Hello, and welcome to my music web site. Thanks for your interest in me and my music. I hope you find your time here enjoyable and well spent. As far as who I am and why I'm here, let me offer this short biography.
I was born in Nashville in 1953. As a child I lived in Ohio, Texas and Kentucky. I went to school at the University of Kentucky in Lexington and spent most of my adult life in Louisville. About 6 years ago I moved back to Texas following an offer with a business magazine and have stayed on in spite of the magazine going belly-up about 6 months after I got here. I'm married and have an 8 year old step-son. So much for the geography lesson.
As far as "Who Am I", let me respond in terms of music. I have been playing music since I was very small, as most musicians can say about themselves. My instrument is the keyboard. I never learned the guitar or drums or anything else for that matter. I have enough trouble playing just the one instrument to attempt to branch out into others. I started writing music at about the age of 12. My early musical influences were a bit off the wall. Believe it or not, I got into big band jazz and orchestral pop before I got into the Beatles. I grooved on bands like the Dorsey brothers, Glen Miller and so forth. My folks played a lot of this kind of music so I just grew up with it. I was never much of a radio listener (and never have been in spite of having worked in rock radio). I also listened to the late sixties pop orchestras like Billy Vaughn, Jackie Gleason, Paul Mauriat and others of that style. I started listening to Herb Alpert when the Tijuana Brass put out their "Taste of Honey" album. On the other side of the coin, I also listened to some of the pop rock of the time like the Ventures, Gary Burdon and the Animals, Paul Revere and the Raiders, the Monkeys etc. By 1968 I was listening to mostly hard rock like Hendrix, Deep Purple, Cream, Jefferson Airplane, most of whom were putting out their first albums at that time. One of my favorite albums from that period and still today was the Bloomfield/Cooper/Stills Super Session. As I went into 1970-71, I sort of skipped over the rock and roll of the Stones and the Beatles until later when I went back and started listening to their older stuff. At that time I was into Jethro Tull, Yes, EL&P, rockers like Clapton, Led Zeppelin, Jeff Beck, Carlos Santana, Frank Zappa and digging on the brass rock-jazz fusion of BS&T, Chicago, Dreams, Cold Blood, Ten Wheel Drive, Bill Chase, If, Dallas County, Electric Flag, Pacific Gas and Electric, Malo, and so on. In 1971-72, I had a 9 piece brass-rock band that I wrote and arranged for. We did the usual stuff and some off the wall material like Zappa. Unfortunately, It was a band doomed from the start. Just as we began getting offers to play large markets, our sound man walked in front of a van doing 60 mph on St. Patrick's day followed a few months later by a car crash that took out a member and took the leg of another. We disbanded and I went off to college. That was about it for having an organized working group. Over the years I would continue to jam here and there from time to time, but mostly I listened and wrote.
In my college years of the mid 70s I enjoyed the music of Steely Dan, Genesis, Renaissance, Joni Mitchell, Billy Joel, Spirit, Triumvirat, and as the 70 rolled on, Gentle Giant, UK, Leo Kottke, Pat Metheny and the laid back sounds of Loggins and Messina, Crosby Stills and Nash and so on. Somewhere in there I also amassed a large collection of The Firesign Theater. In my radio days around 1975, I helped build a 100,000 watt FM rocker, and even designed and built one of the studio consoles using what was at that time the cutting edge technology of low noise high slew rate JFET IC op-amps. Around then, I found myself doing a lot of program production including a weekly documentary series.
I didn't find much pop music in the 80's that I could get next to so I concentrated on jazz ranging from Chick Corea, the Brecker and Marsalis brothers, Dave Grusin and Joe Sample to Art Blakey, Monk, Bill Evans, Dizzy Gillespie, Bird, Coleman Hawkins and of course the bands of Buddy Rich, Harry James and Count Basie. My electronic designing drifted into the field of hi fi audio and later into self-contained scuba instrumentation. It was around this time that I and a few other fellow seekers founded The Louisville Audiophile Society as a non profit organization devoted to the reality of the live unamplified musical performance and the pursuit of faithfully reproducing it. In the mid 80s I did a good deal of writing - both music and prose. This was also when I started mounting my first large gallery showings and when I won an award for my photojournalism work.
In the 90's I started to become very fond of the New Age sound from Max Lasser's Arc, Enya, and most of the artists recording for Windham Hill. Keep in mind that this progression was additive. I didn't give up the old music to groove on the new. I still to this day like it all and listen to it all (except maybe for the Monkeys). Naturally there was a lot more music in my life than what's listed above, but these names come to me the strongest and so have likely been the biggest influences on my own music. I don't know where my love for classical music started, but I have found the "greats" like Beethoven, Bach, Mozart, etc. to be very appealing. I admit that many of my favorite works are by lesser known composers like Charles Ives, Bizet, Sibelius, Janacek, Holst, Vaughn Williams,and my all time favorite, Sergei Rachmaninov. Perhaps the fact that I enjoy a rather large range of music accounts for the wide range of styles in my composition. My "Pieces of Eight" CD, for example, has hardly any two songs of the same genre.
Over the past 5 years I have become well versed in the fine art of computer sequencing augmented by custom MIDI editing programs written in Cakewalk's CAL application language. I have written a magazine article and constructed a comprehensive web site devoted to CAL (use the link on the home page to access this web site), and the subject seems to have made me somewhat of a CAL guru among practitioners around the world. Pursuing digital audio recording and production have brought me to the point where I now have a group of networked computers, one an overclocked Celeron 566, devoted to the process. The fact that I also beta test for the major players in DAW software keeps me constantly experimenting. I can't say who I'm testing for at any given time. Most of the major companies require testers to sign non-disclosure agreements that forbid even mentioning their name and the word "beta" in the same breath. Just as well. I can do without some moron bitching at me because the program doesn't do what he thinks it should do. I just test it, I don't code it.
Besides music, I have been a serious fine art photographer for about 20 years. Like my music, I operate in a wide range of styles. At many of my showings, I have heard people ask how many photographers were being represented. They would be surprised to discover that the answer was only one - me. My photography ranges from the pin-point high definition landscape to the surreal nude. It covers black and white and color. I use many different techniques from fine grain large format to infrared and "push process" grain intensification to sabattier printing. The same can be said for my writing. I write poetry of several different styles, prose, essays, short stories, magazine articles, and I am working on 2 novels. More information on this part of my life and examples of each can be found on my personal web site at:
or more directly by using the buttons on this site's home page that link to the specific pages in my personal/family web site.
I also do a bit of programming and hardware design. At one time I was very deep into both - not so much anymore. These days I mostly build computer systems. Not much to it any more; just buy a bunch of boards, a box, a disc drive, plug them together, then install and configure the software. Anyone can do it.
So that's my story. As it seems that life sometimes gets in the way of living, so it was for me. I got married, went to work and tried to fit in with the world around me. It seems from that time on, I have been best friends to other musicians, worked for other musicians, worked on behalf of other musicians, even helped produce concerts. I've designed and built studios and studio mixing consoles. I've consulted those seeking high end audiophile sound systems. Yet, I've remained in the musical shadows. No longer! After all of the time spent wishing for what might have been, I now step out into the light and bid for a place in it. Even if it's only to make a CD few will hear, build a web site few will log on to, swing a MIDI cable around my head and shout at the sky, "I exist!", then so be it. I exist, and I make music.