I’ve been around for a while now. Long enough to see the music industry evolve in ways that still blow my mind. I started out in 1999, playing with the Philadelphia-based band Townhall. It was a scrappy start, but it taught me the ropes and introduced me to a world of possibilities I hadn’t even imagined.
Fast forward to 2009, when things took off in a different direction. I started working with Shwayze—writing, recording, and touring with him. We got pretty tight over the years, and it all came to a head with the title track for Island in the Sun in 2010.
In 2012, a big shift happened when I became the Music Director for Hotel El Ganzo in Los Cabos, Mexico. I didn’t just oversee music, though—I built “The Underground,” a recording studio hidden beneath the hotel’s lobby, and spent the next seven years working with some truly incredible artists. We documented everything in the El Ganzo Sessions, a YouTube series that became its own little piece of history.
Over the years, I kept pushing forward, diving deeper into music for television, film, and advertising. My music got placed everywhere—network TV, feature films, national ad campaigns. Then, in 2020, I had another break-through when a song that I co-wrote won the NBC competition, Songland. I co-wrote “Miracle” with Greg Scott, and it ended up being performed by Bebe Rexha as the anthem for the Tokyo Olympics. That was a wild moment, one I’ll never forget.
I’ve also spent a lot of time as a multi-instrumentalist, which has helped me carve out a place for myself as a go-to collaborator. I play trumpet, trombone, sax, and flute—sometimes all in the same day. My work as a horn player took me to some incredible places, including working with Grammy-winning artists like Natalia Lafourcade, Lennon Stella, and Six60. The thing I’m most proud of, though, is my contribution to Natalia Lafourcade’s Grammy-winning Hasta La Raíz. That album was a real milestone.
Through all of this, I’ve remained true to what matters most—creating music that feels authentic, that speaks to people, and that elevates whatever it touches. Whether it’s composing for film, producing live sessions, or adding my horns to someone else’s track: I’m always about the highest level of musicianship and doing something that lasts.