Peven Everett

The interview

DS3:

You obtained a full scholarship from Berklee School of Music in 1992. At that time, would you have described yourself as purely a jazz musician or were you already experimenting with different styles?

PEVEN EVERETT:

I'd say I was a Jazz musician. The ideas to experiment were there but it was a relationship that had not yet been consummated.

DS3:

After moving to New York in 1992, what did you experience in the following 6 years before returning home in 1998?

PEVEN EVERETT:

It was a great experience, one in which I learnt a lot. I basically came into whatever I was going to be as I was in the beginning stages of my manhood. I was under some degree of supervision, but not enough in my opinion, only because I was a little wild! The experience was so important to my development and how I understand the music industry now, how to play and what protocols exist both onstage and in the music business.

DS3:

Prior to the release of Studio Confessions, you produced your own homemade albums whilst still an unsigned artist. What inspired you to do this?

PEVEN EVERETT:

Well, when Studio Confessions was an unsigned record it was distributed by a company that had the necessary channels to get the product to the people, the mainstream public who were my peers. And this felt right, so I just kept on going with the whole release from home thing. It enabled me to keep and eye on my product, keep an eye on my distribution, just keep an eye on my ability to create. You don't find a contract to create. If you put a bunch of music into a barrel, a label, it will rot - so you gotta be able to put the music out the way people want to hear it.

DS3:

How did you get involved with ABB records, considering Studio Confessions was both yours and the labels' first release?

PEVEN EVERETT:

Well, I got involved through Oli S, a Rawkus representative who was a good friend of mine and Oli knew Benny D, the CEO of ABB Records, from way back. Benny wanted to do something new with the label and I wanted to do something new with my career.

DS3:

You are professionally trained to play 11 different musical instruments. Do you have a favourite?

PEVEN EVERETT:

I'd say, familiarity wise, the piano is my favourite. The piano is something a band most likes to hear and when it's a feeling that gets into a person's heart, their brain, it's valuable. It's the flexibility and freedom of expression with the piano that appeals the most - it tests how far you can travel through the instrumentation to connect. So, I have one that I play all the time but that's also different than a favourite. It's mainly that way because sonically, right now, with respect to the other musicians that exist on the planet, they only know how to play with certain instruments. If I came out with a bucket and a comb and started making some weird noises they'd be like "how do I play along with that?" So I'm trying to wean people away from the Americanised approach to music.

DS3:

Describe how you met/selected your band, Seance Devine?

PEVEN EVERETT:

The bongo player is a long-standing friend, I've known him since 4th grade, and we've always hit it off. We went to different high schools but were able to meet up years later and hang out together and this is how we met the bassist who in turn knew Asa (the drummer) from way back. I had to play a gig in a loft and Asa subbed for my drummer who was a travelling drummer. I felt like being invigorated at the time and I was at a point where I needed to be picked up. This was because the dynamics of the band weren't set correctly. And I've been on cloud nine ever since, I'm blessed. My life is good right now. I've finally reached a place in music where I'm progressing and evolving and it's not because I'm comfortable, it's because the musicianship around me is something else. It's really, really high end and its gives me the opportunity to do what I want to do - they're there for me and I'm here for them. It's now time to make people worth something - the setting of a band with 3 at the back and the star at the front is crap. How dare I pick a guy to be in my band and not call him a star? We do not rehearse under any circumstance. We come to the table with nobody knowing any more than anybody else, apart from me probably because I have the tunes. But after I play the tune, they have it and they're gone and they do what they want to do. It's the idea of how well they hold up in those tough moments, when you're in the trenches. And the improv sense of jazz is something that chains me to the music. There was no way I was going to be anything else other than a musician after I felt improv. Improv has to be part of me when I play. Its choices, it's freedom; it's everything good about living. It shows how good the musicians are and how bad they are. I don't think about it until I hit the stage...

DS3:

Our first experience of 'Peven Everett live' was at the Southport Weekender here in the UK in November 2003. Did you enjoy the experience (as much as we did) and would you like to return in the future?

PEVEN EVERETT:

I love Southport, it's a great event. The experience of a Southport person coming up to me with a CD that I made at home, show it to me and ask me to sign it! It's all I really have in terms of the street value of the work that I put into the material - the rest is because I love it with all my heart. If I'm going to deal with money, I'd like a relationship with the people where I can have a hug or a handshake or a conversation with the person who bought the CD - the CD that took me a lot to put together and took a lot of time to listen to. I value friendship a lot more than people with balance sheets. That's the reason why people pick it up - there's something familiar with it, something they relate to and they may realise they may be more like me than they thought. I'd love to go back to Southport, absolutely. I go where the people want me to be - if they want me there, I'll be there, it's the whole spread love thing.

DS3:

Describe Peven Everett in 3 words?

PEVEN EVERETT:

Loving, real and hopeful.

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