gigs per year ) that one wonders how he even found the time to record his new CD Washington Square Park —his first since 2003's Thirty Year Waltz. All curiosity about his schedule aside, Pearce has produced another winner. This is outstanding mainstream jazz.

Pearce's piano style meshes perfectly with his solid, memorable compositions: his solos exhibit exquisite melodic phrasing with a strategic use of rests coupled with interesting left-hand voicings. His solo choruses on the swaying 6/8 "Debbie's Blue Bicycle, the album's opening track, show these traits off perfectly—and the tune itself is good enough to become a standard. The leader's more than ably supported by a fine band of bassist Herman Burney, drummer Paul Fallat, saxophonist/flautist Eric South and trumpeter Joe Gransden and, to a lesser extent, acoustic guitarist/trombonist Ken Gregory. All of them have their moments, but South is a revelation: he plays various saxophones and flute memorably (Pearce isn't averse to overdubbing him during some of the ensembles to add some color and heft). His greasy tenor brings "Fried Everything to life and he gleefully eats up the changes of the swinging waltz "Thirty Three and a Third on alto—moreover, he looks all of sixteen in the CD's photographs. Who is this guy?

That said, this is Pearce's album and he's packed it with good material. "Washington Square Park is a vocal feature for René Marie, who sings it beautifully and intelligently—the way her voice shoots up an octave on the word "bird is thrilling, but Pearce is always there too, responding. "Not in Nine is a bracing Latin number with memorable comping from the leader and deft ride cymbal work from Fallat. Pearce switches to organ for the aforementioned "Fried Everything, a steaming groove number with Gregory somehow getting funky on nylon-stringed acoustic. (Pearce is his own man on piano, but his Hammond C-3 licks are actually evocative of, of all people, Rod Argent—to these ears, anyway.)

And then there are the album's glorious ballads. "Dreaming in Van Gogh Colors is done in a trio format and here the leader taps deep reservoirs of feeling over delicate brushwork from Fallat and majestic bowed bass from Burney. "Debbie's Birthday Song is more a prayer than a ballad, gorgeously wide-eyed and hopeful; while it features Gransden, it contains some of Pearce's best playing—again, that unique phrasing, that distinctive use of rests.

Pearce does some singing on two of the album's tracks and his voice is very enjoyable—he sounds like a more mush-mouthed Bob Dorough. His big vocal feature, "Buddy's Marmelade, is pure Dixieland, right down to the polyphony of guest Don Erdman's clarinet and Gregory's tailgate trombone. The leader also scats convincingly on "Boppin and a Beepin, which also has some more great tenor work from South.

Which brings us to the album's only real flaw. Every tune on Washington Square Park works. There is, however, an occasional rockiness to its pacing: the organ groove of "Fried Everything sits uneasily between the Latin swing of "Not in Nine and the lush, quasiclassical balladry of "Dreaming in Van Gogh Colors. The Dixieland "Buddy's Marmelade isn't the greatest lead-in to the Blue Note vibe of "Wooden Horses. It's all excellent music, but it's not a cohesive album.

Still, Washington Square Park is a powerful reminder that not all great jazz pianist/composers are signed to Verve or Blue Note—or work out of New York. And as you read these words, Jim Pearce is probably out there playing— somewhere. Let's be thankful he found the time to get this one recorded. Paul Olson/ All About Jazz - All About Jazz

“Jim Pearce is in possession of a special type of “triple threat.” I don’t know if he can dance or act. That’s not the kind I mean. What Pearce certainly can do is sing, play piano and write great music. He does plenty of each on his latest CD, Never Open with a Ballad. He and his band play in relaxed, straight -ahead jazz style. The songs (each tune on the CD is a Pearce original) are unique. Pearce has a clearly developed compositional style. The arrangements bring out the best from each composition. The musicians bring out the best from each arrangement. Never Open with a Ballad is seriously swingin’ CD that is infinitely worth a listen or two.” Jazz Improv Magazine/ Dave Miele
- Jazz Improv Magazine

“Jim Pearce is in possession of a special type of “triple threat.” I don’t know if he can dance or act. That’s not the kind I mean. What Pearce certainly can do is sing, play piano and write great music. He does plenty of each on his latest CD, Never Open with a Ballad. He and his band play in relaxed, straight -ahead jazz style. The songs (each tune on the CD is a Pearce original) are unique. Pearce has a clearly developed compositional style. The arrangements bring out the best from each composition. The musicians bring out the best from each arrangement. Never Open with a Ballad is seriously swingin’ CD that is infinitely worth a listen or two.” Jazz Improv Magazine/ Dave Miele
- Jazz Improv Magazine

“Jim Pearce reminds me somewhat of Bob Dorough and Dave Frishberg, you see. Fans of both will enjoy this CD along with Mr. Pearce's fine piano playing.”The Jazz Rendezvous /Eric Alan
- The Jazz Rendezvous

“Jim Pearce reminds me somewhat of Bob Dorough and Dave Frishberg, you see. Fans of both will enjoy this CD along with Mr. Pearce's fine piano playing.”The Jazz Rendezvous /Eric Alan
- The Jazz Rendezvous

“Pearce's group is nearly flawless.” All About Jazz / Michael Gladstone
- All About Jazz

“Pearce's group is nearly flawless.” All About Jazz / Michael Gladstone
- All About Jazz

“Jim is an extraordinarily talented musician and those skills are matched by his songwriting abilities. It is easy to see why he has earned many songwriting awards during his illustrious career. His stories and their imaginative lyrics create vivid images that one does not soon forget, or want to. And his piano riffs continue to play in your head long after his music stops.” Roots Music Report/ Brenda Barbee
- Roots Music Report

“Jim is an extraordinarily talented musician and those skills are matched by his songwriting abilities. It is easy to see why he has earned many songwriting awards during his illustrious career. His stories and their imaginative lyrics create vivid images that one does not soon forget, or want to. And his piano riffs continue to play in your head long after his music stops.” Roots Music Report/ Brenda Barbee
- Roots Music Report

Here’s a cheerful, playful gathering of original tunes composed by Jim Pearce and featuring him on piano and select vocals. It’s all very witty and upbeat,
relaxed and pretty in the best senses of the words. The band sounds fine, polished and rehearsed – each musician an expert in their approach to the songs and arrangements and in their air of professionalism. Pearce’s voice comes across as a bit reminiscent of Kermit and the Muppets or maybe Randy Newman and it’s quite charming as such. The title track zeros in on the flavor of the project – although the aspect of being on the downside of mediocrity is uttered with ironic overstatement. Nothing mediocre about the music, the musicians or for that matter - the tongue-in-cheek (no pun intended) lyrics. “It Just Ain’t Fair” is an especially cute song with perhaps the cleverest lyrics of the bunch (notwithstanding “I Hates to Leaves Ya But I Gots to Went”), finding Pearce blissfully scatting away. Yet another clever set of lyrics is found in “Sasquatch is Falling in Love,” made all the more unique by the guitar playing of Ken Gregory. One supposes that scarcity makes the heart grow fonder; however, more of Gregory would be much in order. In a sense Pearce speaks for countless small, more or less anonymous if no invisible musicians playing small-change gigs and serving as their own roadies, sound engineers, and managers. “Here I Am Dreaming Rainbows” features Pearce on the keyboard and Eric South on sax and Joe Gransden on trumpet – an instrumental track
in testament to the group’s excellent talent and denial of any sincere claim to mediocre abilities. Herman Burney stands out forcefully and adeptly in an ear-catching bass solowith Paul Fallat providing the pulse. It’s a quiet and lyrical tune that again features
South on Sax, playing a kind of stick to your ribs soulful solo perked up and underscored by Pearce’s sweet piano and Burney’s bowing finale. As is so often the case, the middle track, “Almost to Brazil,” provides a beautiful and calming arrival point, setting forth a bossa nova deserving of note by other musicians. Joe Gransden and Pearce trade honors on this particular version. Rafael Pereira’s percussion effects transport everyone into the
Brazilian groove. If, perchance, another title were given to this project it might well be the title of the fial tune: “Happy Keys.” Happy, happy keys, indeed!
Bob Gish/ Jazz Inside New York - Jazz Inside New York

Here’s a cheerful, playful gathering of original tunes composed by Jim Pearce and featuring him on piano and select vocals. It’s all very witty and upbeat,
relaxed and pretty in the best senses of the words. The band sounds fine, polished and rehearsed – each musician an expert in their approach to the songs and arrangements and in their air of professionalism. Pearce’s voice comes across as a bit reminiscent of Kermit and the Muppets or maybe Randy Newman and it’s quite charming as such. The title track zeros in on the flavor of the project – although the aspect of being on the downside of mediocrity is uttered with ironic overstatement. Nothing mediocre about the music, the musicians or for that matter - the tongue-in-cheek (no pun intended) lyrics. “It Just Ain’t Fair” is an especially cute song with perhaps the cleverest lyrics of the bunch (notwithstanding “I Hates to Leaves Ya But I Gots to Went”), finding Pearce blissfully scatting away. Yet another clever set of lyrics is found in “Sasquatch is Falling in Love,” made all the more unique by the guitar playing of Ken Gregory. One supposes that scarcity makes the heart grow fonder; however, more of Gregory would be much in order. In a sense Pearce speaks for countless small, more or less anonymous if no invisible musicians playing small-change gigs and serving as their own roadies, sound engineers, and managers. “Here I Am Dreaming Rainbows” features Pearce on the keyboard and Eric South on sax and Joe Gransden on trumpet – an instrumental track
in testament to the group’s excellent talent and denial of any sincere claim to mediocre abilities. Herman Burney stands out forcefully and adeptly in an ear-catching bass solowith Paul Fallat providing the pulse. It’s a quiet and lyrical tune that again features
South on Sax, playing a kind of stick to your ribs soulful solo perked up and underscored by Pearce’s sweet piano and Burney’s bowing finale. As is so often the case, the middle track, “Almost to Brazil,” provides a beautiful and calming arrival point, setting forth a bossa nova deserving of note by other musicians. Joe Gransden and Pearce trade honors on this particular version. Rafael Pereira’s percussion effects transport everyone into the
Brazilian groove. If, perchance, another title were given to this project it might well be the title of the fial tune: “Happy Keys.” Happy, happy keys, indeed!
Bob Gish/ Jazz Inside New York - Jazz Inside New York

The sound of a piano player making the ivory sing is always music to my ears. Jim Pearce's latest album is surely worthy of a spin, as he takes a multi-faceted journey into musical magic with "I'm In The Twilight Of A Mediocre Career."

A virtual potpourri of musical styles, Pearce's latest is a refreshing shift from the cookie cutter world of modern music. Rarely, if ever, does an artist share such a diverse catalog of instrumental work on an album, and Pearce does this with style.

"Almost To Brazil" is my favorite song on the album. A musical pilgrimage into the dawn of jazz, it recreates the sound of the genre at it's infancy. This track is a sure thing for the charts.

The works of modern jazz are paving the way for future musicians to make their own mark. Jim Pearce's latest is a promising effort from a musical professor eager to show others how to make the most of their talents. Give "I'm In The Twilight..." a listen soon.
Christopher Llewellyn / Cashbox Magazine
- Cashbox Magazine

The sound of a piano player making the ivory sing is always music to my ears. Jim Pearce's latest album is surely worthy of a spin, as he takes a multi-faceted journey into musical magic with "I'm In The Twilight Of A Mediocre Career."

A virtual potpourri of musical styles, Pearce's latest is a refreshing shift from the cookie cutter world of modern music. Rarely, if ever, does an artist share such a diverse catalog of instrumental work on an album, and Pearce does this with style.

"Almost To Brazil" is my favorite song on the album. A musical pilgrimage into the dawn of jazz, it recreates the sound of the genre at it's infancy. This track is a sure thing for the charts.

The works of modern jazz are paving the way for future musicians to make their own mark. Jim Pearce's latest is a promising effort from a musical professor eager to show others how to make the most of their talents. Give "I'm In The Twilight..." a listen soon.
Christopher Llewellyn / Cashbox Magazine
- Cashbox Magazine

Der Titel von Jim Pearce's CD zeigt schon unmissverständlich an, in welcher Umgebung wir uns befinden: Der Pianist, Sänger und Songschreiber Jim Pearce lässt sofort an verwandte Schlitzohren wie Dave Frishberg und Bob Dorough denken. Und wie sie ist er ein hervorragender Pianist, und ein eigenwilliger Sänger, oder vielmehr ein «Diseur», falls es dies gibt. Jim Pearce‘s Songs sind ein ungetrübtes Vergnügen! - Swiss Radio Station

Der Titel von Jim Pearce's CD zeigt schon unmissverständlich an, in welcher Umgebung wir uns befinden: Der Pianist, Sänger und Songschreiber Jim Pearce lässt sofort an verwandte Schlitzohren wie Dave Frishberg und Bob Dorough denken. Und wie sie ist er ein hervorragender Pianist, und ein eigenwilliger Sänger, oder vielmehr ein «Diseur», falls es dies gibt. Jim Pearce‘s Songs sind ein ungetrübtes Vergnügen! - Swiss Radio Station

C. Michael Bailey/ AllAbout Jazz
The State of Jazz Lyricists 2010: Mose Allison and Jim Pearce


There exists a unique and storied subset of jazz artists who pen the most clever music and lyrics this side of Tin Pan Alley and way that side of modern-day Nashville. Besides Bob Dorough and Dave Frishberg, who are in a class by themselves, are Mose Allison and Jim Pearce, who are also part of that rarefied class. That three of these four—all pianists and singers as well as composers—are Southerners should not be a surprise because the American South, with all of its inherent conflict, is the creative conscience of America.
Allison and Pearce are known for inventive lyrics, often self-effacing, propelled by solid, blues-oriented piano playing. This type of composition is a dying art, the marriage of the clever with the sublime. This is music that winks and nods and chuckles with the inside joke between performer and listener.
Where Mose Allison's music is colored with earthy tones of rich soil and rural Southern red clay, pianist and singer Jim Pearce's reflects the shiny New South of his Atlanta home. His instrumental writing has a show-tune sophistication and harmonic acumen, and his voice has the earnest imperfection of a crack Tin Pan Alley lyricist, a slight lisp, that makes his singing genuine and irresistible.
Pearce is a Southern sophisticate, enabling him to compose and sing a self- deprecating song like "I'm In The Twilight Of A Mediocre Career" alongside a superb instrumental ballad like "Here I Am Dreaming Rainbows." Where Allison's lyrics tend to the summer, dust-dry sardonic with a stab of danger, Pearce's are good natured and and largely without bite, like "It Ain't Fair:

"For you I'd jump through flaming hoops / scuba dive in onion soup.
Sail across the Seven Seas / Scale Mount Everest on my knees.
Ride a cycle on a wire / shoot Niagara in a tire
Fly a kite in a Hurricane / try and stop a moving train..."
How is that not infatuating?
This continues through similarly structured songs, "I Hastes Yo Leave Ya, But I Gots To Went" and "Sasquatch Is Falling In Love." Instrumentally, Pearce's compositions are equally happy and good natured. "Refried and Bona Fide" is a progressive "The In Crowd" sort of piece that defies its funky and creative title. Pearce is a full-bodied composer who can deftly write anything. Two sides of the same coin, Allison and Pearce have few musicians coming up behind them to continue this tradition of jazz vocal composition. Who is on the horizon?
- All About Jazz

C. Michael Bailey/ AllAbout Jazz
The State of Jazz Lyricists 2010: Mose Allison and Jim Pearce


There exists a unique and storied subset of jazz artists who pen the most clever music and lyrics this side of Tin Pan Alley and way that side of modern-day Nashville. Besides Bob Dorough and Dave Frishberg, who are in a class by themselves, are Mose Allison and Jim Pearce, who are also part of that rarefied class. That three of these four—all pianists and singers as well as composers—are Southerners should not be a surprise because the American South, with all of its inherent conflict, is the creative conscience of America.
Allison and Pearce are known for inventive lyrics, often self-effacing, propelled by solid, blues-oriented piano playing. This type of composition is a dying art, the marriage of the clever with the sublime. This is music that winks and nods and chuckles with the inside joke between performer and listener.
Where Mose Allison's music is colored with earthy tones of rich soil and rural Southern red clay, pianist and singer Jim Pearce's reflects the shiny New South of his Atlanta home. His instrumental writing has a show-tune sophistication and harmonic acumen, and his voice has the earnest imperfection of a crack Tin Pan Alley lyricist, a slight lisp, that makes his singing genuine and irresistible.
Pearce is a Southern sophisticate, enabling him to compose and sing a self- deprecating song like "I'm In The Twilight Of A Mediocre Career" alongside a superb instrumental ballad like "Here I Am Dreaming Rainbows." Where Allison's lyrics tend to the summer, dust-dry sardonic with a stab of danger, Pearce's are good natured and and largely without bite, like "It Ain't Fair:

"For you I'd jump through flaming hoops / scuba dive in onion soup.
Sail across the Seven Seas / Scale Mount Everest on my knees.
Ride a cycle on a wire / shoot Niagara in a tire
Fly a kite in a Hurricane / try and stop a moving train..."
How is that not infatuating?
This continues through similarly structured songs, "I Hastes Yo Leave Ya, But I Gots To Went" and "Sasquatch Is Falling In Love." Instrumentally, Pearce's compositions are equally happy and good natured. "Refried and Bona Fide" is a progressive "The In Crowd" sort of piece that defies its funky and creative title. Pearce is a full-bodied composer who can deftly write anything. Two sides of the same coin, Allison and Pearce have few musicians coming up behind them to continue this tradition of jazz vocal composition. Who is on the horizon?
- All About Jazz