Q. What inspired you to first pick up the piano/keyboard and what were your first attempts at playing it?

A. I actually started with drums at an early age, then switched over to guitar. I had been playing guitar for about 4 years or so when I got fascinated with the piano and organ. I actually played organ first, which is a little unusual as most people start on piano.

Q. Did you take lessons or are you self-taught?

A. Mostly self-taught at first, then I studied music in college. I planned on being a piano major, but the piano teacher wasn't sure what to do with a self-taught pianist who couldn't read music well, even though I had fairly good technique and was somewhat proficient. So, I changed gears and studied classical guitar for 3 years. It was great as I learned alot about the repetoire, and was able to transfer some of that to piano. But the biggest benefit of college for me was that I had more opportunities to meet and hang out with musicians who were better than me, and introduced me to stuff I wouldn't have heard otherwise. It's where I got a real appreciation for jazz that I hadn't had before.

Q. Who inspired you to learn the piano?

A. I think at first I was more attracted to the instruments function in a rhythm section, than a specific artist or player. Then I began to have favorites, but they were mostly session guys like David Foster, Richard Tee, and Michael Omartian, the unsung heroes of most pop albums of the time. Though certainly not jazz players per se, they were often monster players who knew how to craft a part that worked so well in the context they were playing in. That led to interest in jazz players who more in the limelight at the time; Bob James, Joe Sample, Dave Grusin and Lyle Mays (with The Pat Metheny Group) to name a few. Eventually, I came to love many of the greats; Bill Evans, Herbie Hancock, Chick Corea, Wynton Kelly, and Keith Jarrett. All of these players certainly inspired me in one way or another, and still do.

Q. What is your practice regimen like?

A. It's not as methodical as I'd like it to be, but I usually try to get to the piano somehow every day, even for just 15 minutes. It helps to play things that aren't part of my usual routine, so I often just improvise, or try to come up with a tune or two during those times.

Q. How would you define your style of playing?

A. I enjoy a great melody, so I've always tried to place a great deal of emphasis on that. I don't consider myself a technical virtuoso, so I always just try to find ways to engage the listener, go for the emotion rather than the flash.

Q. What can we expect from your debut EP CD release, "Defining Moment"?

A. I think the best way to describe it is this; each song is a story. Something emotional that transcends the music, some 'moments' that happened in my musical journey as an artist.

Q. Tell us about the musicians that appear on your Defining Moment EP CD.

A. The drummer is a dear friend of mine named Scott Meeder. Scott has been a session player here in Atlanta (and Nashville as well) for many years, and that's how we met. He has a versatility and musical feel that I felt was the right combination for these songs. The bassist is a very talented guy named Danny O'Lannerhty who I didn't know that well before we did this recording. I had heard him on someone's record (which I can't remember) but just loved his tone and feel. The other requirement was that I needed a bassist who could play upright and electric, so he was a perfect fit.

Q. Lets talk about your creative process. How do you approach writing an original song?

A. There is no formula for me, but I usually get an idea for a piece of the melody first. I'll work with it and see what fleshes out from there. Other times and idea will only go so far and doesn't become a complete song. But then I'll often see if it will fit inside another song, say as a bridge or channel.

Q. What challenges do you face when switching from different styles of music?

A. It's not something I think about too much. I am a product of the music I've heard and my life experiences up to this point. It sounds like a cliche', but it's true. I just try to be true to myself, and hopefully what comes out sounds fresh and touches people somehow.

Q. What other types of music or artists do you derive inspiration from?

A. Classical composers such as Bach, Beethoven, Brahms, Mahler, Debussy, Bartok's orchestral works, Rachmaninoff - I could go on and on! At the same time, I love some of the newer bands such as Coldplay, Mute Math, and Death Cab For Cutie. If it's good music, I usually dig it, and can get something out of it.

Q. What's the most important bit of advice you were given by another musician?

A. The most important piece of advice I ever received was; it's not always about how many notes you can play, but sometimes it's about the spaces between the notes that matters.

Q. What's been your proudest playing moment?

A. I'd have to say working with a long time musical hero; Earl Klugh and having him appreciate what I bring to the plate was pretty amazing. It was a great opportunity to work with someone I deeply respect and enjoy a mutual love of music was really quite remarkable.

Q. What's the biggest disaster you've ever had on stage, and how did you cope with it?

A. When I was performing a college recital, I had to play some technically demanding 20th century pieces on guitar, and even though I had rehearsed extensively prior to the recital, I still didn't feel altogether comfortable going into it. Nonetheless, when the performance night arrived, the first piece came off fine. However, during the second one, about half way through...instead of playing the correct notes - for some reason my left hand struck a B minor 7th chord on the seventh fret. I managed to pull it together and finish the piece somehow, though not too gracefully. I returned to my seat after the performance and when confronted by my instructor, he asked inquisitively, "Are we doing some jazz comping during The Five Bagatelles?" Needless to say, I gave up 20th century guitar pieces and concentrated on music I really enjoyed playing.

Q. Do you warm up before a concert and if so how?

A. I prepare mentally more than physically. It's more important to me to be in the right frame of mind then doing a lot of technical rehearsing the day of. I try to rid myself of stress and other creative hinderances. I try to play everyday and when the live performance happens, relax and enjoy it.

Q. What's the most important bit of advice you could give to new pianists/producers?

A. On piano playing; it's very easy to copy someone else, but try to find your own voice. When you sit down to play your instrument, what is it that comes out of you? Nurture that trait to the best of your ability. On producing; there are more resources and educational opportunities than ever in the recording field but I still think the best way to learn is to be mentored by someone who is already doing it well.

Q. Thanks for your time and consideration for this article and interview. Any last thoughts for our readers?

A. Hope you enjoy the record