About
Born in Kansas City, I discovered jazz as a child thanks to my mother’s collection of big band recordings. I started on alto saxophone when I was 9 and developed an interest in composition in my early teens. This led me to study composition & arranging at Berklee College of Music in Boston.
My training at Berklee included jazz composition with Herb Pomeroy, John LaPorta, and Charlie Mariano; classical composition with William Maloof and John Bavicchi; and woodwinds with Joe Viola. After Berklee I studied with Dr. Robert Wykes, Dr. Stephanie Owen, and Dr. Champ Tyrone. B.A. in composition from McKendree University (Illinois) and M.A. in composition from Highlands University (New Mexico). During my time at Highlands I was the director of the university jazz ensemble and a graduate teaching assistant to Dr. Champ Tyrone.
In the course of working as a composer, arranger, music director, and educator I discovered that my composition skills could be applied to software development. This offered a greater financial stability for my family. Making a career change, I worked at Southwestern Bell, Bell Atlantic, Fannie Mae, and DecisionPath Consulting as an analyst and team leader for 34 years. Due to a busy work and family schedule I was away from music for 12 years.
A business transfer from Missouri to Maryland in 1983 set the stage for new developments in my music. When I started to compose again in 1989 much of the music was directly inspired by my life in Maryland and the natural beauty of this region. I also began to explore an interest in fiddle music after hearing old-time fiddle players in West Virginia. It was easy for me to envision Appalachian music as an early branch of the jazz family tree.
In this new phase of my music I focused on composing tunes for 19 years and did not return to writing ensemble scores until 2008. As the music evolved it drew upon many genres (sometimes intertwined in unusual ways) and expressed a quirky sense of humor, expanded harmonic colors, and a fluid approach to time. In hindsight, it is clear to me that I needed to live in Maryland and West Virginia in order to write this music.
More than 600 pieces were composed from 1989 to 2010 as I balanced family, work, and music. I retired from my systems career in 2011. Since then, new composition projects and collaborations have taken my music to an international audience.
For more about my creative process, see Beyond Notation.
My training at Berklee included jazz composition with Herb Pomeroy, John LaPorta, and Charlie Mariano; classical composition with William Maloof and John Bavicchi; and woodwinds with Joe Viola. After Berklee I studied with Dr. Robert Wykes, Dr. Stephanie Owen, and Dr. Champ Tyrone. B.A. in composition from McKendree University (Illinois) and M.A. in composition from Highlands University (New Mexico). During my time at Highlands I was the director of the university jazz ensemble and a graduate teaching assistant to Dr. Champ Tyrone.
In the course of working as a composer, arranger, music director, and educator I discovered that my composition skills could be applied to software development. This offered a greater financial stability for my family. Making a career change, I worked at Southwestern Bell, Bell Atlantic, Fannie Mae, and DecisionPath Consulting as an analyst and team leader for 34 years. Due to a busy work and family schedule I was away from music for 12 years.
A business transfer from Missouri to Maryland in 1983 set the stage for new developments in my music. When I started to compose again in 1989 much of the music was directly inspired by my life in Maryland and the natural beauty of this region. I also began to explore an interest in fiddle music after hearing old-time fiddle players in West Virginia. It was easy for me to envision Appalachian music as an early branch of the jazz family tree.
In this new phase of my music I focused on composing tunes for 19 years and did not return to writing ensemble scores until 2008. As the music evolved it drew upon many genres (sometimes intertwined in unusual ways) and expressed a quirky sense of humor, expanded harmonic colors, and a fluid approach to time. In hindsight, it is clear to me that I needed to live in Maryland and West Virginia in order to write this music.
More than 600 pieces were composed from 1989 to 2010 as I balanced family, work, and music. I retired from my systems career in 2011. Since then, new composition projects and collaborations have taken my music to an international audience.
For more about my creative process, see Beyond Notation.
Qigong
I was introduced to qigong (related to tai chi as a branch of Traditional Chinese Medicine) in 1995 by Frances Gander, a student of Grandmaster Chian Ho Yin. I felt an immediate connection with it. In addition to having daily practices at home, I like to do qigong movements in the mountains and by old trees.
As a recent development, I am having medical qigong with Michael Perfetto. We started with acupuncture and Chinese herbs in 2017. Then, a year later, I switched from acupuncture to medical qigong when Michael began to offer it. After our first session I said to him, "This is cutting edge stuff". Adding medical qigong to my practices -- including Chinese & Tibetan qigong, Mayan Tzolkin, and other kinds of energy work -- has opened new worlds.
I have found that my background in composition helps to deepen my qigong practices. In turn, qigong brings new qualities to my music.
As a recent development, I am having medical qigong with Michael Perfetto. We started with acupuncture and Chinese herbs in 2017. Then, a year later, I switched from acupuncture to medical qigong when Michael began to offer it. After our first session I said to him, "This is cutting edge stuff". Adding medical qigong to my practices -- including Chinese & Tibetan qigong, Mayan Tzolkin, and other kinds of energy work -- has opened new worlds.
I have found that my background in composition helps to deepen my qigong practices. In turn, qigong brings new qualities to my music.