Who or what were the most significant influences on your musical life and career as a composer?
I’ve been lucky to have some amazing mentors throughout my life. Early in my life I studied with the great jazz educator and composer David Baker. I also learned a lot from the jazz pianist/composer Gene DiNovi, who knew me as a kid, and with whom I worked with as an adult. Later in my career I studied with David Braid and Andrew Downing. Like them, I’m a jazz musician turned classical composer, and they’ve always inspired me in that direction.
I also include my father as a mentor and influence. He’s not a composer, but a clarinetist. I’ve written a lot for the clarinet, because I like to create music that we can play together. He also instilled in me a love of classical music from an early age.
What have been the greatest challenges of your career so far?
I’ve had a difficult time picking a lane and sticking to it. Maybe that’s what makes me unique, but sometimes I wish there were more hours in the day to pursue all of my musical interests. I’m genuinely curious about all kinds of music. I started my musical journey playing piano, then jazz and rock guitar, then classical guitar. Then I fell in love with many forms of Brazilian music, in particular Tropicalia and Choro. Now I’m learning the banjo. I’ve definitely asked myself “is this the best use of my time right now?”, but I just can’t help myself.
As a composer, I’ve written pop songs, jazz tunes, film scores, and lots of classical chamber music. I don’t intentionally try to insert all of those styles into my chamber music. Instead I just try to write music that I think I would enjoy listening to.
What are the special challenges/pleasures of working on a commissioned piece?
The best type of commission is when I’m asked to write something that sounds like me. All I have to do is be myself and I know it will be well received. I also enjoy the defined parameters in terms of length and instrumentation. When I wrote the music for my new album, “Palms Upward”, it was a completely self-directed and open-ended project. That was a challenge!
What are the special challenges/pleasures of working with particular musicians, singers, ensembles or orchestras?
I’m a composer with a jazz background, but have worked with many classical musicians throughout my career. I’ve found the experience both challenging and rewarding. The most challenging difference between the two musical worlds is definitely rhythm. Rhythms that are easy for a jazz musician can be difficult for a classical musician, and vice versa.
Of which works are you most proud?
The honest answer is: whatever I’ve written most recently. Currently, that would be the music on my recently released album “Palms Upward”. I’m also proud of some film scores I’ve worked on. “My Girl, Skelly” is one of my favourites.
How would you characterise your compositional language?
My music is very melodic. I’ve always loved good songs, whether it’s a traditional folk tune, something modern on the radio, or a Schubert song. I love having a good melody stuck in my head. I like to write chamber music that has the catchiness of a good song, but also the structure and development of a large classical work. Harmonically, I draw from my background in jazz.
As a lover of film, my music also has a narrative quality to it. I like to write pieces that feel like a story. Sometimes I invent simple stories and try to turn them into music.
How do you work?
It depends on the project. My chamber pieces usually start when I’m outdoors, away from my studio. In the early stages I go back and forth between recording piano sketches, and wandering around outside. Once the piece starts to take shape, I basically lock myself in my studio until it’s done. I often make a mockup on the computer. This stage can be difficult and exhilarating, and when I finally finish I’m way behind on emails and household chores.
As a musician, what is your definition of success?
My perception of success changes a lot, day to day. Most artists will have moments when they feel on top of the world, and other moments when they feel like a failure. At this point I’m used to riding the ups and downs, and I know that the truth lies somewhere in the middle. I’ve found comparing myself to others isn’t helpful, so instead I only compare myself to myself a year ago, 5 years ago, or 10 years ago. As long as I feel like I’m moving forward, I feel successful.
What advice would you give to aspiring musicians/composers?
Being good at music is only one of the skills it takes to have a career. Especially these days, musicians have to do a bunch of other jobs that traditionally were done by other people in the business. Learn as many additional skills as you can, but don’t become so obsessed with being your own web designer, publicist, booking agent, etc., that you don’t have any time left over to be an artist.
What do you feel needs to be done to grow classical music audiences/listeners?
To be blunt, I think contemporary classical music needs to be less academic. Don’t get me wrong, I love a lot of what goes on at universities and think it’s important, but it shouldn’t be the centre of the classical universe. It needs to welcome people from diverse musical and cultural backgrounds. I think we’ve been heading in this direction for a while now and I’m optimistic about what the future holds.
What next? Where would you like to be in 10 years’ time?
At the moment I’m sitting in my tiny studio on a noisy street. In 10 years, I’d like to be sitting in a large studio on a quiet street!
What do you enjoy doing most?
Studying scores is one of my favourite activities. I do it for relaxation, often with a good coffee or beer.
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