Professional trombonist in UK. Trombone with latin bands in Puerto Rico, hosepipe at the Sydney Opera House and opera at Snape Maltings. Funk, jazz, contemporary classical, musicals, latin, reggae, highlife.
I do recordings from film scores, albums to ringtones and write arrangements for singers and jazz groups and professional musical copyist for musicals. I work as a musician with the Stomp Company in the Lost and Found Orchestra. I've worked with Kofi Dako in Sa Mon Di playing Ghanaian highlife and toured in the UK last year, mainstream artists Digby Fairweather, Don Lusher and Bill Le Sage and Bobby Wellins as well as modern jazz giant George Russell.
Contact me through the green button above and let's get to work.
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Interview with Tim Wade
Q: What are you working on at the moment?
A: Some backings for a singer songwriter. Gentle folk tunes with long lines.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Hugh Richardson
Q: What's your 'promise' to your clients?
A: It'll be done right!
Q: What do you like most about your job?
A: Variety. Meeting artists and getting a chance to be creative.
Q: What questions do customers most commonly ask you? What's your answer?
A: How much! Well that's what we can decide between us.
Q: What's the biggest misconception about what you do?
A: It doesn't sound like a sample. Live playing will kickstart the feel of a track, but might not be perfect.
Q: What questions do you ask prospective clients?
A: What sound do you have in mind, influences.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Don't worry about any of our technical issues like music or ranges, I can sort that. Bring us in late. The more you have already the quicker for us.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Just a trombone...... and maybe some brewing gear.
Q: What was your career path? How long have you been doing this?
A: 20 years. Started on bass trombone in touring opera then went to Berklee, Mass and Guildhall in London. Theatre work, cruise ships and hosepipe with Stomp.
Q: Which artist would you like to work with and why?
A: Tom Waits for the earthy anarchy.
Q: Can you share one music production tip?
A: Have your music written out well and clearly for your horns. Then they can rock up and nail it. That's why I always chart it out.
Q: What type of music do you usually work on?
A: Pop, funk, reggae albums and TV themes and adverts.
Q: What's your strongest skill?
A: Quick and accurate reading and improvised solos.
Q: What do you bring to a song?
A: A fat sound. Sometimes the project needs an Motown style horn line or a funky solo.
Q: What's your typical work process?
A: After agreeing the project I'll listen to the tracks and write horn lines in Sibelius. Then it's just get the players in the studio and record in one session.
Q: Tell us about your studio setup.
A: I use a great studio at mjsmusic.com. Big playroom and the engineer is super experienced and a great at Mastering so he always gets the right sound
Q: What other musicians or music production professionals inspire you?
A: The great players for me are Richard Edwards, Joe Alessi and Christian Lindberg. I love the amazing tone they get from their instruments. Also the professionalism of guys like Chris Spedding.
Q: Describe the most common type of work you do for your clients.
A: I add horn lines to a pop album or library project. Either writing the line or from the composers guide. Using Logic, I record to a guide track. Recording with flat EQ so it can be mixed into anything. Clients send a bounce or share a project on Dropbox. I use a really good local studio to record and hire in other players.