Rachel Eckroth: Jazz Keyboardist is on the Start to Become Mainstream

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Rachel Eckroth talks about live and touring the world

Interview conducted November 16, 2018

by Daniel Locke

Rachel Eckroth releases When It Falls today, produced by bassist/producer/husband Tim Lefebvre (David Bowie’s Blackstar/Tedeschi Trucks Band). Perhaps better known as a jazz keyboardist, Eckroth here evokes the aura of the late David Bowie, experimental rockers Can and perhaps a great, lost David Lynch soundtrack.

When It Falls has been lauded by PRI’s Echoes, BlackBook, Keyboard Magazine and PopMatters, to name a few, and explores sonic textures that combine Eckroth’s jazz roots with Lefebvre’s use of pedals and FX. The album features Derek Trucks, Doyle Bramhall II, Matt Chamberlain and more. Purchase / Stream When It Falls HERE.

While When It Falls marks new musical ground, it’s not the first time Eckroth has shown a knack for the unexpected. Growing up in Phoenix, the keyboardist was already playing in bands before studying music at both the University of Nevada and Rutgers. She released her acclaimed jazz trio debut Mind in 2005 and a more expansive jazz/pop record (Let Go) in 2014.

More recently, Eckroth played keyboards with the experimental jazz trio Antelog, performed as the backing vocalist and keyboardist for popular singer-songwriter KT Tunstall and served as part of the house band for NBC’s The Meredith Vieira Show. She was also the Assistant Music Director for the Women’s March in D.C. in early 2017.

Eckroth is currently on a west coast release run fand will be touring this fall opening for Rufus Wainwright, while also playing in his band. A full list of tour dates can be found below.

Dan Locke: How do you describe your music?

Rachel Eckroth: It’s a culmination of my entire musical life up to now. I started off as a jazz musician, but this isn’t jazz. You can hear elements of it may be in harmony and phrasing, but I’m enjoying putting my stories into words and exploring the vast world of sound design.

What did you listen to growing up?

Mostly what was on the radio. I heard a lot of R&B and pop, and my parents often played classical music in the house.

How has your recording techniques changed from your first CD “The Rachel Eckroth Trio” to your latest release “When It Falls”?

The process is way different now. With my first album, which was purely instrumental jazz, I was more concerned with executing the music at a high level and with trying to play meaningful solos. Now, with When It Falls and probably everything I do after, I’m thinking about how it will make the listener feel.

What are your feelings about the digital distribution of music?

Digital distribution has made it easier for us musicians to get our music ‘out there’ but harder to make any money from it.

You have worked with KT Tunstall. First on three of her albums and then on tour with her. What is she like?

KT is one of those artists who knows every part to every song she has recorded, which blows my mind because my memory is kind of shit. She works super hard and loves her fans and on top of all that, she’s a great human.

You were the Assistant Music Director for the Women’s March in 2017. What does that time in your life mean to you?

I was proud to be a part of the event and the Women’s March group, and the chance to make a stand against the insanity in the White House that is happening now. It was a solid start to the protests that have taken place since. I believe that the majority of folks in the US want equality for everyone, and we are chipping away in the right direction.

How is it to be married to bassist/producer Tim Lefebvre. How is it being married to a busy touring musician?

Rachel Eckroth (credit Shervin Lainez)

We see each other when our schedule aligns, but it’s quite fun to be able to share musical ideas with the person I’m closest with.

The tour you are on with Rufus Wainwright. And it is taking you all over the world. How do you feel it will enhance your writing and music skills?

I think performing solo in front of these large captive audiences is a huge opportunity to not only do my new songs but to also do some experimentation within the forms and chordal structures of the songs. Since I’m not using a band, I’m free to change the music, however, I want at any moment. Depending on the mood of the room, or if I’m feeling adventurous, you won’t get the same show from me night after night.

How do you see yourself in five years?