My career began as a trumpet player – but alongside performing, I was always transcribing and arranging. It started in college, pulling full big band charts off records that were never published, so my friends and I could play them. That combination of ear training, patience, and musical obsession became the foundation of everything I do now.

My transcription work caught the attention of JoAnn Kane Music Service, one of the world’s most respected music preparation houses, and from that point I moved into arranging and music preparation full time. Working to the standards demanded by operations like JoAnn Kane shaped my understanding of what professional scores and parts need to be – and that rigour is present in everything I deliver.

Having spent years on the other side of the stand, I know what it feels like to play from a badly prepared chart. I’ve seen the frustration it causes in rehearsals and sessions, and I’ve experienced firsthand what good preparation makes possible. That performer’s perspective informs every arranging and copying decision I make – from the first note to the final page turn.

I’m known for accuracy, reliability, and the ability to take a project from the barest of briefs – a song, an instrumentation list, a rough demo – and deliver something performance-ready, on time, every time.

My work has been performed by orchestras including the New York Philharmonic, the National Symphony Orchestra, the Boston Pops, and the London Symphony Orchestra, with recordings at Abbey Road and Air Studios and collaborations with artists including Seth MacFarlane. Credits include Hook in Concert, Field of Dreams in Concert, Jennifer Lopez at Caesar’s Palace, and the Qatar Philharmonic’s Yellow Brick Road, with performances at the Kennedy Center, the Royal Albert Hall, and Ronnie Scott’s.