PETER BARSHAY

A veteran bassist who has established a strong reputation over the years from his sideman work on both the New York City and Bay Area jazz scenes, Peter Barshay has performed with such jazz luminaries as Milt Jackson, Freddie Hubbard, Sonny Stitt, Eddie Henderson, John Handy, Woody Shaw, Pharoah Sanders, Blue Mitchell, Tony Williams, Joe Henderson, Joe Lovano, Johnny Griffin and Bobby McFerrin. On his debut recording as a leader, Pit Of Fashion , the bassist-composer steps out as a leader in his own right. Born in Washington D.C. on January 8, 1950, Barshay began cello lessons at age nine. In 1965, his family moved to Berkeley, California, where he continued his classical studies but his interest was piqued by other musics as well. "I listened to rock Œn¹ roll and blues and spent many weekends at the Fillmore Auditorium during the heyday of rock Œn¹ roll in the Œ60s," he recalls. "But then I started listening to jazz and found myself being pulled into it." And yet, he continued his classical studies at the San Francisco Conservatory, where he majored in composition. "I still played the cello," he says, "and ended up playing in the University of California orchestra." It was during his year at the San Francisco Conservatory that Peter was able to add one particularly impressive name to his resume. "I actually got to play under Igor Stravinksy," he explains. "It was for the official opening of Zellerbach Auditorium in 1968 and they commissioned Stravinsky to come here and conduct four concerts. Unfortunately, he only conducted one rehearsal before getting sick. But he was at all four performances, which were conducted by Robert Kraft." In 1969, Barshay relocated to New York and began studying at the Manhattan School Of Music with renowned cellist Bernard Greenhouse, a member of the famed Beaux Art Trio. But his commitment to classical music was waning by that time. "I ended up spending all my time at the Village Vanguard and whatever jazz clubs I could go to," he says. "That¹s kind of when I lost my desire to be a classical player." It was around that time that Barshay switched from cello to double bass and he hasn¹t looked back since. "I just picked up the bass, I never took one lesson," he explains. After returning to the West Coast, he began working as a freelancer at such clubs as El Matador, Basin Street West and the Keystone Korner, where gained invaluable on-the-job training with key players on the Bay Area jazz scene. After returning to Manhattan in 1983, he became immersed in the jazz and Latin jazz scenes there over the course of the next 12 years. During this time he also formed a trio with saxophonist Joe Lovano and drummer Joey Baron. "We played a lot together and actually did a recording," he says. "I hope to put it out one day." There were memorable nights at the revered Greenwich Village piano trio haven Bradley¹s with the likes of pianists Jimmy Rowles and Tommy Flanagan and occasional appearances at Time Cafe with the Mingus Big Band. His other activities during this lengthy period included subbing for renowned bassist Bob Cranshaw, playing duo gigs at West Boondock¹s with pianists Armen Donelian and Jim McNeely and gigging with saxophonist Sonny Fortune while also appearing regularly at 55 Grand in a trio with drummer Victor Lewis and guitarist Hiram Bullock. It was at 55 Grand that he first met and played with former Miles Davis guitarist Mike Stern, who appears on Pit Of Fashion . In subsequent years, Barshay would gain invaluable on-the-job-training alongside a host of jazz¹s elite, including international tours with such venerable jazzmen as Lou Donaldson, Johnny Griffin, Lew Tabackin and Joe Chambers. Barshay¹s numerous appearances at clubs and jazz festivals have taken him around the world, helping to establish his reputation as a solid, reliable bassist. Having soaked up a lifetime of sounds on both coasts -- everything from salsa and straight ahead to funk-fusion, avant garde and music derived from the Afro-Cuban and Brazilian traditions -- he brings a wealth of experiences to the table on Pit Of Fashion with the common thread being the deeply rooted sound of his upright bass.