Artistic Profile_The Rhythmist
“The Rhythmist” describes my identity more accurately than simply calling myself a percussionist. Percussion refers primarily to the instruments I play; rhythm is the larger language through which I work. It connects my performing, composing, teaching, international cultural work, wellness programs, live film scores, writing, and collaborations with artists from many traditions.
I have spent much of my career exploring how rhythm can function as a bridge—between cultures, artistic disciplines, ancient traditions and contemporary technology, individual expression and collective experience. My work has never fit neatly within one musical category. It draws from jazz improvisation, global percussion traditions, contemporary composition, theater, visual storytelling, electronics, and contemplative practice.
Earlier in my career, I was focused primarily on the aesthetic qualities of my work. As the years passed, I gained a deeper understanding of how sound communicates and began to bring these different influences together. Artistic integrity remains my life’s work and the foundation of all my musical pursuits. I am now also exploring the functional ways in which sound and rhythm can affect the human experience—how they can cultivate presence, connection, restoration, and healing.
I sometimes think of my work as drawing from two major influences: Max Roach, for his extraordinary musical mastery and rhythmic innovation, and Alice Coltrane, for her journey toward understanding sound as a healing modality. The space between those two influences—artistic rigor and the transformative potential of sound—is where much of my work is now heading.
Improvisation is central to my artistic identity. I am interested in creating music that is genuinely responsive to the moment rather than simply reproducing a predetermined arrangement.
The Art of the Duo was inspired by my experiences traveling as a musical diplomat. In these performances, an intimate conversation takes place between two people, with sound acting as a sacred language. Rhythm becomes a form of conversation and deep listening—a way for two artists to meet across differences in culture, tradition, instrumentation, or musical background. My work with artists such as Dave Ballou, Chelle Fulk, Chao Tian, John Wubbenhorst, and others demonstrates how musicians can create a shared language without losing their individual voices.
My international work as a Cultural Envoy and Fulbright-Hays participant profoundly shaped this perspective. Working in Bahrain, Iraq, Saudi Arabia, Oman, Jerusalem and the West Bank, South Korea, China, New Zealand, Samoa, and elsewhere taught me that rhythm can communicate across cultural, political, and linguistic boundaries. These experiences were not simply tours; they changed how I understand collaboration, teaching, cultural exchange, and the responsibilities of an artist.
Another important aspect of my work is the relationship between rhythm and visual storytelling, now presented under the heading Sounds You Can SEE. My live scores for silent films require close synchronization with movement, character, atmosphere, and dramatic pacing. The instruments effectively become actors within the film. This work combines composition, improvisation, theater, technology, and split-second responsiveness.
More recently, I have been exploring rhythm as a way of cultivating presence, restoration, and deep listening. The handpan, frame drums, gongs, singing bowls, flute, and other instruments allow rhythm to be experienced not only as propulsion or excitement, but also as spaciousness. This connects my performance practice with meditation, yoga, psychotherapy collaborations, and wellness-oriented programs.
At this point in my career, I see these areas becoming increasingly integrated. I want to continue creating adventurous music while also investigating how sound and rhythm affect attention, connection, imagination, and well-being.
“The Rhythmist” therefore represents both the continuity of my career and its next chapter. It gives one name to work that has always crossed categories: rhythm as a bridge between artistic innovation, human connection, and deep listening.
Supporting Materials
I will also supply supporting materials for this section, including:
A current primary portrait
Representative photographs of my multi-percussion performance, international cultural work, wellness programs, and Sounds You Can SEE
A concise overview video created from existing performance footage
Links to several strong individual performance videos
A selection of press quotations and professional recognition
A concise list of credentials and significant career milestones