About KEITH EADDY (aka “E -Day”)
Keith, can you lead us through your story?
“Be like water,” as Bruce Lee once said. Tapping into the value of being flexible and adaptable has been right at the center of my journey as a musician. As a kid growing up in Washington DC, school music programs provided the chance to learn a number of instruments (violin, sousaphone/tuba, trumpet, piano) which, along with all the different genres we covered, really got me going in terms of expanding my curiosity. Before that, at age 7 my dad had gotten me a knock-off Fender bass and it was around then I realized I had something kind of like a photographic memory for music. (Ultimately super-useful, though in a funny way it also slowed me down when learning to sight-read music, because by ear I could “cheat” if a music teacher had already played the part ahead of time!) In high school, when our marching band was performing at pro football games and at the same time I was getting into recording my own tracks, the notion solidified for me that music was always going to be at the heart of my identity. Then the pace quickened when a TV segment I’d written music for won an Emmy, and also my band got a record contract with Columbia Records. Soon I found myself relocating to Los Angeles as part of a condition of a publishing deal I was offered. And essentially I’ve been based here in LA ever since.
What have been some of the struggles along the way?
Of course, those first years in LA were a whirlwind, as I got to write for and work with some great artists, including Phillip Bailey. Still, back at that time, some of us could feel there was a snowballing pressure towards conformity from the gatekeepers and executives in the music business. For me, that rigidity and lack of adventurousness seemed to be at odds with the goal of looking to grow audiences – sometimes I started to doubt just where exactly I was going to fit in. It was tough. But something that kept me sane was playing basketball 4-5 days a week, and unexpectedly, that led to some surprising opportunities. (Or maybe it kinda points to why it is people come out to Los Angeles?) A bet on the court over one of my trick shots with director Robert Townsend landed me a speaking part in one of his shows! Relationships stemming from basketball also somehow led to session work for artists like Rick James and Bobby Brown and in time, even towards Dr Dre and Ice Cube. Also around then, I could feel more doors were starting to swing open in the area of live gigs, which led to touring with Macy Gray, Jessica Simpson and Leela James, as well as playing alongside gospel legends Andraé and Sandra Crouch, The Gap Band’s Charlie Wilson, Angie Stone, T-Boz and Seidah Garrett. As a member of the live band on “Baisden After Dark” (which also featured Morris Day), I performed with legends like Betty Wright, Kurtis Blow, as well as Ledisi and Musiq Soulchild. One of biggest thrills was having played bass behind Stevie Wonder on several occasions . While I couldn’t quite have predicted how, for me, it felt like that sense of adventure had returned.
Can you tell us a bit about what you’re currently focused on?
Artists I’m performing with now include Jody Watley and Loose Ends, and also, playing with emerging artists like Erin Stevenson and boundary-pushing artists like Dam-Funk gives me chance to dial in what I call my sonic “Laboratory” – meaning (when the material calls for it) providing not just electric bass but also keyboards, synth bass, and vocals. I had been refining that approach over the last few years during what I might call “trial by fire” residencies in LA clubs when we’d never know what material might be thrown at us and we just had to make it work. (A contrast to many of the events I’ve played over the years which were pretty heavy on the sight-reading.) Locally, you’ll find me expanding on all that with the LA-based original band Captain Danger. Exciting recent local shows also include singer Christine Gordon, and recent sessions include Melissa Etheridge, Christine and the Queens, and K. Michelle. Additionally, I’ve been working on background cues and new songs for film and TV, which has been great in terms of an ever-widening sonic palette. Being able to look back and draw on those various experiences I’ve had feels like a gift in terms of the musical options I can reach for. Also it feels there’s an openness in the landscape now for musicians and artists to fully lean into their flexibility, and it seems to me like listeners are demanding we do just that.
Additional artists you’ve performed and/or recorded with?
Anthony Hamilton, N’Dambi, Shaunice Wilson, Eros Ramazzotti, Freida Payne, Howard Hewitt, Mary Jane Girls, Johnny Gil, Stacey Latisaw, Jasmine Guy, Ronee Martin, and Will Wheaton.
Is there a characteristic or quality that you feel is essential to success?
I’ve learned that when performing onstage to give generous attention to the artist, which directs focus to the star. Similarly in the recording studio I try to make it clear I’m ready to follow direction from the producer, but I’m also good to offer input if it’s wanted or needed. In any case, it’s done with discretion.
Any shoutouts to add?
Of course! Scott “Shavoni” Parker, Aaron Steinberg, Dam-Funk, Jane Eugene, Mel Brown, Jimmy Gimelli, Bosko Kante, Marquis “Hami” Dair, Mic Murphy & David Frank, Marcus & Brandon Coleman, Keischa Potter, Reggie Regg Johnson, Zoux, Puff Johnson, Larry Durell, Phil E. Project, Tommy Organ, Vann Johnson, David Isaac, Trevor Lawrence, Rob Lewis, Monte Neuble, Keith Harris, Dorian Holley, Jesse “Corp” Wilson and Saverio Principali.
www.keitheaddy.com