Where do I begin?
   Here's the really-really-quick version....kind of an odd tale, but it's all true: I was born and raised in Southern California, and grew up in a family that was involved in politics. So from a very young age, I was hanging around Congressmen, Mayors, etc, and I always assumed that politics in some way, shape or form would be my life's work.
   But from a very young age, I was also fascinated by music. At an age so early I cannot remember, I began taking piano lessons. Later, in Junior High School, I took up the Clarinet and then, a few years later, the Drums, which I stuck with, and play to this day (I currently have a lovely little Roland V-Drum kit in my basement that I abuse almost every day).
   I grew up loving 1980's heavy metal (and, truth be told, I love it to this day), and played drums in makeshift metal bands throughout high school. When I was about 15 or 16, my main man David Lee Roth released a cover of a Frank Sinatra song, which led me to buy my first Sinatra album, the great "Songs for Swingin' Lovers." I was hooked. I spent the remainder of my high school and early college years revisiting my family's great collection of jazz and vocal LPs that I heard so much as a child, and just delving into the genre-discovering, learning, and digesting what music was really all about. I bought every record Sinatra ever made, and got heavily into Mel Torme, Tony Bennett, Duke Ellington, Count Basie, Nat "King" Cole, Keely Smith, Ella, Louis Armstrong, Chet Baker, and the list goes on and on.....
FAST FORWARD:
   I was at California State University studying political science and working on political campaigns on the side, when I decided to gather a few local jazz musicians together and cut a three-song demo tape of classic standard songs. At some point shortly thereafter, I approached Chris Davis-a southern California bandleader and nightclub owner-with the tape and he later invited me to sing with his big band. It was awesome.....and I spent the next two years doing college by day, and often singing or recording demos by night. So few young singers in this day and age have ever had the opportunity to front a live, big band....the education was totally invaluable, and what a blast was had by all!
FAST FORWARD:
   One summer evening, just after college and following a few years of Chris Davis Orchestra gigs, solo club gigs with my trio, and a handful of bigger and better demo recording sessions, I made the 30-minute trip from my home to Palm Springs, CA to witness, for the very first time, the great Mel Torme-live and in concert, baby. At this point, I had become a pretty decent stage performer with the Davis band, and was developing my own singing style. I was quietly becoming very serious about pursuing a recording career, and as such came to the concert armed with my latest demo tape. I met Mel after the show, gave him the tape, drove back home, and went to bed. Early the next morning, the phone rang. It was John Colianni, Mel's young, ace pianist and musical director (and a total character). Mel had given him the tape. He liked it, and said I should come to NYC to front his new big band project. That's all I needed to hear. Within weeks, I was on a plane, never to return to Southern Cal.
FAST FORWARD:
   I found myself in New York, all by myself, knowing no one in the city but John Colianni. But he was, thank God, totally committed, and the gigs came right away. My first big show was at Michael's Pub, subbing at the last minute for Mickey Rooney, who was scheduled to appear, but had some kind of last minute temper tantrum or something (total disaster), and I quickly made great friends who were influential in the music business and helped develop my career. I got to sing with legends like Doc Cheatham, Lionel Hampton and his Big Band, and ended up with support and encouragement from not only many of my heroes in the jazz world, but some of the very finest musicians on the scene. Before I knew it, I was singing in world-class venues like the Rainbow Room and the Five-Spot.
FAST FORWARD:
   I stayed in NYC, did gigs, and dabbled in politics. Lloyd Remick and Bernie Resnick became my managers, and I signed a deal with British jazz label MasterMix, thanks to label President Jim Campbell and his late, lovely lady Rose Hayes. Album sessions at Battery Studios were difficult for me (and for my magnificent musical director Tony Monte, who had to put up with me)….on the last day of recording, I scrapped everything we had laid down and decided to do all 17 tracks over again. Live. We had 8 hours to do it, and we did it (yes, every track on I.W.W.M.F.O.T.G. was recorded live). I've never been all that happy with this album, though even tough critics really seem to like it. To this day, it's difficult for me to listen to it, because when I do, I am constantly thinking about what I would have done differently, had I had more time in the studio. Oh well.
FAST FORWARD:
   Back to US. I Walks With My Feet Off The Ground came out, was acclaimed by even some hardcore 'anti-singer' critics (see "Press Clips" section), and I set out on a publicity tour. We did England and Ireland--Café Royal, Pizza on the Park, lots of BBC radio and television spots, and a good amount of acclaim in print media--then it was time to get it launched in the states. I did shows in New York, Philadelphia and Los Angeles in anticipation of a US release, and then I pulled the plug. I had been away from home, was tired, and while initial feedback on the album was extremely promising, I wasn't making any dough. It would, I figured out, take as many as three albums for me to get to a point financially where I could really survive. And it just wasn't worth it to me at that time.
FAST FORWARD:
   I went back to politics, naturally, and worked on Vice President Dan Quayle's campaign for the presidency (please do not email me any Quayle jokes…I love the guy, and plus I've heard them all), raised money for the likes of Rep. J.C. Watts, Jr, and eventually moved to the Washington, DC area to become Executive Director of the American Conservative Union and the annual CPAC Conference. I wrote occasional columns about politics for The Washington Times and United Press International, and had fun going on MSNBC, Fox News, etc from time to time to rail on a variety of political topics. Currently, I am a Vice President at a Washington, DC-based communications firm. All the while, the record took on kind of a life of its own, and 9 years later, I am still asked about it, and, especially of late, people who know the story constantly ask why I am not singing. Well, folks, guess what?
SO HERE WE ARE:
   Back in the game. I want to make new musical products that will appeal across the spectrum, not just "jazz people." I believe in this genre of music, and I believe that basically people of all ages really do have an affection for it. I'm 33. I'm very happy. I am not necessarily looking for a musical career, but I am damn sure looking to make the greatest recordings I possibly can (and with a big band, finally), even if it's just released on another indie label. I can afford to do it now, unlike before. And, unlike before, I can do it MY way. I have reunited with my long-lost soul brother, fellow wise-ass and mentor John Colianni, and we are working with some of the finest musicians in the world. Pat DiNizio, the legendary frontman for the Smithereens, is part of the team as well, and he's bringing a whole new dimension to the process. It's a load of fun.