The role of producer has been one in flux for decades and continues to be a nebulous term within the music world. I have broken the term down to my personal capabilities below, but I am going to illuminate the work I have done with 3 very brief stories ranging from least to greatest of the responsibilities.
Composition – Songwriting, Film, Radio & Podcast.
Arrangements – Scoring, Backing Tracks, Live Band & Studio.
Recording – Tracking with software plugins as well as live instrumentation using a variety of microphones & amplification.
* In 2016, Matthew Hodapp, creator of Fountain City Frequency, commissioned me to write original podcast music beds and theme songs. I was sent audio edits of interviews and created a myriad of moods throughout, giving the pieces deeper emotional connection. When finished, I sent in my recordings with and without the interview segments for final editing. Days later the finished work would be released.
* Kansas City Good Samaritan Bill Brandmeyer hired me for a charity driven video he was going to shoot for an inner-city school that was in a contest for funding in 2015. The concept and song was The Blues Brothers, “Everybody Needs Somebody To Love.” It was shot within an hour and a half time frame with a live band at a school auditorium. Time was of the essence as they say. I arranged (notated/charted) the song, hired & rehearsed the 7-piece soul band, and finally conducted them and took notes on performances while the camera was rolling to make sure that we got the best musical takes to match with the video which went on to win the contest and funding for the school.
* “Caged Bird Sings Songs About Red Beard,” the full-length (10 song) debut album from Stephonne Singleton released in the Spring of 2018, was an incredible undertaking that took an immense amount of time, focus, and inspiration. In this way, I aligned myself as director of recording, arranging, and composition. Dense scores were prepared before recording, musicians were hired, and pre-productions for every song were made to fit the artist’s taste as well as an aid for musicians during innumerable recording sessions, which I engineered primarily by myself. Stems were cleaned and transferred to Westend Recording Studios for mixing and live drum recordings. The clear communication and accountability that must transpire in order for this level of performance and vision to become a reality cannot be overstated.