Bio/Press

Chris Welch: Bio

Chris Welch (piano/keyboards) is “a pianist-for-all-reasons-and-seasons” (Victory Music Review). He grew up playing classical and popular music, studied jazz at the University of Washington and now plays 200 gigs and sessions per year with a variety of artists. Chris has played jazz, rock, reggae, ska, calypso, fusion, classical music, Latin music, country, and showtunes with The Groove, Ted Kamp, Scott Lindenmuth, Eduardo Mendonça and Show Brazil, Calypso Blue, Cabaret Productions, The Washingtonians, Evan Buehler, Xebec, Sonando, Emerald City Jazz Orchestra, Northwest Girlchoir, The Christopher Gross Ensemble, ACT Theatre... and scores of other artists and organizations. Chris leads groups of various size and instrumentation that perform at clubs, festivals, weddings, and private parties. Chris has performed at most Pacific Northwest music venues.

Chris has contributed piano, keyboards, Rhodes, Wurlitzer, arrangements, etc. to the following recordings:
•Chris Welch: Night Music (“A damn good album” – Wind and Wire)
•Chris Welch: Songs Without Words (“a great album – completely infectious” – Solo Piano Publications)
•Urban Christmas by XEBEC
•Destiny by Seattle reggae/soca/ska band The Groove
•543 by jazz vibraphonist Evan Buehler
•Hit The Mark and the The Hidden Tiger by jazz/fusion band The Christopher Gross Ensemble
•Say It by singer/songwriter Kevin Joyce
•Pitch Black Mile by singer/songwriter Karyn Kupferman
•Many other CDs, soundtracks, demos, infomercials…

Chris composes and arranges for film, TV, theater, piano students, jazz groups, and solo piano. He teaches composition, music theory, and classical, jazz, and popular music in private lessons for children and adults. Chris can be contacted by email at chris@chriswelch.net.

Night Music Reviews

"Like a soft twilight at the end of a lovely spring day, this collection of interludes, lullabies, and nocturnes ushers the listener into a dreamy world of peace, serenity, and safety. Anchored by Welch's contemplative piano, the tunes also feature the sparing use of accompaniments such as guitar, bass, and (especially lovely) vibraphone. This is not an album of glitz and glamour, but rather a heartfelt song to the still moments of ordinary beauty that make up a truly soulful day. In other words, the pleasures of this album unfold slowly, over repeated listenings. Standout tracks include the Lullaby #2 in D Major and the Nocturne in F# Minor. For fun, there's also a Bossa Nova Lullaby in Db."
-Carl McColman, New Age Voice Magazine

"Sweet, gentle melodies. Welch promises "Night Music" and truly delivers. You will be thankful for the peace and melodic mastery of his musical vision."
-Bill Fisher, Victory Music Review

"This is a damn good album. Inspired by the birth of Chris's child, Night Music is a collection of gentle lullabies and nocturnes that never crosses over into pretentiousness or saccharine territory. Instead, the gentle melodies offer sincere gentility, abundant warmth, and an overall sense of comfort and well-being. Chris and his accompanists elevate these uncluttered simple songs way above their modest aims. Of course, it goes without saying that rocking your child to sleep with this CD playing would be a joy - for both of you! Night Music is a splendid effort and I recommend it to new age music, adult contemporary, and acoustic music fans without reservation."
-Bill Binkelman, editor, Wind and Wire magazine

"Anyone who's after the subtler sound of music will want to listen to Night Music. It's beautiful, not busy, melancholy, thoughtful...give it a shot!"
-Ben Ohmart, Muse's Muse Music Reviews

"Night Music really should be listened to and savored. My favorite track is "Nocturne in C Minor", which begins with a melancholy guitar melody line. Welch comes in with a simple rhythm on piano, and then the piece evolves into a gorgeous duet for piano and guitar, maintaining the bittersweet flavor of the opening passage, but becoming improvised and almost bluesy. A great piece! The opening track, "Prelude, Op. 11 #3" is also especially nice - a warm and inviting solo piano piece with a jazzy rhythm. "Interlude #2" opens with rather darkly mysterious piano chords, and then the guitar enters to lighten the mood a bit - another stand-out piano and guitar duet. Classical influences can be heard in Welch's music as well as the more obvious jazz background. It is immediately accessible, but complex enough to listen to over and over, discovering different nuances each time. This is a very enjoyable album, and I recommend it!"
- Kathy Parsons, Solo Piano Publications

"These lullabies and nocturnes are a perfect end to anyone's day. Original compositions performed by a small ensemble encourage you to wrap up in a blanket and rock yourself (or someone else) to sleep."
-NAPRA Review

Songs Without Words Reviews

"..shimmering romantic melodies...very accessible, contemporary instrumental music. Welch has a magnificent touch...lyrical, open and light."
- Chris Lunn, Victory Review

"Whether effervescent and bubbly ("Jiggity Gigue" and "Maddie's Dream"), somber and reflective ("Late Autumn" and "Painting at the Train Station"), or softly romantic ("Floating on the Sea" and "Summer Solstice") Chris and the other musicians handle each song with grace and charm. Recommended for fans of melodic piano-led music."
- Bill Binkelman, Editor, Wind and Wire: The Magazine of New Instrumental Music

Chris Welch's debut CD is a jazzy collection of eleven originals and one cover piece showcasing a variety of moods and playing styles. With Welch on piano, his ensemble is made up of Evan Buehler on vibraphone on two tracks, Rob Davis on sax on three tracks, and Michael Gotz on electric guitar on two. However, since none of the instruments overlap on tracks, the seven ensemble pieces are all duets that work exceptionally well; the remaining five pieces are solo piano. This album is very strong from start to finish, and all of the tracks are excellent. Welch gives his musicians the freedom to soar and express their own musicality, giving the pieces a wonderfully free feeling that stays fresh on each listening.

The opening track, "Mr. Chiverton's Broadwood" is perhaps the most "new age" of the selections. A solo piece, Welch takes a rather simple theme and improvises variations on it. This is both a classical and a jazz approach, and Welch combines the two very effectively. "Summer Solstice" is a lazy, beautiful duet for piano and electric guitar - a summer daydream set to music. "Jiggity Gigue" is a classic. Upbeat, fun, spilling over with life, this piano/sax duet is a real favorite. (It also reminds me of some of Ira Stein's ensemble work.) "Prelude Op. 11, #2" is a shorter solo piece that again seamlessly combines classical and jazz elements to great effect. "Maddie's Dream" picks up the pace with piano and vibraphone, creating a lighthearted romp that is completely infectious. "Floating on the Sea" is a gorgeous sax and piano duet. The sax opens with a simple theme and melody line, and then the two musicians take off with it - another favorite. The cover tune is Welch's solo arrangement of "The Water Is Wide" - a traditional song that has been turning up on a lot of albums the past several years. Welch makes it his own.

"Songs Without Words" is a great album, pure and simple. Several cuts above most smooth jazz albums, but easy-going enough to relax with, I very highly recommend it. I also love the cover artwork! It is available from amazon.com, cdbaby.com, and chriswelch.net.
- Kathy Parsons, Solo Piano Publications