My primary output as a composer is for my big band, but in the past year or so I’ve started to write more for film as well. Here are some tracks I wrote for the Guillermo del Toro projects Trollhunters, The Shape of Water, Crimson Peak, and The Book of Life, and some from projects where I helped out composers when they needed some jazz source music.
Rot Sets In, Two on One, Blinky’s Present, and Meet the Parent were written for Trollhunters.
Eliza Pleads and Eliza Goes After the Creature were written for Guillermo del Toro to use as some emergency temp score when he was working on The Shape of Water.
Pandora’s Box, Mercer-naries, and Kayla Memories are from an unaired pilot about a brain trust brought together to thwart terrorist attacks.
Graveyard Investigation, The Missing Key, Show Me Where, and Elevator Chase were written for Crimson Peak. Some of these use themes originally composed by Fernando Velazquez.
Going to See La Muerte, Maria Agrees to Marry Joaquin, Candlemaker Sees All, and Manolo Faces All Bulls are from The Book of Life. Gustavo Santaolalla wrote the original songs for this movie, and these cues use elements of that music for their melodies.
Aren’t We Nice is a track I wrote as source music for Pushing Daisies.
Enchanted Days is a song I wrote with Brian Tyler for a film called The Final Cut. I took a line from a cue as the basis of the song and Brian wrote the lyrics.
Crying Because was written for Jim Bianco.¬†He also wrote the lyrics.