Clarinet & Sax Session Pro

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I provided a clarinet solo for "Don't Lower the Bar" by Prairie Anthem, an Americana piece which shares a bit of wisdom for the times we're in at the moment. You can hear it on Spotify (https://open.spotify.com/album/2xhSs3TQYUN76wdsdNGZZx?si=QM7ORYOHQpOI_UMhS7sieQ). We worked remotely through SoundBetter and had a great time.

Q: What advice do you have for a customer looking to hire a provider like you?

A: In this order, ask yourself: 1. Do you like their work? (Listen to their samples) 2. Do they have experience that relates? (Consider their credits) 3. Do they communicate well? (read their write-ups and answers)

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: 1. Clarinet 2. Piano (keyboard) 3. Computer with Studio One, Libraries, and StudioLive interface (okay, that's one extra piece of gear) 4. Headphones 5. AKG D330BT microphone (with cords)

Q: What was your career path? How long have you been doing this?

A: Ha! My path is not like anyone else I know. I've been doing this with passion since 4th grade band class, listening to Pete Fountain albums and learning from the greats of not only jazz, but also pop, rock, gospel, and blues; writing songs, composing and arranging music for groups I've been involved with throughout my journey; classical training with a degree in music; music directing for musical theater; leading worship for church groups; playing in stadiums, clubs, and lounges; playing music for people in hospitals, rehab centers, assisted living, and hospice; busking on the street; extensive mentor training in sync licensing, production, and modern music business; all while keeping my incredible wife and children as my top priority in life--too many experiences to describe here, but all part of a unique journey--one that I cherish and wouldn't trade for the world.

Q: How would you describe your style?

A: Vintage jazz with a bluesy, contemporary flair

Q: Can you share one music production tip?

A: Trust your ears. If it sounds good, it's good.

Q: What are you working on at the moment?

A: I am composing the music and producing the tracks for a contemporary Broadway musical called Beyond This Point, with my brother, Drew Ward. I'm working on my own music licensing for film, TV, and advertising, mainly in the vintage jazz genre. Although I've retired from leading my bands, The BlackWood Jazz Combo, Rail City Jazz, and Jazz on a Stick, I gig as a sideman with a couple of jazz combos, Speakeasy and The Dewdroppers, and with a wedding/party cover band, The Famous Undercover. Of course, I'm helping others with clarinet and sax tracks for their projects.

Q: Analog or digital and why?

A: The power and convenience of digital is hard to match, but analog gives a perceptible--but sometimes intangible--touch of life.

Q: What's your 'promise' to your clients?

A: I promise to provide great musicianship, experience, quality, communication, a little fun, and reliable delivery.

Q: What do you like most about your job?

A: As a musician, I love creating new songs and compositions most, but I love performing and recording nearly as much, both of which are infused with life by enjoying the people I'm with in the process. These are all fulfilling what I view as my responsibility to the world to share my unique gifts, to make the world a richer place full of wonder and encouragement, helping others to find their unique place in it, as well, especially in the face of all it's challenges.

Q: What questions do customers most commonly ask you? What's your answer?

A: Q: "Do you read music?" A: Yes.

Q: What's the biggest misconception about what you do?

A: That it's not hard work. It is incredibly hard work that provides some of the greatest value to the world: the invaluable intangibles that make life worth living.

Q: What questions do you ask prospective clients?

A: 1. Are there music samples (references) you have in mind to try to match the vision in their mind? 2. When do you need it?

Q: Which artist would you like to work with and why?

A: Snoop Dog - I am completely surprised by his knowledge of music production, and his broad interests and skills. He also seems like a genuinely good human being.

Q: What type of music do you usually work on?

A: Vintage jazz, usually, but the genre-blending aspects of creating new music is happening all the time, so I get to work on all kinds of interesting music.

Q: What do you bring to a song?

A: Years of eclectic experience with music in general, successful songs in particular, and the recording process, to know my role in making a song great.

Q: What's your strongest skill?

A: Imagination

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I've worked with singer Chris Weeks from Great Britain in a production of one of my own songs for a Michael Buble sound, who I would highly recommend. I also recommend guitarist Freddy Gildersleeve for great country, blues, and jazz, who I perform live with regularly here in Idaho. We're planning a jazz tour in Germany with vocalist Katie Engstrom and bassist Alex Holloway, playing local venues and some street playing. Also, check out the Americana duo, Prairie Anthem--high quality stuff.

Q: What's your typical work process?

A: After hearing your vision for the project, including reference tracks you may have in mind, I get cue tracks from you in MP3 format as reference to pull into my DAW to lay down my tracks. I send a rough mix MP3 so you can review my tracks in context to make sure I'm hitting the target for your vision. When I've made the refinements you want, I'll receive payment and deliver the WAV or AIFF files at the same length and resolution for you to easily pull into your project for proper alignment, at about -12 db peak volume, so you have clear tracks with plenty of headroom for gain staging in your mix and master processing.

Q: Tell us about your studio setup.

A: I work in my Idaho home studio with Studio One Pro 4, after a decade with ProTools, and Cakewalk/Sonar before that. My audio interface is an Avid Digidesign Rack 003. I use a Studio Projects C6 mic with a Summit Audio preamp in a booth for most of my horn and vocal work. For monitoring, I use Presonus Eris E4.5 high-definitiion near-field monitors and Ultrasone Pro 780i headphones (plus a reliable pair of 1972 Koss Pro/4AA headphones I've used most of my life).

Q: What other musicians or music production professionals inspire you?

A: My taste in music is too eclectic to list, but I'll give a broad-stroke overview: As a jazz clarinetist, I love Pete Fountain for his fat sound and joy in playing, Benny Goodman for his great swing, and Artie Shaw for his artistry and virtuosity. Phil Woods, Art Pepper, and Eric Marienthal have been inspirations on alto sax. Big bands--from Glenn Miller, the Dorseys, Goodman, Shaw; through the '60s and '70s with Woody Herman, Stan Kenton, and Maynard Ferguson; all the way to the present, with Gordon Goodwin and Marshall Gilkes--have had a special place with me as a horn player. Earlier Miles, Wes Montgomery, Stan Getz, Barney Kessel have been other tasty influences. Horn bands from the '70s onward were foundational for me, too: Chicago; Blood, Sweat and Tears; Loggins and Messina; Tower of Power; Earth, Wind and Fire; Seawind; The Brecker Brothers; Tom Scott; even Toto with some Jerry Hey horn arrangements. Great drummers inspire me, like the power and expression of Gene Krupa and Art Blakey; the finesse of Ray Baduc and Joe Morello; the complexity, groove, and precision of David Garibaldi and Anika Nilles--I could sit for hours spellbound just listening to drummers! They REALLY inspire me. (I think I always wanted to be a drummer.) Vocalists, old and new, have also been inspiring: Billie Holiday was an acquired taste for me (like Coltrane); Ella and Satchmo were the innovators in my jazz leanings; more recent singers like Eva Cassidy and Christina Aguilera have brought me to tears. Even Willie Nelson, Bob Dylan, and Rod Stewart have surprised me. Billy Joel was a favorite for songwriting prowess and piano-driven production. Country artists like Brad Paisley, Vince Gill, Garth Brooks, Shania Twain, LeAnn Rimes, and Allison Krauss make me laugh and cry. Nickel Creek blows me away. For production, the field is so large and varied--endless!--but I admired Jimmy Messina from the beginning when he paired up with Kenny Loggins, and their keyboardist, Michael Omartian, who became a producer himself. The Beatles, of course, just for songwriting, arranging, and the innovative production of Sir George Henry Martin. James William Guercio with Chicago's early work was early production inspiration for me. David Foster productions for a long time, from his early ventures with Chicago to his later work with Celine Dion and Josh Groban, have a polished touch I appreciate. The composing and arranging of Michael W. Smith takes me to a deep place in my soul. Soundtrack composers have long been an obsession, and that's what I turn to the most on Pandora and Spotify when I have to work on non-music activities for subliminal inspiration: Thomas Newman, John Barry, Hans Zimmer, John Williams, Alan Silvestri, Danny Elfman, Jerry Goldsmith, Michael Kamen, and Rachel Portman, just to scratch the surface. Okay, enough already!

Q: Describe the most common type of work you do for your clients.

A: I provide remote session tracks for clarinet and alto saxophone. Jazz, pop, and classical styles are all comfortable for me. My experience in live performance (large and small), studio work, theater, and film give me a well-rounded background to assist my clients achieve their creative vision. My work with producers across the globe provide the technology and administrative background needed for a smooth process.