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ERIC SCHNEIDER
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Eric Schneider’s musical adventures began early.
Born and raised in the Chicago area, he was able to play melodies on
the piano at age three. His formal studies started on piano at six. By
age eight, his tendency to try to “improve” the music inspired his
teacher to give him a boogie-woogie book, which resulted in his
earliest experiments in composition and improvisation.
Clarinet lessons started a couple years later and by age fifteen he’d
taken up the sax. Hearing Charlie Parker turned his musical life
completely around, and he heeded the call. He dropped piano
lessons, neglected the clarinet and started a passionate relationship
with the alto saxophone. After graduating from the University of Illinois
with a degree in Advertising, he returned to Chicago and joined Jim
Beebe’s Chicago Jazz Band. Earl Fatha’ Hines, who knew a thing or
two about good, young saxophone players (and had hired Charlie
Parker some thirty years earlier) heard about Eric and requested an
audition tape. This resulted in a four-year stay, touring all over the
world, as well as the LP, Eric and Earl (Hines insisted on second
billing).
With Hines’ blessing Eric accepted Count Basie’s offer to join the
Basie Orchestra and subsequently occupied the “hot” tenor chair for
two years, following in the footsteps of his other main musical
influence, Lester Young, who held the chair from 1936 to 1940.
During his tenure with Basie, Schneider recorded three albums,
including the Grammy Award-winning 88 Basie Street.
These six years of nonstop touring brought him into the company of
some of America’s greatest artists, including Ella Fitzgerald, Dizzy
Gillespie, Benny Goodman, Sarah Vaughan, Tony Bennett, Clark Terry,
Mel Tormé, Sammy Davis, Jr., Joe Williams, Ray McKinley, Rosemary
Clooney and Billy Eckstine. He’s also worked with former Charlie
Parker employers, Jay McShann and Sir Charles Thompson, with
whom he recorded two CDs. Abandoning the nomadic life and
returning to Chicago, Schneider embarked on a richly diverse career
that blends studio work, concert performances and jazz festivals, and
featured positions alongside visiting jazz heavyweights.
The many calls for his services on clarinet rekindled his love affair with
the instrument, and he is now in constant demand on clarinet and
saxophone, alto and tenor, by both small groups and big bands that
need a soloist possessing both erudition and passion. Offers for
extended travel are given special consideration if golf or skiing can be
incorporated in the tour.
Schneider represents the true spirit of jazz: walking in the footsteps of
the giants while expressing a vision that is entirely his own. His career
and music represent a multitude of facets––constantly growing and
responding to the challenge of remaining true to the great traditions of
the genre while continuing to evolve as an artist.
_______________________________________________________
Eric Schneider’s musical adventures began early.
Born and raised in the Chicago area, he was able to play melodies on
the piano at age three. His formal studies started on piano at six. By
age eight, his tendency to try to “improve” the music inspired his
teacher to give him a boogie-woogie book, which resulted in his
earliest experiments in composition and improvisation.
Clarinet lessons started a couple years later and by age fifteen he’d
taken up the sax. Hearing Charlie Parker turned his musical life
completely around, and he heeded the call. He dropped piano
lessons, neglected the clarinet and started a passionate relationship
with the alto saxophone. After graduating from the University of Illinois
with a degree in Advertising, he returned to Chicago and joined Jim
Beebe’s Chicago Jazz Band. Earl Fatha’ Hines, who knew a thing or
two about good, young saxophone players (and had hired Charlie
Parker some thirty years earlier) heard about Eric and requested an
audition tape. This resulted in a four-year stay, touring all over the
world, as well as the LP, Eric and Earl (Hines insisted on second
billing).
With Hines’ blessing Eric accepted Count Basie’s offer to join the
Basie Orchestra and subsequently occupied the “hot” tenor chair for
two years, following in the footsteps of his other main musical
influence, Lester Young, who held the chair from 1936 to 1940.
During his tenure with Basie, Schneider recorded three albums,
including the Grammy Award-winning 88 Basie Street.
These six years of nonstop touring brought him into the company of
some of America’s greatest artists, including Ella Fitzgerald, Dizzy
Gillespie, Benny Goodman, Sarah Vaughan, Tony Bennett, Clark Terry,
Mel Tormé, Sammy Davis, Jr., Joe Williams, Ray McKinley, Rosemary
Clooney and Billy Eckstine. He’s also worked with former Charlie
Parker employers, Jay McShann and Sir Charles Thompson, with
whom he recorded two CDs. Abandoning the nomadic life and
returning to Chicago, Schneider embarked on a richly diverse career
that blends studio work, concert performances and jazz festivals, and
featured positions alongside visiting jazz heavyweights.
The many calls for his services on clarinet rekindled his love affair with
the instrument, and he is now in constant demand on clarinet and
saxophone, alto and tenor, by both small groups and big bands that
need a soloist possessing both erudition and passion. Offers for
extended travel are given special consideration if golf or skiing can be
incorporated in the tour.
Schneider represents the true spirit of jazz: walking in the footsteps of
the giants while expressing a vision that is entirely his own. His career
and music represent a multitude of facets––constantly growing and
responding to the challenge of remaining true to the great traditions of
the genre while continuing to evolve as an artist.
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