My introduction to the dance world came in late 2005. I'd been looking for a vehicle to expand the scope of the Baritone Guitar and to compose music in which it would be featured. I was introduced to Kenny Larson who, in addition to being a successful ballet teacher in NYC, was known for using “atypical” accompanists. The idea of using an electric instrument to accompany ballet immediately felt like it had the potential to be an exciting new source for creative motivation and so with Ken’s help, I began accompanying ballet classes at NYC studios such as Danspace/DNA, City Center, and Peridance. I discovered that by using a Looping Pedal along with the Baritone I was able to fill a large amount of sonic space (which made the dancers happy!) and as the concept progressed I gradually added a series of electronic effects to help expand my sound palette.

Finding no suitable repertoire for the guitar to draw from, I began my new adventure by improvising music inspired by the movements of the dancers, drawing upon techniques I’d learned from scoring music for television and film. These early improvisations were the roots of an eventual collection of 23 original compositions that became my first CD for dance: "New Music for Contemporary Ballet Class".

As my affiliation with dance progressed, I was introduced to Modern Dance (Limón, Falco, Horton, Nikolais, Cunningham, Graham, etc.). In 2006 I began an association with the late, great Alan Danielson of the The Limón Institute which evolved into a collaboration that resulted in my second release: "New Music for Modern Dance". 

I’ve also found great inspiration in working with other contemporary institutions and choreographers such as Alvin Ailey Dance Theater, Complexions (Dwight Rhoden/Desmond Richardson), Danish Dance Theater, Sorella Englund (Royal Danish Ballet), Parsons Dance (David Parsons), The Joffrey Ballet School, Seán Curran and many others.

I am currently on staff at the Alvin Ailey School and Marymount Manhattan College.