Dave Eggar in the Manila Times

Dave Eggar in the Manila Times
The Manila Times
Bridging Brooklyn and Manila through music

Deoro is composed of Dave Eggar, Chuck Palmer and Tom Pirozzi
As I entered Izakaya and heard techno music filling the entire Bar, I turned to the man at the door and asked, “The Brooklyn-Manila Project” is tonight, right? He grunted and pointed to the poster. I opened my notes and checked again: “classical
. . . cello.”
It was a young crowd, and everybody was in high spirits, not the kind of audience you’d expect waiting for a classical jazz performance. “This is going to be a real interesting gig,” I said to my date, “Even if he’s as good as everybody says he is, I don’t think this is, his kind of audience.”
I was wrong.
There was no grand entrance or introduction when Dave Eggar and his band Deoro (composed of Chuck Palmer and Tom Pirozzi) climbed the stage but their presence and Eggar’s towering cello was enough to make a lot of heads turn in eager anticipation of what was going to happen next.
And as soon as the first note from his cello was unleashed, it immediately effortlessly blended with the techno music on the background as if it was part of it. He had fused in and made everyone groove to a strange new beat.
Such is the incredible talent of Dave Eggar. His ability to effortlessly move from pop, rock, jazz, R&B, New Age, world or classical music is aptly matched by the diversity of musical artists that he had worked with that includes Evanescence (tours and album), Bon Jovi, Josh Groban, Coldplay (“Viva La Vida”,) Beyonce (“If I were a Boy”,) Fergie (“Big Girls Don’t Cry”,) Pearl Jam, Fall Out Boy (album) and Duncan Sheik truly illustrates that.
He had been performing since he was seven, and speaks of his music like a nuclear physicist describing it as fission rather than merely a fusion of musical genres, “Fusion is just another genre, unlike fission wherein you first have to break down music into parts and carefully picking out the elements you could put together to create something really unique,” Eggar explains, continuing, “As a classical artist, I’ve landed in a genre called classical crossover and I always hated that term because it seemed like we are just reaching over. What we are doing is ‘extreme classical crossover’ much like extreme skiing or extreme skateboarding. We are looking for high-risk collaborations where you are unsure if it’s going to work or how it is going to pan out.”
His latest work Kingston Morning is an album of collaborations done in Kingston, Jamaica, Big Stone Gap, Virginia, and Brooklyn, NY and perfectly mirrors Dave’s mission to “not just cross over, but to cross through” genres. He said it represents a new and extreme brand of high-risk, high-impact classical crossover and juxtaposes Reggae and Appalachian music in a look at local culture fighting for a voice in an increasingly global environment.
It is this continuing quest for high-risk collaborations that brought him back to the country.
Go To Dave Eggar Official Website

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