Eric Reed, a gospel singer, has been making music for over 30 years. From the beginning, his music has been known for its passion and soul. Over the past ten years, his albums have become more mature and lyrical, honoring the tradition of modern jazz. Reed's latest album, "Black, Brown, and Blue," marks a new chapter in his life as an artist and as a person. It is a breakthrough album where Reed openly shares about being a member of the LGBTQIA community.
Early Musical Journey and Influences
Eric Reed's musical journey began in the church. He grew up singing in church choirs and was exposed to gospel music from a young age. At the age of nine, he officially began singing in the church at Jones Chapel M. B. Church in Grand Junction, Tennessee. He was on the praise team, a member of the youth and mass choirs, and enthusiastically engaged with the music ministry. After church, Eric and a group of young men would remain and sing for hours at a time. Pastor Anderson noticed their dedication and formed a quartet group, Delighted Young Men. The group's name was later changed to Kingdom Seekers, and this was the jumpstart to an amazing legacy. This musical journey afforded Eric with opportunities to travel worldwide ministering to the masses.
Reed's early musical experiences were heavily influenced by gospel music. He also listened to jazz musicians such as Wayne Shorter. Shorter's compositions, combined with Reed's gospel background, helped him to create a unique sound. Reed's work in gospel music and church brought them together. Reed felt that there were boundaries between gospel music and jazz. He wanted to find a way to combine the two.
Confluence of Artistry and the Black Church
Reed acknowledges the complex relationship between artistry and the Black church. He notes that many prominent jazz musicians, like Cyrus Chestnut and Johnny O'Neal, have roots in the Black church and are not afraid to bring that tradition to their music.
However, Reed also points out the problematic aspects of the Black church, such as its restrictive rhetoric and conflicting messages. The church often encourages people to come as they are but then expects them to change and leave certain parts of themselves behind. This creates a mixed signal that can be difficult to reconcile.
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Despite these challenges, Reed believes that he and other musicians have managed to take the music of the Black church, make it personal, and process the messages as best they can while still maintaining their sanity.
Navigating Identity and Repression in the Jazz Community
Reed shares his experiences of navigating his identity in the jazz community, particularly in the 1990s and early 2000s. He admits that he felt unsafe to be open about his sexuality due to the prevailing heteronormative attitudes and toxic masculinity within the industry.
He recalls instances where musicians were ridiculed for not conforming to traditional masculine stereotypes. This created an environment where it felt safer to remain closeted and project a straight persona. Reed acknowledges the emotional toll of having to hide his true self and the challenges of being on the road with insecure straight men.
Reed points out that despite the outward appearance of heteronormativity, many jazz musicians throughout history have been fluid in their sexuality but were forced to live in secret due to societal pressures. He mentions Tony Jackson, Dick Voynow, Bix Beiderbecke, Billie Holiday, Ma Rainey, Bessie Smith, Billy Strayhorn, and Lorenz Hart as examples of LGBTQIA+ individuals who had to navigate the jazz world while concealing their true identities.
Finding Freedom and Hope in a New Generation
Despite the challenges he faced, Reed expresses hope for the future of the jazz community. He sees a new generation of musicians, like Charles Turner II, Charanee Wade, and Alexis Lombre, who are more open and accepting of diversity.
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He admires the Gen Z musicians who are challenging the status quo and demanding to be heard. Reed believes that their voices will help to create a more inclusive and equitable environment for all musicians.
Reed's decision to live openly as a member of the LGBTQIA community is a testament to his courage and his commitment to authenticity. He hopes that his story will inspire others to live their lives to the fullest, regardless of the obstacles they may face.
"Moving Forward (with God)"
In 2018, Eric released his first gospel single, “Moving Forward (with God). Eric often shared that this single was his testimony of how he trusted God through his heart ache and trying times after he lost his mother, who was very dear to his heart. Because of his faith, he was stronger and vowed to Move Forward with God.
Eric Reid: Bishop of the Microphone
Eric Reid (1984-2023) was known as the “Bishop of the Microphone.” He was known for his incredible voice and was a giant of gospel music. Growing up in Somerville, Tennessee, as the youngest child of three, Eric Reid, was born on December 12, 1984, to Virginia Reid. He lived in a house filled with love, compassion, laughter, and music. From infancy, his mother and family ensured that he attended and was actively engaged in church. Those teachings never wavered, Eric remained steadfast and immovable in serving the Lord. Eric has always had a special love for God.
Eric was a full-time minister of music for Jones Chapel M. B. Church and Mt. Olive M. B. Church. He was the choir president and a member of Kevin Davidson and the 4EC, where he would tirelessly sing to edify Christ so that God got the glory. Many families depended on Eric to minister in song for funerals, weddings, choir day programs, musicals, lead, and background for recordings, and just because. It’s best said that Eric was Fayette County’s gospel legend.
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On May 14, 2023, at Methodist Germantown Hospital, Eric was surrounded by family and friends as he transitioned to be with the Lord. Awaiting his arrival, his mother: Virginia Reid; father: Sampson Townsend, Sr.; grandparents: James and Rosie Puckett.