Percussion Studies Chair Tom Collier and bassist Dan Dean, faculty pianist Marc Seales, and L.A.-based drumer Moyes Lucas present Professor Collier's "Retirement Celebration" Mallethead Series concert. Professor Collier has been head of the UW's Percussion Studies program since 1981.
Thomas Collier, percussion
Director of percussion studies at the University of Washington School of Music since 1980, associate professor Tom Collier has performed and recorded with many important classical, jazz, and popular artists, in addition to recording and performing with his own jazz group. He is a veteran of more than 50 years in music -- his first public appearance was at age five, on xylophone, and his first professional performances were made as a nine-year-old marimba virtuoso.
Collier has also established a reputation as a jazz/percussion composer, with many of his compositions for jazz percussion ensemble published by Studio 4 Productions and distributed by Alfred Music. He has won 15 consecutive ASCAP Popular Panel Awards for his jazz and percussion compositions.
Collier has recorded several educational albums for Music Minus One and Studio 4 Productions, as well as presenting more than 300 jazz concerts in public schools around Washington for the Arts in Education Program, Washington State Arts Commission. The National Association of Jazz Educators presented him with an "Outstanding Service to Jazz Education" award in 1980.
A UW alumnus, Collier graduated from the School of Music in 1971 with a BA/BM in percussion performance.
Dan Dean, bass
Dan Dean has achieved national and international recognition as a bassist, producer, composer, and as an audio and recording engineer.
He has performed with the some of the finest musicians and musical organizations of our time, including: Shelly Manne, Howard Roberts, The Great Guitars (Herb Ellis, Charlie Byrd, Barney Kessell), Eddie "Cleanhead" Vinson, B.B. King, Eddie Harris, Blue Mitchell and Harold Land, Buddy DeFranco, Donny Hathaway, Tom Scott, Dave Grusin, Don Grusin, Ernestine Anderson, Bill (William O.) Smith, Ernie Watts, the Seattle Symphony, Walt Wagner, Seattle Opera, Freddie Hubbard, Bill Mays, Della Reese, Emil Richards/Joe Porcaro and many others.
Dean also has been a major contributor to music education. He is the author of the widely successful Hal Leonard Series for Electric Bass Method Books 1, 2 and 3, Hal Leonard Electric Bass Studio Series Books 1, 2 and 3, Bass Trax and other related projects. He has been a member of the teaching faculties in Jazz studies and Electric Bass, of Western Washington University, Olympic College and Shoreline College. Dean received his B.A. in 1975 from the University of Washington where he majored in English Composition and Literature.
Moyes Lucas, drums
From the time his dad took him to his first parade, Moyes Lucas Jr fell in love with the drums. His father, a part-time drummer and sax player himself, introduced his son to the talents and sounds of jazz greats like Max Roach, Philly Joe Jones, Art Blakely, and The Heath Brothers.
Growing up he appreciated several musical styles and grew intrigued with the sounds of the band Chicago; especially the integration of the horns. He played their music continually, using anything he could to simulate a drum set. Understanding that he needed a real drum set to improve his own talents, he got a paper-route, repaired lawnmowers and eventually saved up the $300 he needed to buy his first set of drums: a used Ludwig Drum set, complete with cymbals.
Ironically, it was at a “Chicago” concert that Moyes heard a pre-show tape with a new sound that fascinated him; a captivating funk beat that impressed him so much that he couldn’t think of anything else. The very next day he went to the music store, described what he had heard, and discovered musician Herbie Handcock and drummer Harvey Mason. It’s no understatement to say that Mason, as well as other innovative artists like Billy Cobham, had a profound influence on Moyes and his musical style. With his interest in Jazz rekindled, his new found musical style could be described as a fresh, new, ever-evolving, progressive funk/jazz. Due to his ability to sight-read music (something most rock players can’t do), Moyes found plenty of studio work; mainly through word-of-mouth.
Moyes attended Western Washington University where Jazz Department Director Bill Cole became another huge influence. He earned money playing in local jazz taverns and doing studio work. After college he moved to Seattle. By this time his musical style included rock. He worked with Dave Peterson in a band called “Solitaire;” similar in style to Pat Metheny, but was a top Seattle band before the Metheny sound became so popular.
He went on to work on musical projects with artists such as Steve Perry, which remains one of his favorite memories because of their chemistry to play "pure, live music.” Today Moyes lives in the Los Angeles area and continues to work and tour with many talented artists.
Marc Seales, piano
A noted pianist, composer and leading figure in the Northwest jazz scene, Marc Seales has shared stages with many of the great players of the last two decades. He has played with nearly every visiting jazz celebrity from Joe Henderson and Art Pepper to Benny Carter, Mark Murphy, and Bobby Hutcherson. With the late Don Lanphere he performed in such places as London, England; Kobe, Japan; The Hague in the Netherlands; and the North Sea Jazz Festival.
The musicians he admires most are Herbie Hancock, Charlie Parker, John Lewis, John Coltrane, Miles Davis, and Wynton Kelly, though he is quick to acknowledge that he owes the basically be-bop/post be-bop sound of his playing to his mentors, Don Lanphere and Floyd Standifer.
Critics have praised Seales variously for his "meaty piano solos," and "blues inflected, Hancock-inspired modernism." Winner of numerous Earshot awards (Instrumentalist of the Year in 1999 and Acoustic Jazz Group in 2000 and 2001; Jazz Hall of Fame, 2009), Seales is today promoting jazz awareness and molding young talents as a Professor of Music at the University of Washington, where he teaches an array of courses, including History of Jazz, Jazz Piano, and Beginning and Advanced Improvisation, as well as leading various workshops and ensembles.