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The Equanimous Jones Quartet: Bio

The Equanimous Jones Quartet - The Beginning

The Equanimous Jones Quartet was established in 2006 as the musical careers of four musicians became aligned on the same road. While we all had previously performed with one another in various groups and combinations, this new alignment signaled the beginning of our journey to create and perform original music: together, as a cohesive unit. We take our original musical ideas, allow them to simmer among our individual talents, and produce music that’s a step beyond of our musical influences. It’s a unique sound of fusion that incorporates several genres of music, and allows us to explore uncommon destinations of the music universe.

Gregory Cook - keyboards, guitar

Born in Los Angeles, Greg began playing piano at the age of eight, and performed for many school and social functions. During high school, he became a member of the acclaimed Dorsey High School Jazz Workshop and soon mastered the art of playing the guitar, drums and fender bass.

After high school Greg mastered programming, sequencing and orchestration while working with various bands in the black circuit clubs around Los Angeles. From that experience Greg performed with the group 'Side Effect' and Stanley Turrentine, as well as Phillip Bailey of 'Earth, Wind and Fire', Miki Howard, Vernel Brown, Jr., Deniece Williams and as arranger, writer, and Musical Director with Lisa Gay.

As a staff musician, his credits include 'Wind on the Water' for NBC's movie of the week and film scoring for the feature film 'Gridlock'. Greg is one of the 'first call' musicians in Los Angeles, which places him in an elite group of players.

Greg is a multi talented musician, arranger and songwriter, whose knowledge covers a wide range of styles and techniques from Beethoven to the Beatles. His engineering skills has him 'on call' for various recording and mastering projects in and around Los Angeles.

Henry Cook - bass

Henry has been on the Los Angeles music scene for over 38 years. As a classically trained cellist, he took up the double bass and then moved to the electric bass. Influenced by artists such as Ray Brown, James Jamerson, Rocco Prestia, and Herbie Hancock, he has worked with several LA-based groups, including Alive & Well, Telesis, and PocketWatch.

Major venues where Henry has performed include The Hollywood Bowl, The Great Western Forum, Dodger Stadium, and The Roxy. He’s worked and performed with a variety of artists, such as Jazz/Pop Saxophonist Ronnie Laws, Pianist Patrice Rushen, Vocalist Jim Gilstrap, and Jazz heavyweights Eddie "Lockjaw" Davis, and Herman Riley. Henry has also recorded with noted producers Skip Scarborough (Fifth Dimension) and Norman Whitfield (Temptations, Rose Royce).

Henry reminds us: "Life is the travel, not the destination."

Tommy Myers - saxophone

Tommy’s interest in music began at the age of 5. “There was an organ at the church where my mother worked and worshiped. My feet couldn't quite reach the bass pedals, so I developed a keen interest in the different sounds the pipe organ produced. I began to learn the fundamentals of music – scales, chords, harmonies, and the relationships between various notes”. Tommy began listening to classical music, and entered music memory contests. He got his first Bundy clarinet at age 11, sparking his interest in wind instruments. His early influences included The Duke Ellington Band, Glenn Miller, Fats Waller and Tommy Dorsey. By age 13, the self-taught musician played every reed instrument available in his high school band and orchestra. In college, Tommy was exposed to a full range of musical styles by musicians from all over the world. He learned saxophone technique and expression by constantly reviewing and emulating the works of Stanley Turrentine, Grover Washington, Jr., Lenny Pickett, Miles Davis, and John Coltrane.

His artist management experience includes a managerial stint with the late George Howard, renowned saxophonist, musician and composer. Tommy has worked with several Los Angeles-based groups including Upward Mobility, Alive & Well, and PocketWatch. In Northern California, he has worked with The Potential Jazz Ensemble, The Bookuh, Bayker & Basulhaydin Trio, and The Muad ‘Dib Collective. He has performed on stage with Keb’ Mo’, Jeffrey Lewis (Dionne Warwick, Paul Taylor), Eddie “Killer” Miller (Brian Culbertson), and Ron Moton (Con Funk Shun).

“I’ve been extremely fortunate in my career, having exposure and experience with performance, composing, arranging and the business side of the music. It’s essential that you learn music from all its various aspects, and that you remain open to continue to learn from those around you. There’s a quote that Emmitt Thomas used in his NFL Hall of Fame induction ceremony, a quote by which I try to model my career: ‘Our talent is God's gift to us. How we use that talent is our gift to him.’”

Keith Swan - drums

Keith was born and raised in Los Angeles, and started playing drums when he was eight years old. He developed a true love for playing while attending junior high, and started playing in the orchestra. It has been a nonstop musical exploration for him ever since.

For most of his musical career, Keith has performed in and around the Los Angeles area with local bands with varied musical genres, ranging from jazz to rock to R&B and gospel. These groups include Alive and Well, Telesis, Upward Mobility, The Dave Patterson Band, The Louis Taylor Band, The Opus One Big Band, and PocketWatch.

Keith studied music for several years at Los Angeles Community College, performing in the Jazz Band, the Percussion Ensemble, and Jazz Improv groups. He has also studied privately with acclaimed musicians and music educators Clarence Johnston and Billy Moore.

Keith notes: “The fact that I've always listened to all styles of music is reflected in my playing. I've been inspired and influenced by many stylistically different but equally great drummers, including Harvey Mason, David Garibaldi, Steve Gadd, Clarence Johnston, Billy Higgins, Tony Williams, Jo Jones, Elvin Jones, Buddy Rich, etc. The list goes on . . . and so does my musical exploration.”