A Chat with Peter Daniel (02.08.25)
With a complex blending of funk, jazz, soul and blues, musician Peter Daniel brings his stand-out saxophonist sound to the fore with his album, Quartets. We speak with the veteran artist about Quartets, collaborations, and much more.
OSR: Your career as a sideman has included playing with legends like Lauryn Hill and ODESZA.
What inspired you to finally step into the spotlight with Quartets?
Daniel: I’ve had a very fortunate and rewarding time playing some incredible music, but it’s largely been other peoples. There’s a narrative I want to tell compositionally that can’t be done from the sidelines. I was given extra motivation when my wife told me she was pregnant; far down the list of my reactions was “ok, I’d better finish writing and recording that album.” She’s 3 years old now, so I didn’t quite make it.
OSR: The album’s concept is built around different quartets. What drew you to this format, and
how did working with different rhythm sections shape the personality of each track?
Daniel: At one point I found myself in 5 regular bands playing with the same 25 or so people, but I had plenty of other friends in the Seattle music scene that I wanted to collaborate with. Around that time I started this quartet with an intentionally rotating cast of players so I could get to play with my friends. I also really enjoyed the way each tune was slightly reimagined with each new iteration, each players’ distinctive voice, and I wanted to keep that spirit alive on the album.
OSR: ‘Miles Around’ has already received critical acclaim. Can you talk about the story or feeling behind that piece and how it sets the tone for the rest of the album?
Daniel: ‘Miles Around’ started with the bass line, and the rest of the song sprung from it like a seed. The melody is light and playful, but halfway through something turns, and that same playful melody builds and darkens. There’s a “Jazz Night in America” interview where Christian McBride is talking to Michael League of “Snarky Puppy,” and League describes part of the band’s essence is about getting a lot out of a little; that idea permeates this album. Here, the same melody is presented in two contrasting lights. I think that’s a pervasive theme on this album.
OSR: Tracks like ‘Take A Little Chance’ and ‘Desperate Waltz’ show a wide emotional range. How did you balance personal expression with the collaborative spirit of the record?
Daniel: I had a sense of who I wanted to play on each song as I was writing which allowed me to write for the voice of the player. I knew I wanted Marina Albero to take the lead on the introduction of ‘Desperate Waltz’, and that pre-chorus melody was actually improvised in studio. But I’m also trying to communicate emotional meaning that transcends individual players. Everyone feels sad sometimes, and happy, and anxious, and how we express those emotions varies widely, but at the center is still the same basic experience no matter how you dress it up. I think art in general tries to reach for that core truth, to find something universal.
OSR: Seattle and the Pacific Northwest music scene are clearly central to this project. How has your local community influenced your sound and vision for this album?
Daniel: This region is stacked with amazing players who consistently challenge and humble me, while also being incredibly uplifting and supportive. Having such a rich and talented cast kept me on my toes for sure, because while I jokingly say I try to be the worst player in my own band, I’d prefer it if listeners didn’t walk away thinking the same thing.
OSR: The album features a stacked lineup of regional talent, Marina Albero, Joe Doria, Heather
Thomas, and many others. How did you go about choosing who played on what, and what
was the chemistry like in the studio?
Daniel: A couple of the rhythm sections on the album had played together live with me before, including the Marina, Marina and Heather combination. That made picking the lineups fairly easy and helped give some direction as I wrote the songs. I had Marina Christopher in mind when I wrote ‘Miles Around’ and its opening bass line. Each quartet did one rehearsal and one recording day at Blue Mallard Studio with engineer Jason Gray, and the vibe could not have been better. I try to work with good humans as well as good players.
OSR: You also designed the cover art yourself, which speaks to the DIY and artist-forward spirit of Quartets. How important was it for you to maintain creative control across all aspects of the release?
Daniel: It’s not so much necessary to retain control as it is cheaper and becoming more commonplace. I have done the design and layout for other albums before so it was something I knew I could handle. I know some artists who mix and master themselves or do some recording in their home studio; those are areas I have never tackled myself. We are all trying to make the process just a little more accessible, and everyone finds their own strengths and limitations.
OSR: Your music blends funk, jazz, and soul in a very organic way. Who are some of your biggest musical influences, and how do they echo through this album?
Daniel: I learned to play coming up through the very robust Seattle area high school jazz band scene. I listened to and learned from all the saxophone jazz masters: Charlie Parker, Cannonball Adderley, Art Pepper, Sonny Stitt, John Coltrane, Sonny Rollins, Dexter Gordon just to name a few. I also always had an affinity for Maceo Parker, Fred Wessley, Parliament Funkadelic and the like, and I spent almost 9 years playing weekly in a funk band here in Seattle which threw a lot of gas on that part of the fire. I also really enjoy the jazz/hip hop fusion expressed by D’Angelo, Roy Hargrove, Kamasi Washington and other modern artists. By the time I started recording this album I had a hard time calling myself a “jazz” player, especially given the eclectic mix of genres my career has presented to me.
OSR: Live shows are such an important part of jazz and funk culture. What can fans expect from your upcoming performances in Bellingham, Seattle, and Olympia?
Daniel: It’s always incredibly special to create music live. The chemistry, the interactive nature of the music, the fact that that song will never be played that way ever again. Just like the record, the live show tries to take the listener to a lot of different places sonically and emotionally. After one recent show, a listener (dare I say “new fan”) came up, looked me in the eye and said “You’re complicated.” I think that’s the best reaction I’ve ever gotten. I felt seen.
OSR: Quartets is being released on Music Factory Records, a label that champions artist
empowerment. What has your experience been working with them, and how does their
mission align with your own artistic goals?
Daniel: I have nothing but positive things to say about Ari, Matt, Michalea and the whole team at Music Factory Records. They believe in the music and the artist and work very hard to help create a healthy music scene here in Seattle. It’s a dedicated label with a lot of heart and I look forward to working with them again in the future.
Many thanks to Peter Daniel for speaking with us. Find out more about Peter Daniel on his official website, Facebook, X (formerly Twitter), Instagram and Spotify.
This artist was discovered via Musosoup #sustainablecurator
