I’m currently engraving the second movement of Hans Huber’s Symphony No. 7 in preparation for an upcoming orchestral performance. Huber (1852–1921) was a Swiss composer known for his Romantic style and rich harmonies. Bringing his lesser-known symphony to life in a modern engraving format helps ensure musicians have a clear, high-quality score to perform from.

I’m working on an orchestral arrangement of “I Put a Spell on You,” originally penned by Screamin’ Jay Hawkins. This soulful track has been covered by countless artists, and I’m excited to craft a version that showcases Sam Pounds’ unique vocal style alongside a full orchestra.

Since 2019, I’ve met monthly with Tom Hemphill—who performed in the San Francisco Symphony for 46 years—to sight-read Beethoven piano sonatas as vibraphone and marimba duets. We also explore music by Grieg, Mozart, Bach, and other composers. This ongoing project keeps us both creatively engaged, as we adapt these classical masterpieces to a unique percussion format.

I arranged Rodgers & Hammerstein’s “It Might as Well Be Spring” for string quartet, performed by Livingston Taylor during a Castles & Concerts tour in Bali. The lush harmonies of the original song blended beautifully with the intimate sound of a quartet, creating a memorable live performance in a stunning location.

I’m honored to contribute to Living Jazz Presents: In the Name of Love, a special tribute to Dr. Martin Luther King Jr., celebrating the legacy of Aretha Franklin. For this event, I’ve been tasked with adapting my 2019 orchestral arrangement of Franklin’s “Think”—originally performed by the Oakland Symphony—into a reduced arrangement. The new version features a vibrant ensemble of flute, clarinet, horn, trumpet, trombone, percussion, harp, and strings, supported by Howard Wiley’s rhythm section.

This arrangement will highlight the incredible vocal talents of Dee Dee Simon, bringing Franklin’s timeless anthem of empowerment and resilience to life.

I’m composing a piece for three alphorns and orchestra, exploring the alphorn’s resonant timbre and blending it with a full symphonic palette. The alphorn, traditionally used in the Swiss Alps, will be featured in a contemporary concert context—offering audiences a new twist on this fascinating instrument’s heritage.

In 2024, I had the pleasure of tutoring new composer Prasad Vidhyabaskaran for his first orchestral work, “Sentience.” I then conducted the piece with Awesöme Orchestra, and we captured the performance on video for YouTube. Seeing Prasad’s debut composition come to life was a highlight of the year.