Creative Keyboard Player

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

A: I recently worked with Damon Albarn on one of his operas in Paris. The band were excellent fun and the production was a thrill ride. I'm proud of it because we all worked together under pressure to deliver something really magical. And being in Paris was nice.

Q: What are you working on at the moment?

A: I've just released my first record - Kielder Water Music - and now I'm considering the next one and what that might be. I'm experimenting with hardware samplers (which is really fun) and recording piano. I'm searching.

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

A: I'm new - so not yet!

Q: Analog or digital and why?

A: Whatever works.

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

A: I'll always keep searching for the right part until we have it.

Q: What do you like most about your job?

A: I'm grateful that I get to do something I truly love. As I get older, this becomes more important. It shapes the day.

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

A: Do you play accordion? Working on it...

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

A: That I'm a jazz musician!

Q: What questions do you ask prospective clients?

A: If its a song, I'll ask about the meaning. That defines the sound palette and centers the whole session.

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

A: Having tracks prepared in advance is always good and saves time. If you have anything really specific in mind, tell me. If you want parts exact, its great to have notation but not essential.

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

A: My Fender Rhodes, OB6, Roland Space Echo, Reel to Reel and an old Studer mixer or something. I'd be fine with those.

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

A: I was classically trained and then took a left turn into bands and improvisation. For a long time, I was touring and recording with amazing people like Pee Wee Ellis, Fred Wesley, Beth Orton. I was spending a lot of time in vans through my 20's and 30's. I then started playing with the Will Gregory Moog Ensemble. That kick started an interest in synths and contemporary music. I've been carving a wonky path ever since.

Q: How would you describe your style?

A: Immediate.

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

A: Brian Eno - he's always moving and I love his ideas.

Q: Can you share one music production tip?

A: Generate lots of ideas and then pare back.

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

A: It changes all the time. Film scores, songwriters, psychedelic, ambient, electronic, contemporary classical, jazz, organ groove stuff...

Q: What's your strongest skill?

A: I'm a good listener. I'll play whatever works, no matter how simple that might be. I'm a firm believer in playing for the song.

Q: What do you bring to a song?

A: My entire self!

Q: What's your typical work process?

A: It depends on what's going on. I like to be immediate, so I'll bash takes down on multiple instruments quickly and refine if necessary.

Q: Tell us about your studio setup.

A: It's a small junk shop of dreams. A combination of well-loved vintage instruments and an efficient/fun analogue/digital recording environment. Flexible and always ready.

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

A: I've been lucky to work with some extraordinary artists and producers. I am constantly learning from them and from my own process.

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

A: I'll often be decorating - adding piano, organ or a treated sound to a song. Artists often come to me for sparkle, darkness, glue, body. I love nothing more than spending time adding small touches to someones work.