I was born in Syracuse, New York, in 1988.
At 18, I moved South, to study bass at SUNY Purchase with Doug Weiss.
Shortly thereafter I started collaborating with artists like Gabriel Garzón-Montano and Nick Hakim. I worked on Nick’s Will This Make Me Good, Small Things (w/ Roy Nathanson), and Cometa, and toured with Gabriel on Bishouné: Alma Del Huila, a journey that took us from playing Bowery Poetry Club to Wembley Arena, opening for Lenny Kravitz, literally overnight. I also contributed to his LP Jardín.
At the same time, in the West Village I was doing jazz gigs with with musicians like Tivon Pennicott, Stacy Dillard, Melissa Aldana, Joel Frahm, John Chin, Dida Pelled, and the late, great Lawrence Leathers – while, in the East Village, I was doing real wild shit with Onyx Collective, combining freely improvised music with hip-hop, noise, poetry, and visual art, alongside artists like Princess Nokia and Wiki.
Somewhere along the way, I fell into producing records. Anything I know about the process, I learned working alongside geniuses like Henry Hirsch, Pat Dillett, Phil Joly, Vira Byramji, and Arun Pandian – and probably more than any of them, Thomas Bartlett, with whom I’ve worked extensively both in and out of the studio for nearly a decade. In 2021, he brought me in on Only an Octave Apart, the Nico Muhly-orchestrated vehicle that paired countertenor Anthony Roth Costanzo with cabaret legend Justin Vivian Bond. We did selections from Octave on NPR Tiny Desk, as well as in a series at Lincoln Center with The New York Philharmonic (#JAAP). I also featured Thomas in 2022 as part of an original piece for poetry entitled GRASS, alongside Taja Cheek, Oren Bloedow, and Craig Weinrib. As I type this, Thomas and I are preparing music for an all-star concert honoring Arthur Russell, featuring Laurie Anderson, Sam Amidon, Martha Wainwright, Ella Hunt, Jennifer Charles, and John Kimock.
I’ve produced a lot of music over the course of the last decade or so, including three albums for trumpet maven Adam O’Farrill, Bartees Strange’s debut EP Say Goodbye to Pretty Boy, a telethon for Cyndi Lauper (who still sings her ass off) and commercial music that has been license by the likes of Nike, The NFL, Banana Republic, Splice, and The YouTube Audio Library. I’ve also had the pleasure of touring and recording with Helado Negro, Henry Jamison, Kimock, Sam O.B., Morgan James, Doug Wamble, and People Vs. Larsen, as well as heroes of mine like Elysian Fields and Chocolate Genius Inc. I performed with the latter at Carnegie Hall in 2023, and at Big Ears in 2024, celebrating 25 years of Black Music.
My drive to fill every waking moment with work has found me writing liner notes and PR copy for album rollouts, consulting on projects and strategy for artists, teaching at The New School and SUNY Purchase, and working with grantsmaking organizations like NYSCA and Brooklyn Arts Council.
Lately I’ve been subbing on Broadway, most recently on Moulin Rouge.
I live in Astoria.
I’m excited by the physical presence of musical instruments.
[Reach Out]
At 18, I moved South, to study bass at SUNY Purchase with Doug Weiss.
Shortly thereafter I started collaborating with artists like Gabriel Garzón-Montano and Nick Hakim. I worked on Nick’s Will This Make Me Good, Small Things (w/ Roy Nathanson), and Cometa, and toured with Gabriel on Bishouné: Alma Del Huila, a journey that took us from playing Bowery Poetry Club to Wembley Arena, opening for Lenny Kravitz, literally overnight. I also contributed to his LP Jardín.
At the same time, in the West Village I was doing jazz gigs with with musicians like Tivon Pennicott, Stacy Dillard, Melissa Aldana, Joel Frahm, John Chin, Dida Pelled, and the late, great Lawrence Leathers – while, in the East Village, I was doing real wild shit with Onyx Collective, combining freely improvised music with hip-hop, noise, poetry, and visual art, alongside artists like Princess Nokia and Wiki.
Somewhere along the way, I fell into producing records. Anything I know about the process, I learned working alongside geniuses like Henry Hirsch, Pat Dillett, Phil Joly, Vira Byramji, and Arun Pandian – and probably more than any of them, Thomas Bartlett, with whom I’ve worked extensively both in and out of the studio for nearly a decade. In 2021, he brought me in on Only an Octave Apart, the Nico Muhly-orchestrated vehicle that paired countertenor Anthony Roth Costanzo with cabaret legend Justin Vivian Bond. We did selections from Octave on NPR Tiny Desk, as well as in a series at Lincoln Center with The New York Philharmonic (#JAAP). I also featured Thomas in 2022 as part of an original piece for poetry entitled GRASS, alongside Taja Cheek, Oren Bloedow, and Craig Weinrib. As I type this, Thomas and I are preparing music for an all-star concert honoring Arthur Russell, featuring Laurie Anderson, Sam Amidon, Martha Wainwright, Ella Hunt, Jennifer Charles, and John Kimock.
I’ve produced a lot of music over the course of the last decade or so, including three albums for trumpet maven Adam O’Farrill, Bartees Strange’s debut EP Say Goodbye to Pretty Boy, a telethon for Cyndi Lauper (who still sings her ass off) and commercial music that has been license by the likes of Nike, The NFL, Banana Republic, Splice, and The YouTube Audio Library. I’ve also had the pleasure of touring and recording with Helado Negro, Henry Jamison, Kimock, Sam O.B., Morgan James, Doug Wamble, and People Vs. Larsen, as well as heroes of mine like Elysian Fields and Chocolate Genius Inc. I performed with the latter at Carnegie Hall in 2023, and at Big Ears in 2024, celebrating 25 years of Black Music.
My drive to fill every waking moment with work has found me writing liner notes and PR copy for album rollouts, consulting on projects and strategy for artists, teaching at The New School and SUNY Purchase, and working with grantsmaking organizations like NYSCA and Brooklyn Arts Council.
Lately I’ve been subbing on Broadway, most recently on Moulin Rouge.
I live in Astoria.
I’m excited by the physical presence of musical instruments.
[Reach Out]