Doug Roche has over 40 years of experience as a freelance pianist. Born in Wilmington, Delaware in 1953, he developed an early interest in music. At the age of 15, he formed his own jazz trio. After High School he served in the Navy Show Band for 4 years, then on to study music at North Texas State University.
Doug performs with many of Denver’s finest musicians. He is a member of the Denver Jazz Quartet and PoeJazz (a blend of Jazz and Poetry). Doug also teaches jazz piano and theory privately at his “Studio By The Lake”.
From 1986-1988, he played the exclusive Moulin Rouge room at the Denver Fairmont Hotel backing such national acts as Kenny Rankin, The Mills Brothers, The Modernaires, Lanie Kazan, and Johnny Otis. Other credits include Carol Lawrence and Red Skelton. Doug lived in the San Francisco Bay area from 1988 to 1990, performing with the Full Faith & Credit Big Band. In 1990 he returned to the Denver area and was the house pianist at the internationally recognized Denver jazz club, El Chapultepec. There he performed with a cavalcade of jazz icons, including Joe Farrell, Nick Brignola, Teddy Edwards, Buddy De Franco, Terry Gibbs, Red Holloway, Eddie Harris, Richie Cole, Bobby Shew, Lew Tabakin, and Pete Condoli. Roche performed at the Telluride Jazz Festival in 1993 with vocalist Roseanna Vitro (which was broadcast on NPR), and in 1996 with Giacamo Gates. In 1993 he honed his blues skills with Denver’s own James Van Buren, on James’s CD, “Live at Littleton Town Hall”. In the spring of 1995, Roche was on stage in the Denver Center Theatre production, “It Ain’t Nothin’ But The Blues” as pianist and later as assistant musical director when the show ran at the Cleveland Playhouse that fall, in conjunction with the opening of the Rock and Roll Hall of Fame. In October of 2003, Doug performed with the Denver Jazz Quartet at the 25th anniversary of the Queenstown Jazz Festival in New Zealand.
Doug has been playing for Living Water Unity since the Fall of 2000.
As a long-time State employee (now “retired”), Clarence gets his creative kicks playing music with several bands. Not quite a musical prodigy, he cut his teeth on piano as a child, moved to drums as a teenager and started playing guitar in high school. Through the years, he played strictly for the fun of it. In 2000 he started playing bass with the budding Ear Reverence, joining Doug and thereby making a “band.” In 2004, he joined the Cara Cantarella Band, again as the second member; she then had a “band.” Her band has grown to five members and plays at a variety of venues in the Denver metro area. In 2006, he joined a blues band, Catfish & the Crawlers, to help him fill his idle time.
When asked what motivates him to get up early on Sunday morning week in and week out, he says, “The ‘juice’ I get is from the ability to create, express and to work together with very talented musicians in making something happen that’s greater than the sum of its individual parts. When you play together long enough, you sometimes just hit a groove — like you’re almost able to read each other’s musical minds — and that’s when the magic happens. Those unpredictable moments of magic are terrific, they make all the work worthwhile. This seems to hold true not only with Ear Reverence, but also with the other people I’m privileged to play music with.”
Singer-songwriter Trinity Demask joined Ear Reverence in January 2011. She has been performing since 2001 and has released two CDs; the first “Venus In Retrograde” was released under her band name Third Road Home in 2003 and the follow-up “Crucible” was released in 2009. Both CDs were named in the top three “Best CDs” of their respective years by the Indie Acoustic Project. Her third CD “Elemental” is scheduled for release in 2015.
A poet at heart with a knack for writing catchy melodies, Trinity has garnered songwriting accolades (2005 New Song Showcase winner at the Walnut Valley Festival) as well as praise for her emotive vocal style (“Trinity Demask has one of those voices that gives your heart and spirit a double-take” – Wendy Wham, KUNC). Her music is a soundtrack for life’s little detours, breakdowns, and roadside revelations. Her enthralling voice and melodic, insightful songwriting capture the essence of life’s journeys with tales that are both personal and universal.
Trinity considers it a privilege to perform with the musicians that make up Ear Reverence. “We all come from very different musical backgrounds and experiences. That diversity allows us to perform such a wide range of music for the services, everything from bluegrass to pop and jazz to rock. It also gives us the opportunity to explore new interpretations of many cover songs and to truly make them our own.”
Trinity puts a great deal of thought and intention into the songs she chooses for the services. “Our musical contribution to the service reflects and enhances the message, the meditation, and other elements of the service. Music heals, expands awareness, motivates and inspires in a deep and profound way that is often beyond words. It is such a blessing to be part of the musical expression of this loving and joyful community each Sunday.”
A Colorado native, Don has performed professionally for over 30 years. Although he prefers jazz and blues today, he took a tour of the west coast in the early 70’s long enough to perform with The Doobie Brothers (’70-’71) and record with Six Penny Opera (’72-’73). Don has also successfully ventured into the field of musical composition – his score for the movie “Let There Be Rain” helped make it a Cannes Film Festival winner in 1971.
Sought after by the best, Don has worked with a long list of top professionals including Clark Terry, Herb Alpert, Spike Robinson, Richie Cole, Rob Mullins, Harry Allen, Frank Tate, Rickey Woodard, Carl Fontana, Keeter Betts, Plaz Johnson, Bucky Pizzarelli, Warren Vache Jr., Rebecca Kilgore, Barbara Morrison and many others. Part of his later career has taken him into the musical promotions business and, as part of that work, Don put together the early foundations of what was to grow in to the Denver Jazz Quartet. Along with his steady work with the DJQ, he is seen regularly every year with numerous “feature” groups at jazz, blues, and “traditional jazz” festivals in the western U.S.