Q. What inspired you to play piano and what were your first attempts at playing the piano like?

A. When I was very young (6 or 7) my cousin took piano lessons. I'd go over to his house and when he wasn't practising, I'd just pick out little melodies on the piano. It never occurred to me to play the thing. I was more interested in picking out melodies from my head. Not unlike now, I'd struggle to pick out what I was hearing. Of course I would do this on guitar or any other instrument my hands came across. It wasn't like the piano was calling me. The instrument became more of a vehicle to express my ideas musically which I was hearing.

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

A. Through junior high school it was starting to look like I may become a guitarist. It was the instrument I had in my hands the most. I tried lessons for awhile, but I always felt limited. Not only because of my ability, but because again of what I was hearing. By high school, I knew a girl with a piano. I'll confess, all these years later, that I was more involved with her piano than her. I would translate things I was hearing more easily on piano than guitar. At this point I was self taught entirely, though you would have never asked me to play piano. I was limited to just sort of playing what I was writing and then only parts not pieces. By my senior year in HS, I decided maybe I should learn a little more about this instrument since it was playing a bigger role in my writing. I found a teacher that totally understood what it was that I was trying to do. He worked off of my musicality as opposed to teaching me traditional playing. He would incorporate exercises based on things I was writing. He taught me some basics that allowed me to finally have a bit of facility with the instrument such as certain fingerings and voicings. The piano started feeling a little more natural to me within a year.

Q. Who inspired you to learn the piano?

A. I went to college based on being a writer/arranger. My first year theory teacher was a gifted jazz pianist named Counsuela Lee Moorehead. Her entire family was musical. Her brother was the great bassist Bill Lee (Spike Lee's Father) and drummer Billy Higgins was a family member as well if I remember correctly. After theory classes, she would keep me after every one left and help me with arrangements but all the while teaching me piano without my knowledge in a sense. She would tell me that I could voice something like this for strings or whatever and I should learn it in all keys on the piano. The next class she1d ask if I had mastered what she told me. Before I knew it, I was at a piano 10-12 hours a day without realising I was playing and not just writing any longer! it was through her inspiration that I began to feel comfortable with the instrument and with in a few months was being asked by fellow students to back them up or play in various ensembles. Her passive approach to teaching me was inspirational. I never once felt like I had an assignment to do or that I was being graded or judged. Through helping my writing and arranging, she was making me a better player along the way. To me this is the sign of a true educator!

Q. How would you define your style of playing?

A. I consider myself an arranger's pianist. My ideas and technique are born out of arranging and not from a traditional approach to the study of the piano as I stated earlier. My "bag" can best be described as a hybrid of jazz and R&B. I'm definitely influenced by the harmonies and modes of jazz but tailored with the simplicity of R&B. This was not a conscious movement toward a particular style, it's just where my experiences and technique led me to.

Q. Tell us about your CD, "A Collection".

A. The title is a reflection of the concept in that it is simply a collection of music I have done over the years. On a deeper and more important level, it reflects the artistry of various people I have worked with . I've had the pleasure of working with many "legends" of the industry; Curtis, Mayfield, Ben E. King, Chi-Lites, Kirk Whalum, etc but I've also worked with many artists who are in my estimation, legends in their own right. It was my intention to present these artists to a listener in hopes that they too will discover new "legends" amd seek their music out as well.

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

A. This is a difficult question in that there is no one real answer. For the most part I visualise a scene (similar to a movie) and that spurs either melody or chord structure or both. "Outta Here!" is an example of this process. I was riding with a friend down the PCH (Pacific Coast Highway) and began writing the very images that I was seeing and feeling. If you listen to the song and imagine riding with a top down, winding roads, feeling free, you'll get the sense of where I was at at the time.. A song like "Red Light District #16" came about while walking through that district in Amsterdam. Sometimes a loop or a synth texture will inspire a piece. The key is to stay open and aware of your experiences and your surroundings. The muse can strike anywhere, anytime.

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

A. I think the biggest challenge is in "finding" yourself in whatever genre of music you do. I developed more of this as a session player working in studios. One day I'd lay synth textures to a Hip-Hop song and the next day I would be cutting Hammond on a Blues session. You have to be aware of the nuances that define a particular genre but at the same time be yourself within the music. Spending time really listening to different types of music and developing an affinity for them is the key. Once you have an understanding and a feel for the music it becomes easier to not only be true to the music but to yourself as well.

Q. Tell us about your experiences working with Curtis Mayfield.

A. Cutis was an absolute joy to work with! I was always allowed the freedom to explore his music with a very long leash so to speak. During my time with him, I began producing for a large indie label. It was the knowledge and experience Curtis shared with me that made the gig so much easier .Most people think of Curtis only as an artist but you have to remember he produced people like Aretha, The Staple Singers, Major Lance and countless others!. For someone with this type of experience, sharing with me the subtleties of the gig was huge! Our relationship grew beyond the music and I am thankful for being able to have considered him a close personal friend as well as a mentor..

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

A. I think as a musician evolves, it is only natural to begin to look beyond his or her listening comfort zone. One's understanding of music begins to grow and with that other forms of music begin to make sense on a different level. Pop music for example inspires me to write hooks in all forms of music. Brazilian music teaches you the beauty of a subtle melody. I listen to some rock groups for their energy and to hip hop artists for their creativity. Certain classical artists can inspire chord structures and world music brings with it a new rhythmic language. In terms of artists that inspire me there are far too many to mention. I'm all over the place. As a pianist Herbis Hancock has been a true inspiration. He pushes the envelope with each recoding he makes. From a writer point of view I feel Stevie Wonder, Mozart and Lennon & McCartney are true masters of melody. As an arranger/producer Duke Ellington, Quincy Jones and Astor Piazolla have had the greatest impact.

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

A. Simplicity is the rule. This says it all and doesn't need expounding upon. This was Curtis' mantra and he taught me the truth in it.

Q. What equipment do you use live and in the studio and why?

A. In terms of my studio gear I actually have a modest set-up but with very functional gear. I run Cubase SX on a Mac G4. I'm old school in that I primarily use hardware synths. I even have an old Mirage sampler. I use both the Triton and Trinity as well as a K2000, JV1080, Planet Earth and Phatt a couple of old Yamaha TX 81Zs, an Ultra Proteus, an Mr Rack and my new baby, the V-Synth. What an amazing instrument this one is! I also have several drum machines and a few software synths as well such as Atmosphere, Stylus and Trilogy. I feel with this set-up I can explore just about anything that comes my way. A couple of years ago, I scored 2 pieces for the West VA Symphony Orchestra featuring pianist Bob Thompson and his trio. I would have loved to have had a great symphonic library at the time but as a real orchestra was going to perform it I was able to even get a good feel for the arrangement with this set-up. Live is another animal all together. Lately I've been doing a lot of piano trio gigs so I only need show up and play the baby grand when available or at worst, bring a digital piano along.. I love that to death! I spent years carrying a Rhodes,clavinet, string machine and 2 synths along with my own PA system to every gig. One thing is certain though, I always have a dedicated piano as part of my stage rig be it grand or digital.

Q. What one piece of equipment would you advise all pianists/keyboardists to

A. If you came up as a pianist I would say without a doubt an acoustic piano of sorts be it a grand or an upright. At the very least a good weighted action 88 note keyboard. Anything that allows you to maintain finger strength and can provide you with a degree of expression. Now the term keyboardist is a bit more broad. I've heard some very fine keyboardists who are not necessarily pianists. Their needs in terms of gear may differ entirely depending on their specific goals. It may be a sampler or a modelling synth.

Q. What's been your proudest playing moment?

A. Playing at the Montreaux Jazz Festival! What a rush to be on that stage and have your name announced and then be able to perform. And to be backstage with people I had grown up listening to and just sitting there along side of them! This was a dream I had since I was about 16 and 20 years later it came to fruition. It is an indescribable feeling.

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

A. I was in Florida somewhere with Curtis. According to our contract, all our gear was to be provided at the venue. Since it was the late 80s I had a bit of an arsenal of keys that I would use. A lot of Curtis' music was heavily orchestrated and I needed to cover what I could being the lone keyboardist. When we showed up for the gig, the drums were on stage, the bass rig, guitar amp, etc ,but when I looked over at my keys you can imagine my horror when all that sat there was a 30 some key toy Casio! I thought this was a joke at first until the promoter told me this is what he got for me. Obviously, he was cutting corners on the back line and keys were the easiest since his 6 year old daughter played them. I told Curtis about it but all he could say was "you'll make it sound good cat." So I just figured if he was cool with it then I would be too. We did the show and he never even pointed out to the crowd that I was playing a toy. No one seemed to mind. What I learned is that it's only a disaster if you think it is.

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

A. It's a little harder for a pianist to warm up sometimes. While the guitar player or bass player are sitting on the bus with their instruments in their hands the best you can do is some finger exercises. If it's a local club date and I'm going to be playing 2 or 3 sets then it's easier to warm up by choosing certain songs to start the evening with. If I'm on a tour and only have 90 minutes I have another strategy I use. This may sound strange to some, but I swear it works. I visualise myself playing each song. I hear the song in my head and like a mini movie I watch my performance. How my fingers are going to handle a phrase, making a setting change at the precise moment, things like that. Visualisation techniques can work very well with practise.

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

A. Have fun!!! Take the music seriously but don't take yourself too seriously . I've been on gigs where truly great players are too hung up on how they just went through the last ii-v-I progression. They constantly push themselves and lose the beauty and fun of actually playing music. I'm not advocating not pushing yourself, just have fun with it. Don't try and make the music serve you, serve the music.

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

A. Just to always try and evolve as a musician and a person. The two are not separate. Your music will reflect your life and your life will reflect your music. Seek out new music and new artists. Digital labels such as yours are the wave of the future and can provide the average listener with music that may not be as accessible in a mainstream market. There are a multitude of great artists out there and you should seek them out as you evolve as a listener or as a performer. And always remember, "simplicity is the rule."