Farewell Republic – Burn the Boats
Credits: Producer, co-songwriter, recording engineer, piano, hammond organ, synths, vocals.
This record was recorded by me and Michael Coffman, the sound designer of Mother New York, and we were going for “big but unique”. We spent 10 days in the Chrome Attic, a massive studio in Crystal Lake, IL, and we pushed the studio to its limits… we used almost every vintage amplifier, keyboard, and outboard unit they had, did all major tracking live, and overall had an extremely smooth and solid session. The remainder of the parts were recorded over the next month in my home studio.
I orchestrated a couple of the tunes for the band – “For Your Health” features a lo-fi thirteen-piece chamber ensemble. Interesting fact: due to dwindling budgets, it was recorded in a small apartment with only 3 microphones. I’ve provided a small sample, and the full score is below.
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http://farewellrepublic.bandcamp.com/
Amy Cova – A Very Fast Man in a…
Credits: Composer, live performance (piano, processed vocals, computer).
For this dance project, I composed a 30-minute piece which I performed solo live on piano, processed vocal, and computer using Logic Pro 9 and Ableton Live. The performance took place at Jacob’s Pillow Dance Festival, 2012, on August 22nd.
This piece was a ball of joy – working with Amy Cova and her wonderful dance crew was smooth and magic… it felt like we were constantly in awe of each other. My first assignment for this project was to read the novel “Born to Run” by Christopher McDougall. The book details the lives and customs of a native tribe in Mexico called the Tarahumara, the most shocking of which is an occassional 50-100 mile casual run over and around steep and treacherous mountains, after a night of heavy drinking and dance. The craziest part is that they do that in sandals, and don’t get injured.
The piece is inspired by the effects of running on the mind, the way long runs lull us into a drone-like state of peace and the way stress seems to melt and reform into energy that pulses through the body. The first excerpt occurs right around the 0:14 minute mark, where a trio of dancers are moving in unison. The final excerpt occurs at the end of the piece.
University of Michigan CRLT Theater Program – Institutional Change,…
Credits: Recording (live) and mixing engineer, arranger, producer, co-music director, pianist.
With the University of Michigan Center for Research on Learning and Teaching, I had the pleasure of working with talented artistic director Jeffrey Steiger on constructing, arranging, and performing the music for “Institutional Change, The Musical”. The purpose of the musical was to raise questions among provost, faculty, and staff members, as well as students, about how their education system is currently functioning and how it could be improved. The process went something like this:
-Jeffrey would write lyrics and music on his guitar, and sing rough ideas to me.
-Using his songs, we would then negotiate progressions and melodies that conveyed his message and were musically effective.
-Together we would teach the music to the singers and other musicians. (That said, brilliant cellist Courtney Kaita wrote most of her own parts).
-We would take the show on the road, traveling to Alabama, Ohio, Indiana, and Michigan to perform for the faculty and staff of various universities.
At every performance, I was amazed at the level of engagement of the audience and the conversations that followed. It really felt like issues were surfacing that had not been previously discussed, and hearing the chair, faculty, and staff all speaking to each other without the hierarchy getting in the way and working things out was always my favorite part.
Quite an incredible experience!!
http://www.crlt.umich.edu/theatre/index.php
Dicks and Janes – Acousticophilia
Credits: Producer, recording & mixing engineer.
This a-capella record presented a unique challenge – they wanted to sound like real human singers, but also receive studio assistance in sounding like pop/rock instruments and fill out the frequency space like a pop recording. Here are two selections.
Danny Freeman – Second to Dream
Credits: Producer, recording & mixing engineer, orchestrator, multi-instrumentalist.
Brian Trahan – Classical Piano
Credits: Piano performance.
This is a sample of me playing classical piano. I play weddings, receptions, and improvise jams, classical/jazz pieces. I also teach private lessons.