Guitar, vocals, production

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

A: I am especially proud of my latest release, Melissa On Fire. I wrote the tune several years ago. We, Xpansion Of A Sum, multi tracked all our rehearsals in Spencer's studio. This particular track had swagger. It took a while to complete with so much going on...but Spencer, Lorber and I produced the overdubs and I mixed it here in the Backroom. It is my first release from my new little studio. It was released on Malibu Films Records on March 5th 2021 and it's first week in release it is number 3 on the RMR Top 50. I like seeing my name on that chart with a lot of my musical idols! Check it out!

Q: Can you share one music production tip?

A: Yes. Listen first to what the “stakeholder” wants, The vision. I mean listen to their words as they describe it to you. Then, start listening anew to the music. Don’t overplay. Just play to the song.

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

A: I am especially proud of the AWAKENING project that I described. I took it from a thought without a band to a 5 song CD that stayed on the NACC Charts for 13 weeks in the company of Branford Marsalis. It got up to number 6 on the NACC. And just this week, the 18 year old drummer son of some good friends of mine just finished mastering his rock bands first album. I gave him some good input and directed him through the post production process, but let him do all the groundwork..I just advised him through the mastering and such. I did it to teach him the process. He just got his final masters back this week. He called me today and thanked me...he is excited and they are planning to release it on Spotify soon. That was fun and I am proud of him for that.

Q: Tell us about your studio setup.

A: I literally have a woodshed. It was purchased, setup really nicely and is for working and recording only. ( Though sometimes I go there and just hang out with my dogs too). It is private, quiet, windowless and shuts the world out. it allows me to relax and focus on the work at hand with no distractions at all. I use ProTools 12 and have the cool plugins.

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

A: Yes. Drummer Justin Meekins in Austin and Saxophonist Jeff Miguel in Denver. Justin played in the pocket on a demo I did with bassist Jerry Jemmott. Justin took the tune I sent, played great and had all the tracks back to me in 2 days. Jeff Miguel is going to play on a new original I am working on now.

Q: What's your typical work process?

A: When I am working on a tune, whether it be my own composition or someone else’s, the first thing I do is listen several times. That way I get a good feel for the overall direction. Even on my own compositions, once I get them to the point of more than sketches, I listen for the nuances. I then “map out” the chart to find the hidden gems and things that can be expanded in solos or melodies. Next I play along on my guitar, starting with the simple chord changes first and then exploring alternative voicing and chord subs if possible. When I begin recording I will find a figure that works and build from there. I really into it and will take many many recorded passes, mainly because it is fun, then I have to decide which is “the keeper”. Once I have that, I will edit the parts and make them just right,soulful and as musical as possible.

Q: Analog or digital and why?

A: I really like the sound of analog. I have worked using 2” tape and mixing to 1/4” tape and even have music on vinyl. It has the potential to sound great and the whole tape, cutting grooves in vinyl is sort of like magic. But digital is the way now. it is efficient, cheaper and has streamlined the process. I could never have a traditional analog system in my “woodshed”. The advent of these great plugins, amps and processing has really come a long way and, of course, the ease of editing goes without saying. It is a double-edge sword though. Analog recording was kind of a gatekeeper. Access was more difficult so having a “record” was a real accomplishment. It gave music inherent value. Digital makes recording available to pretty much anyone who has even a passing interest.So now, music is “disposable”. Relatively inexpensive to produce, cheap and easy to obtain for the consumer so the value has been diminished.

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

A: To be kind to the piece of music. To enhance what they have and not detract by overplaying.

Q: What do you like most about your job?

A: Working with people on a common goal.

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

A: I think you have asked them here. (See previous answers)

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

A: That I am trying to be a rockstar. That isn’t it all. I just enjoy the process he work and I get a thrill out of a good finished piece of music, be it something I have worked on or not.

Q: What questions do you ask prospective clients?

A: I ask if they have any particular player or sound in mind for the part that want.

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

A: Look around. Listen closely. Be very clear about what you are looking for.

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

A: My 335, my Martin Acoustic, a tele, a ‘55 Fender Twin and a coffee pot.

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

A: When I was 12, my parents moved us to Arkansas from Southern California. At age 14, like any other 14 year old dude in the south, I started poorly playing Lynyrd Skynryrd tunes to impress the ladies. I moved back home to Los Angeles at age 20, took an interest in classical guitar and did that for a couple of years. Then I was playing in a pretty good rock band in the 90’s, but always enjoyed more textured music, l met jazz legend, Joe Diorio and began studying with him. Joe is amazing. I had an endorsement deal at the same time with Leo Fender’s G&L Guitars. I got to meet Leo a few times and was even inviting to his 80th birthday party. When Leo passed, we hosted the Leo Fender Memorial Jam Benefit for Parkinson’s awareness. That is where I met some hero’s...Robben Ford and others. But James Burton really had an influence on me. We hung out all weekend at the show. He was a great guy and a smoking country blues player. After that I really got into that Telecaster Country Blues thang. I literally did only that at the house for about 8 months. I played at a couple of blues jams and got an offer to join the Kari Gaffney Band who was getting a lot of attention in L.A. at the time playing Americana rock tunes. I played with Kari for a year or so until she got a solo record deal and move to Georgia. It was then I started writing Americana songs. That lead to my first solo album entitled NO LIQUOR (see Amazon music). Life took over, I moved to Denver Colorado in 2006. That is where I met some guys and formed NEW DARLINS, an all-original Americana band. We have some pretty cool videos from Denver Loft Session available on YouTube. I fronted that band and played acoustic guitar exclusively. That band ran out of gas and that is about the time I met Haslip and started the direction I am still headed right now.

Q: How would you describe your style?

A: Colorful. I like nice chord changes and rich sounds. If I can play something that bends my knees and little, gives me some chills...then I am in the zone.

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

A: Well, if you had asked me that 4 years ago, I would have named the guys I have been working with for the last 4 years. Haslip, Lorber and the like. I think overall now, I would like to work with Darryl Hall. I have always liked his tunes and he is a soulful dude. Him and Lyle Lovett. I am a big Lyle fan. He is probably the coolest dude around.

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

A: Mainly my own, which runs a long spectrum between the more evolved jazz styles, through the blues and rock I grew up playing and all the way through Americana and country tunes. i know that sounds cliche’, but I do have all of those style available to hear in my catalogue.

Q: What's your strongest skill?

A: Listening and overthinking. If you can’t listen, you won’t be able to play anything worthwhile.

Q: What do you bring to a song?

A: Passion.

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

A: Yes. Drummer Justin Meekins in Austin.

Q: Analog or digital and why?

A: I really like the sound of analog. I have worked using 2” tape and mixing to 1/4” tape and even have music on vinyl. It has the potential to sound great and the whole tape, cutting grooves in vinyl is sort of like magic. But digital is the way now. it is efficient, cheaper and has streamlined the process. I could never have a traditional analog system in my “woodshed”. The advent of these great plugins, amps and processing has really come a long way and, of course, the ease of editing goes without saying. It is a double-edge sword though. Analog recording was kind of a gatekeeper. Access was more difficult so having a “record” was a real accomplishment. It gave music inherent value. Digital makes recording available to pretty much anyone who has even a passing interest.So now, music is “disposable”. Relatively inexpensive to produce, cheap and easy to obtain for the consumer so the value has been diminished.

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

A: To be kind to the piece of music. To enhance what they have and not detract by overplaying.

Q: What do you like most about your job?

A: Working with people on a common goal.

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

A: I think you have asked them here. (See previous answers)

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

A: That I am trying to be a rockstar. That isn’t it all. I just enjoy the process he work and I get a thrill out of a good finished piece of music, be it something I have worked on or not.

Q: What questions do you ask prospective clients?

A: I ask if they have any particular player or sound in mind for the part that want.

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

A: Look around. Listen closely. Be very clear about what you are looking for.

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

A: My 335, my Martin Acoustic, a tele, a ‘55 Fender Twin and a coffee pot.

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

A: When I was 12, my parents moved us to Arkansas from Southern California. At age 14, like any other 14 year old dude in the south, I started poorly playing Lynyrd Skynryrd tunes to impress the ladies. I moved back home to Los Angeles at age 20, took an interest in classical guitar and did that for a couple of years. Then I was playing in a pretty good rock band in the 90’s, but always enjoyed more textured music, l met jazz legend, Joe Diorio and began studying with him. Joe is amazing. I had an endorsement deal at the same time with Leo Fender’s G&L Guitars. I got to meet Leo a few times and was even inviting to his 80th birthday party. When Leo passed, we hosted the Leo Fender Memorial Jam Benefit for Parkinson’s awareness. That is where I met some hero’s...Robben Ford and others. But James Burton really had an influence on me. We hung out all weekend at the show. He was a great guy and a smoking country blues player. After that I really got into that Telecaster Country Blues thang. I literally did only that at the house for about 8 months. I played at a couple of blues jams and got an offer to join the Kari Gaffney Band who was getting a lot of attention in L.A. at the time playing Americana rock tunes. I played with Kari for a year or so until she got a solo record deal and move to Georgia. It was then I started writing Americana songs. That lead to my first solo album entitled NO LIQUOR (see Amazon music). Life took over, I moved to Denver Colorado in 2006. That is where I met some guys and formed NEW DARLINS, an all-original Americana band. We have some pretty cool videos from Denver Loft Session available on YouTube. I fronted that band and played acoustic guitar exclusively. That band ran out of gas and that is about the time I met Haslip and started the direction I am still headed right now.

Q: How would you describe your style?

A: Colorful. I like nice chord changes and rich sounds. If I can play something that bends my knees and little, gives me some chills...then I am in the zone.

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

A: Well, if you had asked me that 4 years ago, I would have named the guys I have been working with for the last 4 years. Haslip, Lorber and the like. I think overall now, I would like to work with Darryl Hall. I have always liked his tunes and he is a soulful dude. Him and Lyle Lovett. I am a big Lyle fan. He is probably the coolest dude around.

Q: Can you share one music production tip?

A: Yes. Again, listen first to what the “stakeholder” wants, The vision. I mean listen to their words as they describe it to you. Then, start listening anew to the music. Don’t overplay. play to the song.

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

A: Mainly my own, which runs a long spectrum between the more evolved jazz styles, through the blues and rock I grew up playing and all the way through Americana and country tunes. i know that sounds cliche’, but I do have all of those style available to hear in my catalogue.

Q: What's your strongest skill?

A: Listening and overthinking. If you can’t listen, you won’t be able to play anything worthwhile.

Q: What do you bring to a song?

A: Passion.

Q: What's your typical work process?

A: When I am working on a tune, whether it be my own composition or someone else’s, the first thing I do is listen several times. That way I get a good feel for the overall direction. Even on my own compositions, once I get them to the point of more sketches, I listen for the nuances. I then “map out” the chart to find the hidden gems and things that can be expanded in solos or melodies. Next I play along on my guitar, starting with the simple chord changes first and then exploring alternative voicing and chord subs if possible. When I begin recording I will find a figure that works and build from there. I really into it and will take many many recorded passes, mainly because it is fun, then I have to decide which is “the keeper”. Once I have that, I will edit the parts and make them just right,soulful and as musical as possible.

Q: What are you working on at the moment?

A: I’m working on 2 originals. One is with XPANSION OF A SUM, my band in a Denver. It started as a rehearsal recording, but it has swagger. Jeff Lorber added some keys. I did a vocal overdub, had Natalie Mendoza recut a backing vocalists in Malibu last month. The live recording captured real well and my guitar playing is reminiscent George Benson. I also just tracked a new original instrumental called SPELLBOUND with Lorber and Gary Novak. Jimmy is going to track bass in the next few weeks and Jeff Miguel is going to blow a horn on it. It has a laid back groove and has colors flying everywhere.

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

A: I am especially proud of the AWAKENING project that I described. I took it from a thought without a band to a 5 song CD that stayed on the NACC Charts for 13 weeks in the company of Branford Marsalis. It got up to number 6 on the NACC. And just this week, the 18 year old drummer son of some good friends of mine just finished mastering his rock bands first album. I gave him some good input and directed him through the post production process, but let him do all the groundwork..I just advised him through the mastering and such. I did it to teach him the process. He just got his final masters back this week. He called me today and thanked me...he is excited and they are planning to release it on Spotify soon. That was fun and I am proud of him for that.

Q: What are you working on at the moment?

A: For fun I started recording a cover of Mixed Up Shook Up Girl by Mink Deville. It kinda leans toward the Boz Scaggs version of the tune. I love the tune. It started on a whim one night...now I'm gonna finish it up and maybe release it.

Q: What are you working on at the moment?

A: I’m working on 2 originals. One is with XPANSION OF A SUM, my band in a Denver. It started as a rehearsal recording, but it has swagger. Jeff Lorber added some keys. I did a vocal overdub, had Natalie Mendoza recut a backing vocalists in Malibu last month. The live recording captured real well and my guitar playing is reminiscent George Benson. I also just tracked a new original instrumental called SPELLBOUND with Lorber and Gary Novak. Jimmy is going to track bass in the next few weeks and Jeff Miguel is going to blow a horn on it. It has a laid back groove and has colors flying everywhere.

Q: Tell us about your studio setup.

A: I literally have a woodshed....so I am woodshedding. It was purchased, setup really nicely and is for working and recording only. ( Though sometimes I go there and just hang out with my dogs too). It is private, quiet, windowless and shuts the world out. it allows me to relax and focus on the work at hand with no distractions at all.

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

A: Anyone who approaches the music with passion. The details matter. That is inspiring. And the work itself is inspiring. How cool is it to be able do this? Working with Haslip and ALL of the players on the AWAKENING project really was an enlightening and fun experience. I had been a fan of Jimmy for 20 years. I met him through my friend, drummer Steve Fitzgerald. We hit it off and I wanted to work with him. So I wrote a couple of tunes toward that direction and was offered a deal with Malibu Films well before the material, or band, was in place. I made a few calls and did a startup, in a hurry, and that group became XPANSION OF A SUM. So, I would say the work, with professionals, is what really inspires me.

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

A: Most of my work has been for my own projects, many of which were commissioned for particular reasons. For instance, I wrote 2 songs at the request of The Rockband Video Game Network. They requested a country tune and a Memphis Blues tune. I played all the guitars and sang the lead. That project became the BACKBONE SESSIONS #1 release. At the request of producer Scott Russell, I covered Clapton’s gospel tune, YOU WERE THERE for Scott’s TULSA SOUND album. I played guitars and sang that one. So in a nutshell, I do my best to deliver what is asked and l do it the best I can.

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

A: Anyone who approaches the music with passion. The details matter. That is inspiring. And the work itself is inspiring. How cool is it to be able do this? Working with Haslip and ALL of the players on the AWAKENING project really was an enlightening and fun experience. I had been a fan of Jimmy for 20 years. I met him through my friend, drummer Steve Fitzgerald. We hit it off and I wanted to work with him. So I wrote a couple of tunes toward that direction and was offered a deal with Malibu Films well before the material, or band, was in place. I made a few calls and did a startup, in a hurry, and that group became XPANSION OF A SUM. So, I would say the work, with professionals, is what really inspires me.

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

A: Most of my work has been for my own projects, many of which were commissioned for particular reasons. For instance, I wrote 2 songs at the request of The Rockband Video Game Network. They requested a country tune and a Memphis Blues tune. I played all the guitars and sang the lead. That project became the BACKBONE SESSIONS #1 release. At the request of producer Scott Russell, I covered Clapton’s gospel tune, YOU WERE THERE for Scott’s TULSA SOUND album. I played guitars and sang that one. So in a nutshell, I do my best to deliver what is asked and l do it the best I can.

Q: What are you working on at the moment?

A: I’m working on 2 originals. One is with XPANSION OF A SUM, my band in a Denver. It started as a rehearsal recording, but it has swagger. Jeff Lorber added some keys. I did a vocal overdub, had Natalie Mendoza recut a backing vocalists in Malibu last month. The live recording captured real well and my guitar playing is reminiscent George Benson. I also just tracked a new original instrumental called SPELLBOUND with Lorber and Gary Novak. Jimmy is going to track bass in the next few weeks and Jeff Miguel is going to blow a horn on it. It has a laid back groove and has colors flying everywhere.

Q: What are you working on at the moment?

A: I’m working on 2 originals. One is with XPANSION OF A SUM, my band in a Denver. It started as a rehearsal recording, but it has swagger. Jeff Lorber added some keys. I did a vocal overdub, had Natalie Mendoza recut a backing vocalists in Malibu last month. The live recording captured real well and my guitar playing is reminiscent George Benson. I also just tracked a new original instrumental called SPELLBOUND with Lorber and Gary Novak. Jimmy is going to track bass in the next few weeks and Jeff Miguel is going to blow a horn on it. It has a laid back groove and has colors flying everywhere.