Trumpet Soundscapes

Q: Analog or digital and why?

A: Interesting question — I’d say both. Analog for the trumpet, always — nothing replaces the warmth and breath of a real instrument. But digital for capturing, shaping, and sharing those sounds. It’s the bridge that lets something human live in the modern world.

Q: What's your 'promise' to your clients?

A: I promise to be easy to work with, communicate clearly, and always respect your vision. You’ll get trumpet parts that are creative, authentic, and delivered on time — with the same care I’d bring to my own music. My goal is simple: to make your track sound better, feel deeper, and flow naturally.

Q: What questions do customers most commonly ask you? What's your answer?

A: Q: Can you play something without me writing it down first? A: Absolutely. That’s the benefit of working with a free improviser with perfect pitch — I can play what I hear and feel, no score needed. Q: Can you use FX pedals? A: Definitely. If you want atmosphere, texture, or cinematic tone, that’s my world — and if you love FX, we’ll get along fast! Q: Do I need to tell you what key my song is in? A: Not at all. I have perfect pitch, so I play entirely by ear and can drop straight into your track.

Q: What's the biggest misconception about what you do?

A: That it’s easy! It’s taken me over 45 years of playing to reach the point where I make it look effortless. What sounds simple often comes from decades of practice, listening, and refining — it never happens overnight.

Q: What questions do you ask prospective clients?

A: I like to get a clear sense of what they’re imagining: What vibe or mood are you going for? Are there any specific ideas or references for the trumpet parts? Should I use effects (reverb, delay, pedals) or keep it clean? What’s your vision for the final track — where will it live or be used? This helps me deliver something that truly fits their sound and intention.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Take a chance on someone new. You don’t have to hire the most famous name to get something special — sometimes the best results come from working with a musician who’s hungry to create, listens deeply, and brings genuine passion to your music.

Q: What was your career path? How long have you been doing this?

A: I started playing 45 years ago in the British brass band tradition, eventually reaching the top level with the world’s No. 1 band at the time — Brighouse & Rastrick. I was part of the 1997 British National Championship–winning band, before stepping away a couple of years later. After a decade of rediscovering my passion, I returned in 2009 to focus on jazz and improvisation, refining a more expressive, personal sound. Music has always been my creative anchor — even alongside a busy career in IT — and that balance has shaped a trumpet voice that’s grounded, original, and deeply musical.

Q: How would you describe your style?

A: Free-flowing and emotional — a mix of melody, movement, and instinct. My playing bends and slides between moods, with licks and FX shaping the sound into something fluid, expressive, and alive.

Q: What do you bring to a song?

A: I bring something original — a voice that’s free from convention. I’m not here to recreate standard jazz or chase trends; I bring a sense of space, feeling, and unpredictability. My style is free-modal — rooted in modal jazz but liberated from fixed key signatures and forms. That freedom lets me play from emotion, not instruction, and bring a living, breathing energy to every track I touch.

Q: Describe the most common type of work you do for your clients.

A: Work I typically do for clients includes putting a trumpet track over someone's single, or as part of a few tunes on an album. I have also contributed to sample packs as part of a group and on soundtracks for youtube videos

Q: What other musicians or music production professionals inspire you?

A: In terms of Trumpet players, Miles Davis, Wynton Marsalis, Nils Petter Molvaer and Toshinori Kondo are my inspirations. I am especially inspired by the more experimental phase Miles went into during his bitches brew period, and all of the work Nils Petter Molvaer and Toshinori Kondo have done with fx inspires me.

Q: Which artist would you like to work with and why?

A: I’d love to work with Hans Zimmer — to add atmospheric trumpet textures that blur the line between instrument and sound design. I imagine creating tones so layered and effect-driven they barely sound like a trumpet, but still carry its breath and emotion.

Q: Can you share one music production tip?

A: Keep it simple, don't over crowd the trumpet with too many fx or plugins so you lose the tonality of the instrument

Q: What type of music do you usually work on?

A: I work across a wide range of styles — from jazz and blues to electronic, hip-hop, and ambient. My sound also fits naturally into cinematic, YouTube, and sync projects. I love blending genres and creating textures that feel alive and original.

Q: What's your strongest skill?

A: Free improvisation — guided entirely by what I hear and feel. Thanks to perfect pitch, I can respond instinctively to any key or harmony without overthinking it. It keeps my playing fluid, intuitive, and emotionally honest. I’m definitely not your typical trumpet player.

Q: What's your typical work process?

A: I work fast, I like to get a first take done as quickly as possible and then I will iterate on that till I'm happy with it as a first version. Once that's done I will share it with the client for feedback and further iterations.