I believe I bring an unusual set of skills to the table. Music takes many forms, and many of these forms meet at times. I was trained completely classically, although playing the trumpet gave me openings to jazz, rock, soul, funk, fusion, mariachi, disco, and even a short time with Tower Of Power on trumpet and keyboards, and later composing horn lines for "The Sugar babes" on the track "Get Sexy". This lead me down the avenue of orchestral playing spending 15 years sat with the Royal Opera, BBCSO, Philharmonia, Wren, RPO, various West End Shows and film recordings such as “Batman” & “Never say Never Again” "Attack of the Clones" to name but three! Composition was in my blood from the age of 14 at school, plenty of outlets there amongst friends, but not so at music college where performance was the order of the day. However by this time my main companion leaving school was Walter Pistons book on orchestration took me into A level music where composition was at a level with my trumpet study. In 1989 I wanted to move away from the orchestral player scene; I’d spied my first Atari 1040 St FM and was convinced that my box of manuscript could be now voiced! After various projects + another £10k, I had a workable studio. I marched bravely towards the advertising world in search of fast big bucks and received a challenge at the time that was indeed tough, but being inexperienced I didn’t know. Complete 4 ad’s from Wednesday evening for Friday morning for four separate News papers; which I did. I then got a contract and never looked back (products inc. The Times, The Sunday Times, The Mirror, The Sun, NOTW, Nike, Wrigley's, Smarties, Ibuleve, Guinness, Bachi, Post Office). To cap this all, despite it looking like a career in studio & commercial music, I received a nomination in 2004 from the British Academy of Composers in conjunction with BBC Radio 3 for my trumpet concerto Blaze! In 1996 I was the first to redesign the Classic FM logo/idents via samples for promotional broadcasts from Scotland, Singapore, Australia and the USA. I am 100% up to speed with the music technology scene, and to reiterate (on the opposite) I use Sibelius (8) on an everyday basis for all my live concert hall work and for sessions, in fact I was a beta tester for Sibelius PC/Windows back in 1995. I orchestrate at times for other films composers and arrange music for other publishing companies. I am in touch with the full spectrum of musical compositions. I use intel dual core BIN power Mac’s with Logic Pro X using extensive libraries from Spitfire Audio. Work is as diverse as commissioned for 2 episodes of “Roary The Racing Car” with 35 piece live band. And in May 2012 I had a premier at Cannes where I have scored the re-make of the “The Magnificent 7” re-named “The Magnificent 11” starring Robert Vaughn, Keith Allen (Dad of Lily) Sean Pertwee, Gary Mavers, Paul Barber, and directed by Irvine Welsh author of "Trainspotting" who later became a good friend.…I believe I bring an unusual set of skills to the table. Music takes many forms, and many of these forms meet at times. I was trained completely classically, although playing the trumpet gave me openings to jazz, rock, soul, funk, fusion, mariachi, disco, and even a short time with Tower Of Power on trumpet and keyboards, and later composing horn lines for "The Sugar babes" on the track "Get Sexy". This lead me down the avenue of orchestral playing spending 15 years sat with the Royal Opera, BBCSO, Philharmonia, Wren, RPO, various West End Shows and film recordings such as “Batman” & “Never say Never Again” "Attack of the Clones" to name but three! Composition was in my blood from the age of 14 at school, plenty of outlets there amongst friends, but not so at music college where performance was the order of the day. However by this time my main companion leaving school was Walter Pistons book on orchestration took me into A level music where composition was at a level with my trumpet study. In 1989 I wanted to move away from the orchestral player scene; I’d spied my first Atari 1040 St FM and was convinced that my box of manuscript could be now voiced! After various projects + another £10k, I had a workable studio. I marched bravely towards the advertising world in search of fast big bucks and received a challenge at the time that was indeed tough, but being inexperienced I didn’t know. Complete 4 ad’s from Wednesday evening for Friday morning for four separate News papers; which I did. I then got a contract and never looked back (products inc. The Times, The Sunday Times, The Mirror, The Sun, NOTW, Nike, Wrigley's, Smarties, Ibuleve, Guinness, Bachi, Post Office). To cap this all, despite it looking like a career in studio & commercial music, I received a nomination in 2004 from the British Academy of Composers in conjunction with BBC Radio 3 for my trumpet concerto Blaze! In 1996 I was the first to redesign the Classic FM logo/idents via samples for promotional broadcasts from Scotland, Singapore, Australia and the USA. I am 100% up to speed with the music technology scene, and to reiterate (on the opposite) I use Sibelius (8) on an everyday basis for all my live concert hall work and for sessions, in fact I was a beta tester for Sibelius PC/Windows back in 1995. I orchestrate at times for other films composers and arrange music for other publishing companies. I am in touch with the full spectrum of musical compositions. I use intel dual core BIN power Mac’s with Logic Pro X using extensive libraries from Spitfire Audio. Work is as diverse as commissioned for 2 episodes of “Roary The Racing Car” with 35 piece live band. And in May 2012 I had a premier at Cannes where I have scored the re-make of the “The Magnificent 7” re-named “The Magnificent 11” starring Robert Vaughn, Keith Allen (Dad of Lily) Sean Pertwee, Gary Mavers, Paul Barber, and directed by Irvine Welsh author of "Trainspotting" who later became a good friend.WWW…
I believe I bring an unusual set of skills to the table. Music takes many forms, and many of these forms meet at times. I was trained completely classically, although playing the trumpet gave me openings to jazz, rock, soul, funk, fusion, mariachi, disco, and even a short time with Tower Of Power on trumpet and keyboards, and later composing horn lines for "The Sugar babes" on the track "Get Sexy". This lead me down the avenue of orchestral playing spending 15 years sat with the Royal Opera, BBCSO, Philharmonia, Wren, RPO, various West End Shows and film recordings such as “Batman” & “Never say Never Again” "Attack of the Clones" to name but three! Composition was in my blood from the age of 14 at school, plenty of outlets there amongst friends, but not so at music college where performance was the order of the day. However by this time my main companion leaving school was Walter Pistons book on orchestration took me into A level music where composition was at a level with my trumpet study. In 1989 I wanted to move away from the orchestral player scene; I’d spied my first Atari 1040 St FM and was convinced that my box of manuscript could be now voiced! After various projects + another £10k, I had a workable studio. I marched bravely towards the advertising world in search of fast big bucks and received a challenge at the time that was indeed tough, but being inexperienced I didn’t know. Complete 4 ad’s from Wednesday evening for Friday morning for four separate News papers; which I did. I then got a contract and never looked back (products inc. The Times, The Sunday Times, The Mirror, The Sun, NOTW, Nike, Wrigley's, Smarties, Ibuleve, Guinness, Bachi, Post Office). To cap this all, despite it looking like a career in studio & commercial music, I received a nomination in 2004 from the British Academy of Composers in conjunction with BBC Radio 3 for my trumpet concerto Blaze! In 1996 I was the first to redesign the Classic FM logo/idents via samples for promotional broadcasts from Scotland, Singapore, Australia and the USA. I am 100% up to speed with the music technology scene, and to reiterate (on the opposite) I use Sibelius (8) on an everyday basis for all my live concert hall work and for sessions, in fact I was a beta tester for Sibelius PC/Windows back in 1995. I orchestrate at times for other films composers and arrange music for other publishing companies. I am in touch with the full spectrum of musical compositions. I use intel dual core BIN power Mac’s with Logic Pro X using extensive libraries from Spitfire Audio. Work is as diverse as commissioned for 2 episodes of “Roary The Racing Car” with 35 piece live band. And in May 2012 I had a premier at Cannes where I have scored the re-make of the “The Magnificent 7” re-named “The Magnificent 11” starring Robert Vaughn, Keith Allen (Dad of Lily) Sean Pertwee, Gary Mavers, Paul Barber, and directed by Irvine Welsh author of "Trainspotting" who later became a good friend.…I believe I bring an unusual set of skills to the table. Music takes many forms, and many of these forms meet at times. I was trained completely classically, although playing the trumpet gave me openings to jazz, rock, soul, funk, fusion, mariachi, disco, and even a short time with Tower Of Power on trumpet and keyboards, and later composing horn lines for "The Sugar babes" on the track "Get Sexy". This lead me down the avenue of orchestral playing spending 15 years sat with the Royal Opera, BBCSO, Philharmonia, Wren, RPO, various West End Shows and film recordings such as “Batman” & “Never say Never Again” "Attack of the Clones" to name but three! Composition was in my blood from the age of 14 at school, plenty of outlets there amongst friends, but not so at music college where performance was the order of the day. However by this time my main companion leaving school was Walter Pistons book on orchestration took me into A level music where composition was at a level with my trumpet study. In 1989 I wanted to move away from the orchestral player scene; I’d spied my first Atari 1040 St FM and was convinced that my box of manuscript could be now voiced! After various projects + another £10k, I had a workable studio. I marched bravely towards the advertising world in search of fast big bucks and received a challenge at the time that was indeed tough, but being inexperienced I didn’t know. Complete 4 ad’s from Wednesday evening for Friday morning for four separate News papers; which I did. I then got a contract and never looked back (products inc. The Times, The Sunday Times, The Mirror, The Sun, NOTW, Nike, Wrigley's, Smarties, Ibuleve, Guinness, Bachi, Post Office). To cap this all, despite it looking like a career in studio & commercial music, I received a nomination in 2004 from the British Academy of Composers in conjunction with BBC Radio 3 for my trumpet concerto Blaze! In 1996 I was the first to redesign the Classic FM logo/idents via samples for promotional broadcasts from Scotland, Singapore, Australia and the USA. I am 100% up to speed with the music technology scene, and to reiterate (on the opposite) I use Sibelius (8) on an everyday basis for all my live concert hall work and for sessions, in fact I was a beta tester for Sibelius PC/Windows back in 1995. I orchestrate at times for other films composers and arrange music for other publishing companies. I am in touch with the full spectrum of musical compositions. I use intel dual core BIN power Mac’s with Logic Pro X using extensive libraries from Spitfire Audio. Work is as diverse as commissioned for 2 episodes of “Roary The Racing Car” with 35 piece live band. And in May 2012 I had a premier at Cannes where I have scored the re-make of the “The Magnificent 7” re-named “The Magnificent 11” starring Robert Vaughn, Keith Allen (Dad of Lily) Sean Pertwee, Gary Mavers, Paul Barber, and directed by Irvine Welsh author of "Trainspotting" who later became a good friend.WWWW…
Available to hire
I believe I bring an unusual set of skills to the table. Music takes many forms, and many of these forms meet at times. I was trained completely classically, although playing the trumpet gave me openings to jazz, rock, soul, funk, fusion, mariachi, disco, and even a short time with Tower Of Power on trumpet and keyboards, and later composing horn lines for “The Sugar babes” on the track “Get Sexy”. This lead me down the avenue of orchestral playing spending 15 years sat with the Royal Opera, BBCSO, Philharmonia, Wren, RPO, various West End Shows and film recordings such as “Batman” & “Never say Never Again” “Attack of the Clones” to name but three! Composition was in my blood from the age of 14 at school, plenty of outlets there amongst friends, but not so at music college where performance was the order of the day. However by this time my main companion leaving school was Walter Pistons book on orchestration took me into A level music where composition was at a level with my trumpet study. In 1989 I wanted to move away from the orchestral player scene; I’d spied my first Atari 1040 St FM and was convinced that my box of manuscript could be now voiced! After various projects + another £10k, I had a workable studio. I marched bravely towards the advertising world in search of fast big bucks and received a challenge at the time that was indeed tough, but being inexperienced I didn’t know. Complete 4 ad’s from Wednesday evening for Friday morning for four separate News papers; which I did. I then got a contract and never looked back (products inc. The Times, The Sunday Times, The Mirror, The Sun, NOTW, Nike, Wrigley’s, Smarties, Ibuleve, Guinness, Bachi, Post Office). To cap this all, despite it looking like a career in studio & commercial music, I received a nomination in 2004 from the British Academy of Composers in conjunction with BBC Radio 3 for my trumpet concerto Blaze! In 1996 I was the first to redesign the Classic FM logo/idents via samples for promotional broadcasts from Scotland, Singapore, Australia and the USA.
I am 100% up to speed with the music technology scene, and to reiterate (on the opposite) I use Sibelius (8) on an everyday basis for all my live concert hall work and for sessions, in fact I was a beta tester for Sibelius PC/Windows back in 1995. I orchestrate at times for other films composers and arrange music for other publishing companies. I am in touch with the full spectrum of musical compositions. I use intel dual core BIN power Mac’s with Logic Pro X using extensive libraries from Spitfire Audio.
Work is as diverse as commissioned for 2 episodes of “Roary The Racing Car” with 35 piece live band. And in May 2012 I had a premier at Cannes where I have scored the re-make of the “The Magnificent 7” re-named “The Magnificent 11” starring Robert Vaughn, Keith Allen (Dad of Lily) Sean Pertwee, Gary Mavers, Paul Barber, and directed by Irvine Welsh author of “Trainspotting” who later became a good friend.
Experience Level
Logic Pro
Expert
Sibelius
Expert
Language
Education
Qualifications
Industry Experience
Media & Entertainment
Dracula's wives trio
Initially, this was one of four songs I had for my musical "Dracula at Home." In this sequence, the wives have been told they cannot touch Johnathan Harker, so as they have a thirst, they decide to go down to the local village for a few scoops from the villagers. The scene: They awake at dusk and sing to each other on Dracula's edict, so they then take off to the village to drink the population dry. After doing so, they meet up in the village square, where they sing their trio, so my idea was they would sing, from "My Fair Lady"—"I could have danced all night." Changing the lyrics to "I could have drank, all night—I could have drank, all night, and still have begged for more; I could have spread my wings and bit a thousand things, and even drank a horse." In this demo, there's no real voices, and it fades out before finishing as it was never finished, but its quite amusing. music vocal…Initially, this was one of four songs I had for my musical "Dracula at Home." In this sequence, the wives have been told they cannot touch Johnathan Harker, so as they have a thirst, they decide to go down to the local village for a few scoops from the villagers. The scene: They awake at dusk and sing to each other on Dracula's edict, so they then take off to the village to drink the population dry. After doing so, they meet up in the village square, where they sing their trio, so my idea was they would sing, from "My Fair Lady"—"I could have danced all night." Changing the lyrics to "I could have drank, all night—I could have drank, all night, and still have begged for more; I could have spread my wings and bit a thousand things, and even drank a horse." In this demo, there's no real voices, and it fades out before finishing as it was never finished, but its quite amusing. music vocalWW…
The Gang hits the streets
In a mob-handed sashay style, they walk in a macho rhythm to the rummble. music jingle instrumental…In a mob-handed sashay style, they walk in a macho rhythm to the rummble. music jingle instrumentalWW…
The Times
My first TV ad and into the world of TV ads. I'd had a basic stduio for over a year, an Atari 1040 St FM, an Akai S950, and a few boxes. I landed a meeting at Greystoke Productions, and I didn't know what they did. A lovely lady named Romi listened to my demo tape, and on the tape I'd realised some classical music via midi with basic orchestral samples, which really wasn't happening then. She showed me a script (no pictures as they had not shot it yet) and explained the action to be. She did suggest some Bach and what else I might suit. I went home and worked on several options till late and returned to the agency the next morning for 9 a.m. She was surprised to see me and asked if I'd left something yesterday that I'd come back for, and I replied, No, it's done. The last track on my offering were two works by Grieg that were born from each other in harmonic structure and themematic material but were separate works: a piano solo "Preludium" and his "Holberg Suite" for strings. And I jammed them together. Later that day, I received a very excited call from Romi and wanted to know what this last track was. She continued to wax lyrical on how they thought the action on the storyboard would fit to the music and was the perfect medium and style for the paper, The Times. The music then needed to be 39 seconds in length and told me how the ad would play out via a well-to-do family at breakfast, dad reading The Times sticks and shares, kids eating their boiled eggs in their neat private school uniform with dad then on the train to town, and mum running the kids to school to the end of the day where the family is settled and he's home in front of the fire reading The Times for all times. It ran for a month; the fee was amazing, and even Richard Clayderman called the anency to see who had this music. They discovered I did this in a matter of hours, so they then passed me all the other work for all the other news papers advertising for the weekend supplements equalling 4/5 a week, but briefed on a Wednesday and all ready to go on air 5.30pm Friday, some I completed in less than 3 hours.…My first TV ad and into the world of TV ads. I'd had a basic stduio for over a year, an Atari 1040 St FM, an Akai S950, and a few boxes. I landed a meeting at Greystoke Productions, and I didn't know what they did. A lovely lady named Romi listened to my demo tape, and on the tape I'd realised some classical music via midi with basic orchestral samples, which really wasn't happening then. She showed me a script (no pictures as they had not shot it yet) and explained the action to be. She did suggest some Bach and what else I might suit. I went home and worked on several options till late and returned to the agency the next morning for 9 a.m. She was surprised to see me and asked if I'd left something yesterday that I'd come back for, and I replied, No, it's done. The last track on my offering were two works by Grieg that were born from each other in harmonic structure and themematic material but were separate works: a piano solo "Preludium" and his "Holberg Suite" for strings. And I jammed them together. Later that day, I received a very excited call from Romi and wanted to know what this last track was. She continued to wax lyrical on how they thought the action on the storyboard would fit to the music and was the perfect medium and style for the paper, The Times. The music then needed to be 39 seconds in length and told me how the ad would play out via a well-to-do family at breakfast, dad reading The Times sticks and shares, kids eating their boiled eggs in their neat private school uniform with dad then on the train to town, and mum running the kids to school to the end of the day where the family is settled and he's home in front of the fire reading The Times for all times. It ran for a month; the fee was amazing, and even Richard Clayderman called the anency to see who had this music. They discovered I did this in a matter of hours, so they then passed me all the other work for all the other news papers advertising for the weekend supplements equalling 4/5 a week, but briefed on a Wednesday and all ready to go on air 5.30pm Friday, some I completed in less than 3 hours.WW…
Serial Killer in Town
opening: Camera zooms in through a window of an old derelict house on the edge of a busy northern town. We dont see his face, but he dresses methodically from his specialised uniform laid out on the bed to kill, He then opens the chest at the bed to select his weapons according to how he will kill tonight. He is done, looks in the mirror from a rear shot from camera. He leaves for the town (the beat starts), he walks along the road, which increases with more shops, houses and pubs, he reaches the centre, he scans the activity of the bars and clubs, and he watches the young girls as they enter for Saturday night fun. He chooses, talks casually to some, he moves through the bar, looking at tables and those seated; not here, he thinks. He moves onto a club and moves across the bar and floor area, moving slightly to the beat. And there, just like that, he sees her. He moves into charm mode, and we speed up the camera to watch the seduction at speed. They leave, he picks his place, the music dies in the background, and he performs his work of horror. music instrumental soundtrack…opening: Camera zooms in through a window of an old derelict house on the edge of a busy northern town. We dont see his face, but he dresses methodically from his specialised uniform laid out on the bed to kill, He then opens the chest at the bed to select his weapons according to how he will kill tonight. He is done, looks in the mirror from a rear shot from camera. He leaves for the town (the beat starts), he walks along the road, which increases with more shops, houses and pubs, he reaches the centre, he scans the activity of the bars and clubs, and he watches the young girls as they enter for Saturday night fun. He chooses, talks casually to some, he moves through the bar, looking at tables and those seated; not here, he thinks. He moves onto a club and moves across the bar and floor area, moving slightly to the beat. And there, just like that, he sees her. He moves into charm mode, and we speed up the camera to watch the seduction at speed. They leave, he picks his place, the music dies in the background, and he performs his work of horror. music instrumental soundtrackWW…
Slow Joe
This is an animation I did with relation to Chapman Entertainment with a guy named Steve Boot for C4. It tells the story of a pigeon fancier/racer up-north (hence my small brass band with myself on trumpet throughout) who's pigeon likes its food a bit too much, so he enforces a diet and fitness routine, and then? You'll have to watch.…This is an animation I did with relation to Chapman Entertainment with a guy named Steve Boot for C4. It tells the story of a pigeon fancier/racer up-north (hence my small brass band with myself on trumpet throughout) who's pigeon likes its food a bit too much, so he enforces a diet and fitness routine, and then? You'll have to watch.WW…
You Dont Know me/Best Part
Cover and newly arranged by myself with singer friend Ruta from Finland video…Cover and newly arranged by myself with singer friend Ruta from Finland videoWW…
Cold-War Files
Mashing the Bond/Adel of today with the John Barry of the 60's. music soundtrack film…Mashing the Bond/Adel of today with the John Barry of the 60's. music soundtrack filmWW…
Main Titles for "The Magnificent Eleven" feature film
Of course the 11 are a football team in this version of The 7 Samurai/The Magnificent Seven. Recorded with 70 piece orchestra and me conducting! music instrumental…Of course the 11 are a football team in this version of The 7 Samurai/The Magnificent Seven. Recorded with 70 piece orchestra and me conducting! music instrumentalWW…
Knock-about Lads theme from Mag 11.
The lads have no work and mess around in town drinking beer music instrumental…The lads have no work and mess around in town drinking beer music instrumentalWW…
Opening titles to my re-scoring of the 1921 silent cult horror "Nosferatu"
music…musicWW…
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