After completing USC’s film scoring program, you’ve joined a musical theatre writers group, composed numerous film scores and composed for a dozen musicals, and also arranged and music-directed shows. You have an incredibly diverse career that even includes big band music! What drives your passion for working across multiple genres?

I love the variety!  I always I’d thought I’d go into medicine but when I learned about jazz and drums from the classical piano I studied as a kid, I grew more interested especially as I was playing in various situations/genre, orchestras, Dixieland bands, big bands, combos – a different rehearsal or performance each night and really enjoyed the variety!!!

Leading your own big band from the drums is a unique experience for a composer. How did you start out with the big band, and how has that shaped your approach to composition and orchestration?

After playing in a big band in college, I wanted to form my own big band after hearing the Toshiko Akioshi/Lew Tabackin big band.  I started playing piano in the college band, then played some vibes then to the drums.  At first, I didn’t know how to read chord symbols or improvise.  I moved to drums before learning to play really solid jazz piano and much prefer drums for jazz! When composing on a piece, I think very notationally and transcribe from my mind directly into Finale rather than playing into a DAW, even in the very early stages of a project

How do you balance your work between film, theater, and live performance? Do you approach storytelling differently in each medium?

In ways, yes.  On film, I first make all of my timing notes.  I like to know the exact space/length that I am writing for rather than fitting it in later though that may be the case if a further edit is made after the locked copy or if the filmmaker hears something else or a different in or out point.  Of course, I enjoy the full spotting with the filmmaker.  My favorite filmmaker, Mark Marchillo, I met at USC, and have scored all of his films and we can talk musically as he is a phenomenal dancer and choreographer and writes while listening to music!

As someone who has worked in so many collaborative environments, what do you look for in a great creative partnership?

Give and take and respect each other’s opinions and ideas, as well as the chance to experiment and grow!  It’s nice when collaborators also have an interest and experience in a wide range of styles and genres. I tend to often bring a swing feel coming from my very first writing experience for a big band!

How does writing for musical theater differ from scoring a film, and do you have a preference?

I enjoy both!  Of course, writing for musical theater involves songs, while film is timed precisely to the frame.  Certainly, inspiration comes from the film and filmmakers on film and for theater, the lyrics, the story.  Especially on film, although I love writing memorable melodies, I also don’t want to overshadow the film.

What was your experience working in music prep like, and how did you transition to orchestration? Do you feel this background influences your writing process and in what way?

As a perfectionist, I always did well in music prep.  Anytime I took orchestration or arranging, classical or jazz, I was told that I had a natural ability in that area.  I really enjoyed learning more about all of the instruments when taking woodwind, brass and string classes in college as I always love to know the inner workings of things, including all instruments.  Music 409 had us learning the fingerings and basic techniques of all instruments which is great for orchestration and also if I was to go into teaching which wasn’t my major focus.  Before computers, I was very easily able to transpose and knew ranges and basics of the instruments from my various experiences in so many different styles of ensembles.  I became a Finale super power user starting 9/15/89 on version 1.2.6.  At that time, it was the only program in which you could play in and immediately view notation and was up to engraving quality.

As a board member of ASMAC, you’ve contributed a lot to our composer community. What initiatives or programs are you most passionate about?

I remember when ASMA became ASMAC, adding composers to the mix of arrangers which was an important change.  I bring a bird’s eye view as a long-serving Trustee and Convention Delegate of Local 47 to the National AFM Convention plus serving on the boards of ASA (Academy of Scoring Arts), ASMAC, TMA (Theatre Musicians Association) among others.  Creators rights are of top priority! 

What upcoming projects are you most excited about, and is there a dream project you’d love to tackle in the future?

After just completing a film, I have another film and a documentary coming right up.  My dream project that I’ve talked about for a very long time is recording a full big band CD, including of course my original music and directing from the drums!  Sometimes I think it would be fun to solo on a piano concerto with an orchestra though that would be a huge endeavor for which to prepare!

Interview by Nami Melumad

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