The definition of what a "music producer" does has changed a lot over the past 50 years. It started as a record company guy who would pick the songs, hire the orchestra and book the studio. In the sixties and seventies that role expanded with the advent of more hands-on producers like the great George Martin. In the eighties and nineties took on an even greater roll, leaving their own mark on every record the worked on. These days, anybody who can make a "beat" in FL Studio calls themselves a producer.
I guess I belong to the Todd Rundgren school of producing. He once said that his job was to get the best performances out of the artists and if there is anything they can't do; he steps in and does it.
Jabali Afrika
Jabali Afrika is a vocal/percussion group from Kenya. I recorded two records with them while I was at the Audio Loft. On 1999's Remember the Past, I added keyboards to several tracks. On the 2003 release Rootsganza (see below), I took on a much larger role. I played bass and keyboards on almost every song, helped them create the atmosphere for their "Police Brutality Skit" that opens "Living in an Eastland's Yard" and was the sole accompanist on "Letter to Mama."
Paint
I've been working with Paint since 1998, when they came into the Audio Loft to record Songs About Girls in the Key of G. I played keyboards on a couple songs and they were so happy with the result that the asked if I would produce their next record (Unglued). I helped with the arrangements and created the string quartet on "Need a Spark" and the horn section on "Heaven Sent." In addition, I played bass, additional guitars, and keyboards on just about every track.
Lincoln Park Performing Arts Charter School - Student Projects
Here is an assortment of tracks I've done with students at Lincoln Park Performing Arts Charter School. The first three are covers I recorded with a group of very talented young women who went by the name of "The Ladies Who Lunch." I played all the music (minus piano on Happy Phantom, which was performed by LWL auxiliary member J.P, Coletta.
The next three tracks were part of a songwriting class taught by Carla Bianco. It was my job to interpret each student's vision for their song. I played all instruments, aside from Carla playing piano on "If I Were a Doll" and a flute part played on the same song.
The Last track ("Sweet Child of Mine") is was done for a wedding. The client wanted the song slowed down so it could be danced to. I did all the music and hired two LPPACS alumni (Kenzi Palmer and Reed Worth to turn the song into a duet.