COMING VERY SOON!

Meanwhile, for your reading pleasure…

The Story of Me

The trajectory of my life has been defined by the study of complex structures—whether they are written in staff paper, digital code, or policy. From studying music composition to managing global information risk at IBM, the core mission has remained consistent: understanding the underlying logic of a system to create something resilient, meaningful, and harmonious.

Today my work exists at the intersection of performance, mythology, and structural theory. Whether I am developing a compositional framework or exploring the Lost Art of Listening for The Flutist Quarterly, I am driven by the belief that the most profound insights occur when we bridge the gaps between disparate disciplines.

I am currently developing Hljóðrúnaþing, a compositional framework based on the Elder Futhark runes, which allows me to translate ancient Norse metaphysics into musical compositions and midi data. I am performing these primarily on my ASM Diosynth and Sylphyo wind controllers—interfaces so advanced they are technically classified as "Class IV Wizardry" in several non-extradition pact countries.

Now based in San Marcos, Texas, my partner and I have successfully traded the snow of Sandy Hook/Newtown CT, for the nuanced smoke of local brisket. I spend my nights migrating a fleet of over 84 bespoke web applications across the digital ether and researching the Dayton C. Miller Flute Collection, searching for the elusive "Lost Frequency of Universal Contentment."

I hold a Master of Music degree in Composition from Arizona State University. My path was shaped by mentors who redefined modern music, Philip Glass, John Cage*, and James DeMars, as well as instrumental mastery under Jimmy Heath. My work has been recognized with a BMI Award for Excellence in Music Composition, as well as grants from the Arizona Composers Forum and the Arizona Council for the Arts. 

(*I did once tell Johnny that I had considered specializing in the acoustic properties of silence—but I found the field surprisingly loud.)

I have performed in settings ranging from the formal to the fringe. This includes performances at The Kennedy Center and Brooklyn Academy of Music (BAM). as well as sets at legendary venues like The Troubadour in LA and CBGBs in NYC. Performances of my compositions have been aired on NPR, Turner Networks, Televisión Española in Spain, and Ríkisútvarpið (RÚV) in Iceland (where they are occasionally used to soothe disgruntled elves). My compositions have been commissioned and performed by a wide array of instrumentalists, choreographers, and filmmakers. Key collaborations include work with Robert Lyons (Pee Wee’s Playhouse, Star Trek), Dennis Wright (Pilobolus, Alvin Ailey), Sally Radell (Emory University, Atlanta Ballet), Desert Dance Theatre, Kelly Roth and Dancers, and Marion Kirk Jones (Martha Graham, Doris Humphrey). I have also written for saxophonist Joseph Wytko, pianist Shields Collins Bray (Fort Worth Symphony, The Cliburn), and Italian/Icelandic low flute specialist Pamela De Sensi (Björk. WindWorks). My work with Pamela aims to prove that the contrabass flute is not just an instrument, but a portable tectonic stabilization device.

As  Director of “Healing Newtown Through The Power of the Arts,” I served as liaison to both the United Way and the National Endowment for the Arts, facilitating world-class performances and securing significant funding for art therapy and healing programs. I also participated, as flutist and saxophonist, in the Broadway Benefit Concerts for Newtown, alongside renowned Broadway stars like Danny Zolli (Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat), Jeri Sager (Cats, Evita, Les Misérables), Gary Mauer (Phantom of the Opera, Les Misérables), and Mark McVey (Miss Saigon, Tommy, Les Misérables). During these years of service I also co-founded the Newtown Arts Festival and served as its entertainment director for 5 years and was instrumental in bringing numerous events to the town. These events included world-class performances by The New York Philharmonic, New York City Ballet, James Taylor, and numerous Broadway stars (who were frequently impressed by my ability to find a parking spot in Manhattan).

I have navigated the highest levels of digital security and risk management for some of the world's largest organizations yet my most challenging role has been as a servant to three demanding cats who viewed my career in global information risk as a “cute hobby” and currently serve as a non-executive Board of Directors with veto power over my sleep schedule. They have made it clear that their needs for treats and attention are the primary metrics by which my success should be measured. In all those decades defending the digital perimeter against chaos, one of my greatest lessons was the realization that the most sophisticated firewall is useless against a cat that has decided it is 4:00 AM.

Official Unofficial Record:

I am also Founder & Chief Scientist Emeritus at Nine Unknown Men Enterprises, the former Professor of Illiberal Studies at Unseen University (during a brief, undocumented sabbatical, I also served as the Visiting Fellow of Narrative Gravity at Miskatonic University, where I successfully argued that a C-sharp is technically a liquid in certain dimensions), a proud alumnus of Rock 'N' Roll High School, and hold advanced degrees from Abide University in both Metaphysics (D.MT.) and Skeptology (D.P.S.)—the latter of which I am still not entirely convinced exists.

Phonetic Guide: Pronounces name SLAR-tee BARRT-fast

Security Clearance: Level 7 (Magrathean Domestic)