Erica Miller
Jeff Pevar

Jeff Pevar

Born in Springfield, Mass and spending his early years living in several towns around the Hartford, CT area Jeff "The Peev" Pevar currently resides in a little town with the very fitting name of Talent, Oregon. After decades of working with an impressive array of world renown artists he still retains his hometown connections with Hartford and is always a welcome visitor bringing his own special style of making music to his friends currently at places such as at the Hungry Tiger in Manchester and the Infinity Hall in Norfolk. For the past 35 years he has held an annual Thanksgiving gig in other such venerated halls around the area including Gemini's in Simsbury, Black eyed Sally's, and The Maple Tree. This year (2011) his upcoming European tour with Rickie Lee Jones will prevent him from appearing here for Thanksgiving but tells me he has been asked by the Infinity to play New Years Eve, which sounds like a really good way to spend it to me. He hopes to do a few other dates in the area at that time. If you are in the area over the holidays be sure and catch him. You will glad you did.

To try and list all the notable music industry people Jeff has worked with would be a daunting task. It would be easier to compile a list of whom he hasn't worked with. If I were to pick a few however the first that spring to mind would be his having toured for years with Ray Charles, Crosby Stills and Nash and Jefferson Starship. The list goes on and on. Working as a session guitarist for David Crosby he was heavily involved in collaborating with David and David's son James Raymond as CPR (Crosby Pevar Raymond) for a number of years. They formed in the mid 90's and released their first of four CD's titled simply "CPR" in 1998. That was quickly followed by Live at Cuesta College (1998), Live at the Wiltern (1999) and Just Like Gravity (2001). Sadly, it's been a while since they've played together due to many other commitments by all parties.

When the concept for the "A Brief Episode" CD was in it's early stages I had been asking around the area about whom I might consider for the various tracks I had in mind and who might actually participate in the idea. Jeff Pevar's name was brought up by old friend and fellow guitarist Tony Spada as being not only one of the finest guitarists from the area but also a very approachable and all around nice guy. He sounded like what I was looking for. I contacted Jeff and he was immediately taken with the idea. I then had Bill Kirchen, Jon Herington and Jeff Pevar all telling me my idea had potential. This is what I call inspiration, I must make this work.

Jeff agreed to participate and true to his nature he got right to work in his home studio. 3 days later I had the finished tracks and they were perfect for what I had in mind, good old tunes refreshed by today's masters. Jeff did not disappoint. Hearing the bass track first as a demo I was immediately intrigued by his flowing fretless lines and then I took a while on my guitar figuring out how he sneaks that harmonic in there. Once the guitar track came through ('62 Fender Esquire for you buffs) all I could think was, "Wow, this is phenomenal, if the rest of the CD comes out as good as this we are on to something!" Also a pillar of patience Jeff waited two years before I was able to get the vocals put to it but it was well worth it when we heard the finished product. We were going for sultry.

Nearing the end of the production phase Jeff provided more superb work in the form of an acoustic fretless bass track to accompany Jon Herington on "Cry Me a River". This track was most interesting to me because it is one of the only ones not done with Rickie and the principal accompanist present working "live". In this case Jon provided a track recorded from his home studio in NYC, Jeff provided a bass track for it recorded in his home studio in Oregon and then we recorded and dubbed in the vocal track here in Connecticut at Bold Music Studios. It is an example of what is to date possibly the most modern culmination of the dubbing work initiated by Les Paul in the 1950's. We took tracks recorded thousands of miles away from each other, sent them digitally to a third studio via internet and dubbed them all together to create an excellent piece of music. I think that's pretty cool. The only thing that would make it cooler is if I could prove the files came here via satellite, but I have other stuff to do.

This track is one reason I felt compelled to dedicate the CD to Les and Mary. Their early work is what makes this possible today.

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