I am beginning my sixth film score for director Robert Rollins for a film titled “Fortunes Fools.” I have been Robert’s composer for 7 years now, and it’s more fun to work with him every time. It’s truly a pleasure to have such a long standing creative partnership. The film will be released late in 2015.
I finally got a chance to meet Winifred Phillips, a video game composer and author, in person at GameSoundCon. Her book A Composer’s Guide to Game Music is a comprehensive, practical guide that leads an aspiring video game composer from acquiring the necessary creative skills to understanding the function of music in games to finding work in the field. There is nothing else like it on the market, and it’s becoming a big hit. I was her music copyist and prepared all the music engravings for the musical examples that are in her book, but we had not yet met face to face! GameSoundCon is the premiere convention for video game composers and sound designers, and highly recommended.
One of the most unique albums I have worked on is coming out new years day!
Viola Steffens, the well known actress and musician, hits the scene again with this surprising reinterpretation of Hildegard Knef’s music. A German citizen who has lived in Los Angeles for almost two decades, Steffens is uniquely able to deliver a German-Californian fusion that completely transcends the originals.
Composer, orchestrator, and producer Jeremy Borum is a California native and has toured the world extensively in both classical and rock-reggae contexts. He completely re-imagined the old classic songs and created the first ever fusion of German Schlager and California rock-reggae.
In a genre dominated by male leads, Steffens and Borum have created the first ever rock-reggae-schlager led by a woman: an island-ready, feel-good, German-Californian, neo-classic style.
This weekend I was again teaching an immersive set of seminars on film scoring at Citrus College to a group of Japanese composers and producers. Over two days I took them on a tour of The Bridge Recording where we visited with film composer Mark Isham, taught them some fundamentals of composing for film, and guided them through scoring a scene of their own on a short deadline. The students were exchange students from the music production and engineering program at Nagoya School of Music.
In a few weeks Sony will be releasing the film Smurfs 2, and I composed the score for a Smurfs 2 video game that will be released simultaneously. It is a collaboration between Sony and iStoryTime. The video game music was a large full orchestra score, and the app will be released August 2 with the film.
New York Life Insurance Company has a huge amount of educational material, and they are creating a game-like virtual world in which you can explore a town and learn about financial and retirement planning. I was the video game composer for their virtual Main Street platform, which will be used internally to educate their clients and employees. The creative director was Dan Gilman, who works for both iClickMedia and Visual Stream Productions.
Don’ts For Dancers is an Australian theatre and dance show headed by Nicole Canham that takes a satirical look at the conventions of social dancing. For their first tour last year I arranged and produced some of their music. The show is starting this year’s tour July 3 beginning with Canberra, Cairns, and Brisbane.
I had the unique opportunity to teach an immersive set of seminars on film scoring at Citrus College to a group of Japanese composers and producers. Over two days I took them on a tour of the Warner Brothers sound stage, taught them some fundamentals of composing for film, and guided them through scoring a scene of their own on a short deadline. The students were exchange students from a music production and engineering program in Japan at the Nagoya School of Music.
A good friend of mine gave me a 1955 Wurlitzer 112. ’55 was the first year Wurlitzer was making electric pianos, so it’s a super cool relic in rare near-mint cosmetic condition. However, it was severely neglected. I got what I paid for – 75lbs of unusable instrument so old nobody knows how to fix it or find parts. It was an unplayable disaster that only amplified the sound of the power in the walls. And so began my restoration journey…
As of today it’s FINISHED and back to mint condition! Watch the video to hear it and check each photo for more details about the process.