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1. Hello Goodbye
This was one of the first large orchestral arrangements I ever did. Talk about starting at the top.
Milton met with me and asked me to make this one "sound like the Beatles" and so I quoted about 15 Beatles
references and expected everyone at the session to comment, but very few have noticed, even over the years.
I love collaborating with Richard as he does great demos which are full of great ideas and I have the wonderful
task of setting and refining the orchestration. He has such an angelic voice and when matched with strings,
woodwinds and harp, it is truly heavenly.
To have arranged for Mike was one of the highest accomplishments that I ever could have imagined. We did a series
of concerts in London a few years before the large ensemble project in which I arranged and orchestrated Mike's
"book" for a small chamber orchestra and it inspired him to write directly for those instruments. Our collaboration
was flawless and if I have one gem in my output, it is this project.
4. Basin St Blues
Working with Dave now on his last 5 or 6 records, we have found a way to put our heads together and arrive at
ways to make arrangements work. Even though Dave has worked in rock and "smooth" jazz, Dave's soul belongs
in jazz from his association with Gil Evans and the Brecker's and we always meet him on that level.
Sometimes the job is purely orchestrational, but on this one I got to add my own voice as it relates to Dave's.
5. What are you doing the rest of your life
I have arranged for Chris since his first recording with orchestra and before that I orchestrated a film score for
him.I feel that I developed a particular instrumentation and arranging approach in our collaborations. He has
very strong ideas about the way he wants to project a song and I like the challenge of finding solutions. This one
was particularly satisfying, and even though the credits were wrong on the record, we toughed this one out and
found a unique way to capture this song and frame Sting's beautiful performance as well as Chris's soaring solo.
6. How I Remember You
I played with Michael before he asked me to arrange 2 songs for Dragonfly Summer. I wrote for a small string
section with 2 low woodwinds and decided to use no violins, only violas and cellos. I wasn't sure it would sound
and the contractor on the date was convinced it would "sound like mud" but happily it was a beautiful combination
and one that influenced all my small string writing. The 2 arrangements are still among my favorites.