I wrote my first song when I was 7 years old, suffice it to say it sucked but the point is that I’ve been writing music for the better part of three or four decades. Early on, I had classical training, then somewhere along the way I heard Hendrix at which point I decided this music thing might be fun. Nowadays I spend a great deal of time collaborating with filmmakers and so I deal with music as it applies to storytelling.


Typically, a composition forms in my head before I even pick up an instrument and often, the center piece of an idea will evolve by experimenting with a sound or a piece of gear in my studio in the initial stages of the process. Although my primary skills as a performer are as a singer and a guitarist, I employ a much more expansive palette for my adventures in film and tv.


The musical style of my current projects run the gamut: a gritty rock score for “Californication” (Showtime), an Americana/Copeland-esque orchestral score for the Mario Van Peebles feature film “Black, White & Blues” (starring Michael Clark Duncan and Tom Skerritt), a jazz inflected funk-tronica score for Keith Parmer’s debut feature film “TIC” (starring Lennie James), and for SONY Playstation’s revolutionary new video game, “MAG,” a thunderous combat score pairing a battery of Native American and Eastern drums with swampy slide guitar. Bottom line, I cover a lot of ground with these different projects and in the process, I get the opportunity to make music with some incredibly talented individuals.
As a recording artist/producer, I am working on 3 different cds right now: “DUSK” a series of dark vignettes that accompany a graphic novel that I am developing of the same name that I have co-written with Christophe Farber. Second, a blues CD containing half a dozen songs featured in the film “Black, White & Blues” as well as some others that fell out of my brain around the same time this past summer. The third project is a soundtrack for “TIC,” which features songs that I perform as wells as collaborations with several different artists that I hand picked for the project.


I spent most of the 90s on the road in a rock band called the Hatters. We had long hair and were not afraid to take long loud guitar solos. After a thousand gigs, many more miles than I care to remember and a few records on Atlantic, we hung it up before anyone got substantially wounded.
As it happens, I am alive and well today, sequestered in my studio in a Hollywood/Los Feliz canyon. Thanks for listenin.’
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