Woodwind Studio Musician

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

A: One project I’m especially proud of is my first and only solo project, In the Company of Brothers. When I listen back to it, I’m amazed by the incredible support I received from the musicians I’ve connected with over the years. Their eagerness to be a part of it and the love they poured into the music truly moved me. I believe that love is evident in the way the project came out, and it’s something I’ll always cherish. In addition to my musical projects, I’m involved in a transformative ministry called International Solid Rock, where we run the Church Behind Bars program. This ministry focuses on discipling inmates to run their own churches, changing lives by changing hearts. We visit different regions of Florida for eight to ten days each month, rotating between locations like Homestead, Doral, Ocala, and others to provide teaching sessions, evangelistic concerts, and graduations for inmates who complete the program. For many, these graduations—complete with caps, gowns, and diplomas—are their first and an incredibly uplifting experience. Since joining in 2009, this ministry has profoundly impacted my life. Through music and personal stories, I help encourage inmates toward restoration and personal growth through an intimate and growing relationship with Jesus Christ. Alongside my ministry partner, Tony Loeffler, who has served in this field for 54 years, we continue to bring hope and healing through the power of the gospel of Jesus Christ, blending faith and music to inspire transformation.

Q: What are you working on at the moment?

A: I’m presently in between projects and currently in a practicing mode. I’m preparing for the upcoming 14 Jazz Orchestra recording, which I’m really looking forward to starting soon.

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

A: Honestly, I’m new here, so I don’t know anyone on the site just yet. However, I’m excited about the opportunity to connect and collaborate with the incredibly talented musicians on this site. Being part of this platform opens the door to new possibilities, and I’m looking forward to seeing where these connections can lead!

Q: Analog or digital and why?

A: Analog or digital? While many people argue that analog offers a warmer sound, the reality is that we live in a digital recording world. Tools like Digital Performer, Logic, and Pro Tools make recording far more practical and convenient than the tape-based methods of the past. If I had to pick one, I’d go with digital recording—it allows for so much more flexibility with editing, mastering, and finishing a project.

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

A: My promise to my clients is simple: if you’re clear about what you want and provide your end of the vision, I’ll ensure you’re completely satisfied with the result. While it’s true that no one can please everyone, the majority of my clients are incredibly pleased with what they receive. When we both bring clarity and commitment to the project, it’s always a win-win situation.

Q: What do you like most about your job?

A: What do I like most about my job? After 32 years of being a band director, I’m now retired and can devote much more time to what I truly love—making music. Whether it’s recording or collaborating on a project, I genuinely enjoy every moment of it!

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

A: The questions I’m most commonly asked are, “What do you charge?” and “How long will it take to get the tracks back?” My answer is that if it’s solos and fills, it’s typically $200 per song, which includes two tracks, and I usually deliver them within a day or two. If it’s a full saxophone section, which includes five tracks and requires much more time, the cost is at least $700. For any other questions, I’m always happy to provide more details!

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

A: The biggest misconception about what I do? Honestly, there aren’t many—at least not from people who are reaching out for my input on their project. They already know what they’re looking for, whether it’s a musician who specializes in soloing, fills, or horn parts. My job is to meet them where they’re at and provide exactly what they need, so misconceptions don’t really enter the equation.

Q: What questions do you ask prospective clients?

A: After hearing their original idea, I ask questions to help cultivate what they’re really wanting when they describe what they’re looking for. Whether it’s a solo, colors, fills, or horn parts being played, I’ll quickly get a sense of their vision. A quick call to discuss their ideas is usually all I need to understand exactly what to deliver.

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

A: My advice for a customer looking to hire a provider like me is simple: there are many talented musicians out there, but the only way to truly know if someone is right for your project is by hearing them bring your ideas to life. If you can be talked into something, you can be talked out of it—so the key is to experience my playing for yourself. Take a moment to listen to my sample audio tracks, and I believe you’ll get a good sense of whether we’d be a great fit. If you have any questions, I’m always happy to chat and help you decide!

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

A: If I were on a desert island and could only take five pieces of gear, I’d bring my alto sax, my tenor sax, my flute, my piccolo, and, of course, my Bible—because even in solitude, I’d need some inspiration for both my soul and my music!

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

A: My career path in music began at the age of 5, when I woke my parents by banging on the piano keys. Instead of getting upset, they told me, “If you’re going to wake us up, you might as well wake us up the right way!” So, they made me take piano lessons, which was the start of my musical journey. While I eventually moved on from piano, I discovered the clarinet at the age of 8 and quickly expanded to saxophones and flutes. By the age of 12, I was already playing professionally, and at 16, I went on tour with a polka band, performing on alto sax, flute, and clarinet. One of the memorable highlights of my early career was traveling to Baltimore with friends of my mother’s from the Hart School of Music to play a presidential campaign party—a thrilling experience for a young musician. In 1977, I earned a full scholarship to the University of Miami Jazz Department, where I immersed myself in both academics and performances. I played at private events, weddings, and high-profile venues like the Diplomat and Fontainebleau Hotels. In 1979, I joined Maynard Ferguson on tour, an unforgettable opportunity that shaped me as a musician. After returning in 1981, I completed my undergraduate degree and pursued a graduate degree in jazz pedagogy, all while supporting my family. I began teaching private lessons at the age of 20 and have been doing so for nearly 50 years. Teaching has been one of the most rewarding parts of my career, and I’ve been fortunate to see my students excel—two of them even won the DownBeat magazine award for the top high school jazz alto saxophone player in the United States. It’s been an incredible journey, and I’ve loved every step along the way.

Q: How would you describe your style?

A: My style is a blend of versatility and heartfelt expression, shaped by over five decades of professional performances and a deep understanding of various genres. Rooted in jazz and blues but enriched by classical training, my music bridges styles like Latin jazz, funk, gospel, R&B, and soul. With a focus on delivering what a song truly needs, my approach is intentional and thoughtful, avoiding excess while ensuring every note serves a purpose. Through live performances or studio projects, my style reflects my ability to connect emotionally with audiences and fellow musicians alike.

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

A: I enjoy working with a wide range of artists, especially those who are not only talented but also kind, respectful, and collaborative. Some of my most memorable experiences have been working with friends who are incredible musicians—many of whom I’ve had the privilege of knowing and creating alongside during my career. Even after moving to Chattanooga, Tennessee, I stay connected with these inspiring friends, who remain a significant influence in my life. When it comes to the type of work I enjoy, it’s hard to choose—I love both live performances and studio projects. It’s like comparing Rembrandt to Picasso—each offers something unique and remarkable, and I love them all. That said, I do prefer working with people who prioritize being professional and being kind, as I believe those qualities are just as important as musical ability. I’ve traveled extensively for work, from my roots in South Florida to collaborations across the U.S. and beyond. I’m open to working worldwide and have an exciting possibility of a project with Deana Martin in Australia. For me, it’s not about location, but about working with the right people who share a passion for music and artistry.

Q: Can you share one music production tip?

A: One key music production tip, especially for beginners, is to always inquire deeply about what the client is truly looking for and to be well-versed in that style by doing a lot of listening. It’s important to understand the nuances of the genre and what the song needs rather than just playing what you personally like. A common mistake among amateur musicians is playing a lot of notes without really saying much musically—it’s similar to someone using a lot of words without conveying a clear message. Focus on playing with intention and saying something meaningful through your music.

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

A: I typically work on a wide range of music, from jazz standards and songs from the Great American Songbook to more personal and collaborative projects. My most recent project, Frets and Reeds by L. McMean and myself, was a gospel-style album featuring old Christian hymns. L. McMean played steel-string guitar, and I contributed on soprano, alto, and tenor saxophones, as well as clarinet, bass clarinet, flute, and EWI—using the oboe setting since I don’t play double reeds. Another notable project was my solo album, In the Company of Brothers, which showcased a variety of styles, including Latin, ballads, funk, and pop. Having been trained in and experienced with numerous genres since I was eight years old—ranging from jazz, Latin jazz, and blues to gospel, funk, R&B, soul, and pop—I pride myself on being a versatile musician able to adapt to any musical setting.

Q: What's your strongest skill?

A: My strongest skill lies in striving for perfection in the execution of the ideas and style that a song requires. From an early age, I embraced the philosophy that “practice makes permanent,” understanding that the quality of effort and intention shapes the outcome. While I don’t always apply this to my personal life, because no one is perfect, professionally, I hold myself to the highest standards. This commitment to excellence is evident in every project I undertake. In addition to this, I’m a versatile musician and a skilled doubler, proficient in all saxophones, flutes, and clarinets, with classical training that has honed my technique across genres. I also play the EWI (Electronic Wind Instrument), offering a unique sound that sets my work apart. My induction into the Blues Hall of Fame reflects my ability to master and perform in a variety of styles, including blues, jazz, Latin, and funk. This diverse background allows me to adapt to the needs of any song, making me a well-rounded and dynamic contributor to any musical project.

Q: What do you bring to a song?

A: What I bring to a song is my heart, my passion, and the gift I’ve been given. With over 50 years of professional performing experience and countless hours of live performances, I also draw from lessons I’ve had with some of the greatest musicians. I bring all of that experience and dedication to every project I work on, whether it’s a live performance or a recording project. My goal is to enhance the music and contribute something meaningful to every song.

Q: What's your typical work process?

A: My typical work process begins with the client sending me the audio file track and letting me know exactly where they need me to play. Sometimes they provide a lead sheet or written part, while other times, I play by ear to create the parts. I record the track, consolidate and clean it up, and deliver the final product in an AIFF or WAV file, typically within a one-day turnaround. Most of the songs I work on are three to seven minutes long, but I’m open to discussing longer or more complex projects as needed. I’m always excited to take on different and challenging work because I genuinely love what I do.

Q: Tell us about your studio setup.

A: My studio setup is simple but highly effective, designed to deliver everything needed for high-quality output. I use Pro Tools for recording, along with two microphones: the Rode NT1000 and the AKG414, which is my preferred mic. For preamplification, I rely on the Universal Audio Solo 610 tube preamp, which adds a warm, professional touch to every project. This setup is perfectly tailored to handle the demands of recording and producing exceptional tracks.

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

A: I’ve had the privilege of working with and being inspired by many talented musicians throughout my career, including those I met at the University of Miami School of Music in the jazz department. Some of the most influential names include Ed Calle, Ira Sullivan, Michael Brecker, Bob Mintzer, Bob Berg, Miles Davis, and Pat Metheny, along with classic giants like Cannonball Adderley, Hubert Laws, Jose Fajardo, and Charlie Parker. Their artistry and contributions to jazz have left a lasting impact on my work and approach to music.

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

A: The most common work I do for my clients involves recording solos for their songs, often complemented by fills to enhance the track’s flow. In addition to that, I’ve also written and arranged horn parts and recorded them, providing a full, polished sound for their projects.