From my earliest days on guitar I've always written songs and ditties, but composing and arranging in the accepted sense only began alongside my growing interest in jazz. Joe Zawinul and Weather Report made the strongest impression on me, in the late '70s, and aside from jazz, Stravinsky, Bartok and Ravel fired my imagination too.

The emergence of Loose Tubes created the greatest opportunity any fledgling 'jazz' composer could ask for, and unconsciously we trod in the footsteps of Duke Ellington as pieces were conceived around specific individuals, their capabilities and idiosyncrasies, as opposed to 'stock' arranging for a line-up of instruments.

Loose Tubes repertoire therefore doesn't effortlessly transfer into regular big band line-ups (4 tpts, 4 t'bones, 5 saxes & rhythm), but as time passes I have been able to translate several into this format. 

Otherwise, pieces I've written in the last twenty years are generally custom generated to suit the line-up and individuals' characteristics, rather than being 'stock' 4-4-5 + rhythm.

My increasing involvement in education has also generated a raft of original pieces that are multifunctional, intended to work in the broadest range of contexts. Thus a piece will typically comprise main melody, harmony part(s), piano/guitar/bass guide sheets, with the melody and harmony parts all available in concert, Bb and Eb, and where appropriate in bass clef too.

I have also been commissioned over the years to provide pieces for the publication by the ABRSM & Schott.

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