Ever since I was ten years old I dreamed of making records. Seriously. We're talking elaborate dreams too, replete with album art, song sequencing, the works. I had a whole notebook full of this stuff by the 6th grade. I played the trumpet in the school band but had an imaginary rock band that would feature the other kids in my neighborhood. Only two of them actually played instruments--sadly, also trumpet. I wrote two albums worth of material for that band, "Lightning". It would be nearly fifteen years later, thankfully, that I would actually make a recording for public consumption.

In 1994 when Ellis Butler and I set out to make a Seals & Butler record, we were fortunate to enlist good friends who really knew what they were doing. John Alagia and Doug Derryberry had already gained a reputation working with The Dave Matthews Band. They were gracious enough to take on the S&B project All This Time. (Their credits also include Ben Folds, John Mayer, Jason Mraz, and my dear friends Vertical Horizon, to name a few. Doug is Bruce Hornsby's guitarist these days, when he's not producing or engineering in a studio near you.) I was so lucky that my first true studio experience (beyond tracking a 4-song demo for my high school metal band) was not only a positive one, but a deeply informative and instructive one.

More than a decade later as producer I am able to draw upon a unique skill set. Yes, I admit it. I am a recovering English teacher and track coach. I spent years honing the nurturing and editing skills of a decorated teacher while forging the motivational and inspirational powers of a champion coach. I understand what a thrilling yet vulnerable experience making a record can be--I still make my own records! I work to help artists discover powerful things about themselves as writers and performers. I aspire to enable them to expand their self-definition and to focus their vision. It is my privilege and joyful creative challenge to craft arrangements and sonic textures that faithfully honor the songs and the artist. In the end I trust that the records always feel like the artist, but more. Like having a deep conversation with an old friend and suddenly seeing them as if for the first time.

I have access to a stable of amazing A-List session players here in LA, and the miracles of friendship and technology allow me to make use of ace players in Nashville and New York as well. The goal in every situation--from the bare acoustic to the lush string section and pillowy background vocal accompaniment--is the same: to match personnel, instrumentation, tones, and arrangements with each tune in order to serve the song and honor the artist.

I love my job.