A LONG AND WINDING ROAD…
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Guy Allison was born Guy Allison Steiner in Los Angeles, California – April 23rd, 1959.

"Being a late bloomer, I began my education at the piano at the age of four, progressing from classical to jazz instruction by the time I entered Eagle Rock High School. Under the pivotal instruction of John Rinaldo, official taskmaster of the music department at ERHS, and in the company of other students who would go on to become very accomplished professionals (these other kids, Roger Ingram, Carlos Vega, Doug Rinaldo to name a few, were completely amazing musicians, #ancienthistorythatstillmatters), I was inspired and determined to take this craft to a higher level. As a direct beneficiary of the wealth of expert educators and jazz superstars that Rinaldo seemingly had in his hip pocket - first studying with John Prince (composer for Stan Kenton, Woody Herman and Doc Severinson’s Tonight Show Band) and then Herb Mickman (Jazz Bass/Pianist with Sarah Vaughan), I augmented the diverse style that I was falling into as a result of my steady diet of Jazz, R&B, and Rock & Roll Records (plus the consistant buzz of KHJ & KLOS). It started to pay off, I began winning a number of individual jazz festival awards as well as securing a place in the coveted Monterey All-Star Jazz Band - funnily enough on the vibraphone - because of that brilliant older kid from Reseda (that would be R. Kerber) who kept winning the piano chair.
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My first professional job at the age of 15 was on piano, in the pit orchestra of the Greek Theatre in Los Angeles. The concert was Songfest 1974, emceed by Pearl Bailey
(who, during the show, asked me to play Summertime, which I DID NOT KNOW, #embarassingmoment). My first professional Hollywood studio recording was that same year with the ERHS Jazz Band under the direction of Rinaldo.
After one year at university studying advanced music theory and restless to perform (the Jazz Band only met once a week at UCSB, which was not cutting it for me), I dropped out and went straight to work in a couple of rock bands in Northern California, finally ending up as a musical director for a small show in Reno, Nevada. It was 1979 when I met the members of the band Lodgic, who were working at the Sahara showroom across town. After being asked to join the band, upon the departure of one of its members, I found myself in the company of some of the most creative and inspiring young musicians I had ever heard. The band went through a few member changes before finally becoming the lineup that would be discovered 4 years later by the members of Toto while rehearsing in Los Angeles.
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With the help of producers David Paich and Steve Porcaro, Lodgic
(now Michael Sherwood, Jimmy Haun, Billy Sherwood, Gary Starnes and Guy Allison) was able to secure a deal with A&M Records in 1984, releasing our debut effort Nomadic Sands in 1985. Lodgic had a two-show stint as the opening act for Supertramp, but without any substantial success at radio, did not negotiate a second album deal with A&M.
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In 1987 Lodgic decided to go their separate ways. After hearing about a newly vacated keyboard position
(thank you Bruce G.), I called up Jerry Weintraub’s Concert West offices and managed to talk my way into an audition for The Moody Blues. Patrick Moraz (a big hero of mine and appropriately in charge of this particular audition) hired me on the spot as the 2nd Keyboardist, a position I held from 1987 to 1990. Fueled by their successful resurgence on radio, The Moody Blues played sold out shows across North America during these years.
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During my live work with the Moodies, ex-bandmate Billy Sherwood and guitarist Bruce Gowdy were putting together a new band. Once Sherwood and Gowdy recruited drummer Mark T. Williams and me into the fold, the Progressive band World Trade was born. Our first self-titled album on Polygram Records, produced by Keith Olsen (whose production credits include Fleetwood Mac, Foreigner & Whitesnake), was released in 1989. The band didn’t stay together to follow up the album on Polygram’s label. The dissolution of World Trade was sparked by Bruce and Billy’s subsequent interest in creating a new band comprised of Yes members Tony Kaye, Alan White and Chris Squire. After a few rehearsals, Bruce dropped out of the new venture although Billy continued on, cultivating a relationship with Chris Squire (who had appeared as a guest on World Trade’s first album) eventually becoming a member, writer and co-producer with the band Yes. World Trade did come back together with a new drummer Jay Schellen, to record their second album “Euphoria” on Magna Carta Records in 2007 and in 2017 the original line-up released a new album “Unify”, through Frontiers Records.
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In 1990 I worked with
Air Supply’s Graham Russell and Russell Hitchcock on what was their first studio album in 5 years, The Earth Is..., produced by Harry Maslin of David Bowie fame.
When they offered me the piano chair on their upcoming “unplugged” acoustic tour in 1990, I readily joined on. My 7 year tenure with Air Supply (which at times included former members of both Lodgic and World Trade) produced 4 studio albums, 1 live album/DVD release and 4 “best of” compilations. Having co-written 6 songs, and with most of the albums reaching multi-platinum status worldwide, I was fortunate to see 3 of my compositions chart successfully in both the North American, South American and Asian markets (including a #1 in China). Throughout it all, Air Supply toured extensively across the globe, playing to millions on 4 continents.
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During this time with Air Supply, I continued writing and working with Bruce Gowdy and vocalist Mark Free on a project that was to become Unruly Child. A deal was inked with the fledgling Interscope Records, with 80’s hit-maker, Beau Hill acting as both the band’s producer and label VP. Although the band never made a second record for Interscope (due to a disagreement between Interscope’s directors, the subsequent departure of Beau Hill and a changing musical climate at radio) the self-titled 1992 release remains an intensely popular AOR cult classic to this day. The band has since released 6 more studio albums, a live album/DVD, a limited edition Box Set and a behind-the-scenes retrospective to high praise in the worldwide AOR community.
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In late 1990, Bruce Gowdy introduced me to Doobie Brother, John
McFee, who hired me for Japanese rock superstar Eikichi Yazawa’s Rock and Roll Army tour. During the many years of subsequent touring with Yazawa, the line-up included legendary and superlative musicians such as Gowdy, McFee, Keith Knudsen, Willie Weeks, George Hawkins Jr., Dweezil Zappa, Albert Wing, Cornelius Bumpus, Danny Hull, Mark T. Williams and the Fowler Brothers. This collection of musicians would turn out to be pivotal as I developed a long-term association with both McFee and Knudsen that would eventually lead me to studio work on the Doobie Brothers album, Rockin' Down the Highway: The Wildlife Concert, followed by an offer to join the Doobie Brothers family.
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During my Doobie tenure I performed on 2 live album/DVDs, 1 best of album, 1 Box Set and 2 studio albums. On the 2000 release,
Sibling Rivalry, I accepted the role of both co-producer and songwriter. The Doobies toured extensively in the U.S., Canada, Japan, Australia, New Zealand, Europe and the British Isles with the type of consistency only experienced by world-class supergroups. I held down the keyboard chair in The Doobie Brothers from July of 1996 through October of 2015.
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In August of 2015 during a partial break in the Doobie touring schedule, I was invited back to Yazawa’s band to play a limited set of shows that would culminate in a final show at the Tokyo Dome, with a capacity audience of over 56,000. Yazawa subsequently asked me if I would rejoin for the longer Yazawa tours, and I accepted. I've been touring with Yazawa in Japan and recording for him in Los Angeles and Tokyo since 2015 through to present day.
In addition to the live work with Yazawa, I've been called on to produce, in collaboration with McFee, 3 studio albums for E.Y., resulting in multi-platinum sales in Japan. I've also been a session musician and arranger on another 3 E.Y. albums as well.

During all these tours and recording sessions with the various bands that I've been priviledged to work with, I've also had the great fortune to compose-produce-arrange-perform-and/or program for artists as diverse as Boz Scaggs, Carlene Carter, Nick Kamen, Don Henley, Janis Ian, John Cowan, Gavin Christopher, Buddy Miles, Bobby Kimball, Quiet Riot, L. Shankar, Chicago, Adrian Vandenberg, Jeff Kollman, Snake Davis, Tony Franklin, Doug Rappoport and Glenn Hughes. I've also recorded with a number of artists and producers (all of which were on my wish list at one time or another), including Ted Templeman, Greg Laydanyi, Elliot Scheiner, Randy Newman, David Foster, Humberto Gatica, David Williams, Steve Lukather, Michael Landau, Michael Thompson, Leland Sklar, Neil Stubenhaus, George Hawkins Jr., Russ Kunkel, Vinnie Colaiuta, John Robinson and Jeff Porcaro.

In the world of television and film I've employed my talents composing and performing cues for the television series Throb (starring Diana Canova, Paul Walker and Jane Leeves) as well as writing songs for various theatrical releases - including Plain Clothes, Prince of Bel Aire and Mary Kate & Ashley Olsen’s Holiday in the Sun.

There have also been countless
(because at this point I literally can't remember all of them) television and radio shows worldwide, including performances on 18 live concert DVDs to date."
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Guy Allison was born Guy Allison Steiner in Los Angeles, California – April 23rd, 1959.

"Being a late bloomer, I began my education at the piano at the age of four, progressing from classical to jazz instruction by the time I entered Eagle Rock High School. Under the pivotal instruction of John Rinaldo, official taskmaster of the music department at ERHS, and in the company of other students who would go on to become very accomplished professionals (these other kids, Roger Ingram, Carlos Vega, Doug Rinaldo to name a few, were completely amazing musicians, #ancienthistorythatstillmatters), I was inspired and determined to take this craft to a higher level. As a direct beneficiary of the wealth of expert educators and jazz superstars that Rinaldo seemingly had in his hip pocket - first studying with John Prince (composer for Stan Kenton, Woody Herman and Doc Severinson’s Tonight Show Band) and then Herb Mickman (Jazz Bass/Pianist with Sarah Vaughan), I augmented the diverse style that I was falling into as a result of my steady diet of Jazz, R&B, and Rock & Roll Records (plus the consistant buzz of KHJ & KLOS). It started to pay off, I began winning a number of individual jazz festival awards as well as securing a place in the coveted Monterey All-Star Jazz Band - funnily enough on the vibraphone - because of that brilliant older kid from Reseda (that would be R. Kerber) who kept winning the piano chair.

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My first professional job at the age of 15 was on piano, in the pit orchestra of the Greek Theatre in Los Angeles. The concert was Songfest 1974, emceed by Pearl Bailey (who, during the show, asked me to play Summertime, which I DID NOT KNOW, #embarassingmoment). My first professional Hollywood studio recording was that same year with the ERHS Jazz Band under the direction of Rinaldo.

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After one year at university studying advanced music theory and restless to perform (the Jazz Band only met once a week at UCSB, which was not cutting it for me), I dropped out and went straight to work in a couple of rock bands in Northern California, finally ending up as a musical director for a small show in Reno, Nevada. It was 1979 when I met the members of the band Lodgic, who were working at the Sahara showroom across town. After being asked to join the band, upon the departure of one of its members, I found myself in the company of some of the most creative and inspiring young musicians I had ever heard. The band went through a few member changes before finally becoming the lineup that would be discovered 4 years later by the members of Toto while rehearsing in Los Angeles.

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With the help of producers David Paich and Steve Porcaro, Lodgic (now Michael Sherwood, Jimmy Haun, Billy Sherwood, Gary Starnes and Guy Allison) was able to secure a deal with A&M Records in 1984, releasing our debut effort Nomadic Sands in 1985. Lodgic had a two-show stint as the opening act for Supertramp, but without any substantial success at radio, did not negotiate a second album deal with A&M.

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In 1987 Lodgic decided to go their separate ways. After hearing about a newly vacated keyboard position (thank you Bruce G.), I called up Jerry Weintraub’s Concert West offices and managed to talk my way into an audition for The Moody Blues. Patrick Moraz (a big hero of mine and appropriately in charge of this particular audition) hired me on the spot as the 2nd Keyboardist, a position I held from 1987 to 1990. Fueled by their successful resurgence on radio, The Moody Blues played sold out shows across North America during these years.

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During my live work with the Moodies, ex-bandmate Billy Sherwood and guitarist Bruce Gowdy were putting together a new band. Once Sherwood and Gowdy recruited drummer Mark T. Williams and me into the fold, the Progressive band World Trade was born. Our first self-titled album on Polygram Records, produced by Keith Olsen (whose production credits include Fleetwood Mac, Foreigner & Whitesnake), was released in 1989. The band didn’t stay together to follow up the album on Polygram’s label. The dissolution of World Trade was sparked by Bruce and Billy’s subsequent interest in creating a new band comprised of Yes members Tony Kaye, Alan White and Chris Squire. After a few rehearsals, Bruce dropped out of the new venture although Billy continued on, cultivating a relationship with Chris Squire (who had appeared as a guest on World Trade’s first album) eventually becoming a member, writer and co-producer with the band Yes. World Trade did come back together with a new drummer Jay Schellen, to record their second album “Euphoria” on Magna Carta Records in 2007 and in 2017 the original line-up released a new album “Unify”, through Frontiers Records.

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In 1990 I worked with Air Supply’s Graham Russell and Russell Hitchcock on what was their first studio album in 5 years, The Earth Is..., produced by Harry Maslin of David Bowie fame.
When they offered me the piano chair on their upcoming “unplugged” acoustic tour in 1990, I readily joined on. My 7 year tenure with Air Supply (which at times included former members of both Lodgic and World Trade) produced 4 studio albums, 1 live album/DVD release and 4 “best of” compilations. Having co-written 6 songs, and with most of the albums reaching multi-platinum status worldwide, I was fortunate to see 3 of my compositions chart successfully in both the North American, South American and Asian markets (including a #1 in China). Throughout it all, Air Supply toured extensively across the globe, playing to millions on 4 continents.

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During this time with Air Supply, I continued writing and working with Bruce Gowdy and vocalist Mark Free on a project that was to become Unruly Child. A deal was inked with the fledgling Interscope Records, with 80’s hit-maker, Beau Hill acting as both the band’s producer and label VP. Although the band never made a second record for Interscope (due to a disagreement between Interscope’s directors, the subsequent departure of Beau Hill and a changing musical climate at radio) the self-titled 1992 release remains an intensely popular AOR cult classic to this day. The band has since released 6 more studio albums, a live album/DVD, a limited edition Box Set and a behind-the-scenes retrospective to high praise in the worldwide AOR community.

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In late 1990, Bruce Gowdy introduced me to Doobie Brother, John McFee, who hired me for Japanese rock superstar Eikichi Yazawa’s Rock and Roll Army tour. During the many years of subsequent touring with Yazawa, the line-up included legendary and superlative musicians such as Gowdy, McFee, Keith Knudsen, Willie Weeks, George Hawkins Jr., Dweezil Zappa, Albert Wing, Cornelius Bumpus, Danny Hull, Mark T. Williams and the Fowler Brothers. This collection of musicians would turn out to be pivotal as I developed a long-term association with both McFee and Knudsen that would eventually lead me to studio work on the Doobie Brothers album, Rockin' Down the Highway: The Wildlife Concert, followed by an offer to join the Doobie Brothers family.

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During my Doobie tenure I performed on 2 live album/DVDs, 1 best of album, 1 Box Set and 2 studio albums. On the 2000 release, Sibling Rivalry, I accepted the role of both co-producer and songwriter. The Doobies toured extensively in the U.S., Canada, Japan, Australia, New Zealand, Europe and the British Isles with the type of consistency only experienced by world-class supergroups. I held down the keyboard chair in The Doobie Brothers from July of 1996 through October of 2015.

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In August of 2015 during a partial break in the Doobie touring schedule, I was invited back to Yazawa’s band to play a limited set of shows that would culminate in a final show at the Tokyo Dome, with a capacity audience of over 56,000. Yazawa subsequently asked me if I would rejoin for the longer Yazawa tours, and I accepted. I've been touring with Yazawa in Japan and recording for him in Los Angeles and Tokyo since 2015 through to present day.

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In addition to the live work with Yazawa, I've been called on to produce, in collaboration with McFee, 3 studio albums for E.Y., resulting in multi-platinum sales in Japan. I've also been a session musician and arranger on another 3 E.Y. albums as well.

During all these tours and recording sessions with the various bands that I've been priviledged to work with, I've also had the great fortune to compose-produce-arrange-perform-and/or program for artists as diverse as Boz Scaggs, Carlene Carter, Nick Kamen, Don Henley, Janis Ian, John Cowan, Gavin Christopher, Buddy Miles, Bobby Kimball, Quiet Riot, L. Shankar, Chicago, Adrian Vandenberg, Jeff Kollman, Snake Davis, Tony Franklin, Doug Rappoport and Glenn Hughes. I've also recorded with a number of artists and producers (all of which were on my wish list at one time or another), including Ted Templeman, Greg Laydanyi, Elliot Scheiner, Randy Newman, David Foster, Humberto Gatica, David Williams, Steve Lukather, Michael Landau, Michael Thompson, Leland Sklar, Neil Stubenhaus, George Hawkins Jr., Russ Kunkel, Vinnie Colaiuta, John Robinson and Jeff Porcaro.

In the world of television and film I've employed my talents composing and performing cues for the television series Throb (starring Diana Canova, Paul Walker and Jane Leeves) as well as writing songs for various theatrical releases - including Plain Clothes, Prince of Bel Aire and Mary Kate & Ashley Olsen’s Holiday in the Sun.

There have also been countless
(because at this point I literally can't remember all of them) television and radio shows worldwide, including performances on 18 live concert DVDs to date."

"See what I mean, a very long road…"

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Guy Allison was born Guy Allison Steiner in Los Angeles, California – April 23rd, 1959.

"Being a late bloomer, I began my education at the piano at the age of four, progressing from classical to jazz instruction by the time I entered Eagle Rock High School. Under the pivotal instruction of John Rinaldo, official taskmaster of the music department at ERHS, and in the company of other students who would go on to become very accomplished professionals (these other kids, Roger Ingram, Carlos Vega, Doug Rinaldo to name a few, were completely amazing musicians, #ancienthistory), I was inspired and determined to take this craft to a higher level. As a direct beneficiary of the wealth of expert educators and jazz superstars that Rinaldo seemingly had in his hip pocket - first studying with John Prince (composer for Stan Kenton, Woody Herman and Doc Severinson’s Tonight Show Band) and then Herb Mickman (Jazz Bass/Pianist with Sarah Vaughan), I augmented the diverse style that I was falling into as a result of my steady diet of Jazz, R&B, and Rock & Roll Records (plus the consistant buzz of KHJ & KLOS). It started to pay off, I began winning a number of individual jazz festival awards as well as securing a place in the coveted Monterey All-Star Jazz Band - funnily enough on the vibraphone - because of that brilliant older kid from Reseda (that would be R. Kerber) who kept winning the piano chair.

My first professional job at the age of 15 was on piano, in the pit orchestra of the Greek Theatre in Los Angeles. The concert was Songfest 1974, emceed by Pearl Bailey
(who, during the show, asked me to play Summertime, which I DID NOT KNOW, #embarassingmoment). My first professional Hollywood studio recording was that same year with the ERHS Jazz Band under the direction of Rinaldo.

After one year at university studying advanced music theory and restless to perform (the Jazz Band only met once a week at UCSB, which was not cutting it for me), I dropped out and went straight to work in a couple of rock bands in Northern California, finally ending up as a musical director for a small show in Reno, Nevada. It was 1979 when I met the members of the band Lodgic, who were working at the Sahara showroom across town. After being asked to join the band, upon the departure of one of its members, I found myself in the company of some of the most creative and inspiring young musicians I had ever heard. The band went through a few member changes before finally becoming the lineup that would be discovered 4 years later by the members of Toto while rehearsing in Los Angeles. With the help of producers David Paich and Steve Porcaro – Lodgic (now Michael Sherwood, Jimmy Haun, Billy Sherwood, Gary Starnes and Guy Allison) was able to secure a deal with A&M Records in 1984, releasing our debut effort Nomadic Sands in 1985. Lodgic had a two-show stint as the opening act for Supertramp, but without any substantial success at radio, did not negotiate a second album deal with A&M.

In 1987 Lodgic decided to go their separate ways. After hearing about a newly vacated keyboard position (thank you Bruce G.), I called up Jerry Weintraub’s Concert West offices and managed to talk my way into an audition for The Moody Blues. Patrick Moraz (a big hero of mine and appropriately in charge of this particular audition) hired me on the spot as the 2nd Keyboardist, a position I held from 1987 to 1990. Fueled by their successful resurgence on radio, The Moody Blues played sold out shows across North America during these years.

During my live work with the Moodies, ex-bandmate Billy Sherwood and guitarist Bruce Gowdy were putting together a new band. Once Sherwood and Gowdy recruited drummer Mark T. Williams and me into the fold, the Progressive band World Trade was born. Our first self-titled album on Polygram Records, produced by Keith Olsen (whose production credits include Fleetwood Mac, Foreigner & Whitesnake), was released in 1989. The band didn’t stay together to follow up the album on Polygram’s label. The dissolution of World Trade was sparked by Bruce and Billy’s subsequent interest in creating a new band comprised of Yes members Tony Kaye, Alan White and Chris Squire. After a few rehearsals, Bruce dropped out of the new venture although Billy continued on, cultivating a relationship with Chris Squire (who had appeared as a guest on World Trade’s first album) eventually becoming a member, writer and co-producer with the band Yes. World Trade did come back together with a new drummer Jay Schellen, to record their second album “Euphoria” on Magna Carta Records in 2007 and in 2017 the original line-up released a new album “Unify”, through Frontiers Records.

In 1990 I worked with Air Supply’s Graham Russell and Russell Hitchcock on what was their first studio album in 5 years, The Earth Is..., produced by Harry Maslin of David Bowie fame.
When they offered me the piano chair on their upcoming “unplugged” acoustic tour in 1990, I readily joined on. My 7 year tenure with Air Supply (which at times included former members of both Lodgic and World Trade) produced 4 studio albums, 1 live album/DVD release and 4 “best of” compilations. Having co-written 6 songs, and with most of the albums reaching multi-platinum status worldwide, I was fortunate to see 3 of my compositions chart successfully in both the North American, South American and Asian markets (including a #1 in China). Throughout it all, Air Supply toured extensively across the globe, playing to millions on 4 continents.

During this time with Air Supply, I continued writing and working with Bruce Gowdy and vocalist Mark Free on a project that was to become Unruly Child. A deal was inked with the fledgling Interscope Records, with 80’s hit-maker, Beau Hill acting as both the band’s producer and label VP. Although the band never made a second record for Interscope (due to a disagreement between Interscope’s directors, the subsequent departure of Beau Hill and a changing musical climate at radio) the self-titled 1992 release remains an intensely popular AOR cult classic to this day. The band has since released 6 more studio albums, a live album/DVD, a limited edition Box Set and a behind-the-scenes retrospective to high praise in the worldwide AOR community.

In late 1990, Bruce Gowdy introduced me to Doobie Brother, John McFee, who hired me for Japanese Rock superstar Eikichi Yazawa’s Rock and Roll Army tour. During the many years of subsequent touring with Yazawa, the line-up included legendary and superlative musicians such as Gowdy, McFee, Keith Knudsen, Willie Weeks, George Hawkins Jr., Dweezil Zappa, Albert Wing, Cornelius Bumpus, Danny Hull, Mark T. Williams and the Fowler Brothers. This collection of musicians would turn out to be pivotal as I developed a long- term association with both McFee and Knudsen that would eventually lead me to studio work on the Doobie Brothers album, Rockin' Down the Highway: The Wildlife Concert, followed by an offer to join the Doobie Brothers family.

During my Doobie tenure I performed on 2 live album/DVDs, 1 best of album, 1 Box Set and 2 studio albums. On the 2000 release, Sibling Rivalry, I accepted the role of both co-producer and songwriter. The Doobies toured extensively in the U.S., Canada, Japan, Australia, New Zealand, Europe and the British Isles with the type of consistency only experienced by world-class supergroups. I held down the keyboard chair in The Doobie Brothers from July of 1996 through October of 2015.

In August of 2015 during a partial break in the Doobie touring schedule, I was invited back to Yazawa’s band to play a limited set of shows that would culminate in a final show at the Tokyo Dome, with a capacity audience of over 56,000. Yazawa subsequently asked me if I would rejoin for the longer Yazawa tours, and I accepted. I've been touring with Yazawa in Japan and recording for him in Los Angeles and Tokyo since 2015 through to present day.

In addition to the live work with Yazawa, I've been called on to produce, in collaboration with McFee, 3 studio albums for E.Y., resulting in multi-platinum sales in Japan. I've also been a session musician and arranger on another 3 E.Y. albums as well.

During all these tours and recording sessions with the various bands that I've been priviledged to work with, I've also had the great fortune to compose-produce-arrange-perform-and/or program for artists as diverse as Boz Scaggs, Carlene Carter, Nick Kamen, Don Henley, Janis Ian, John Cowan, Gavin Christopher, Buddy Miles, Bobby Kimball, Quiet Riot, L. Shankar, Chicago, Adrian Vandenberg, Jeff Kollman, Snake Davis, Tony Franklin, Doug Rappoport and Glenn Hughes. I've also recorded with a number of artists and producers (all of which were on my wish list at one time or another), including Ted Templeman, Greg Laydanyi, Elliot Scheiner, Randy Newman, David Foster, Humberto Gatica, David Williams, Steve Lukather, Michael Landau, Michael Thompson, Leland Sklar, Neil Stubenhaus, George Hawkins Jr., Russ Kunkel, Vinnie Colaiuta, John Robinson and Jeff Porcaro.

In the world of television and film I've employed my talents composing and performing cues for the television series Throb (starring Diana Canova, Paul Walker and Jane Leeves) as well as writing songs for various theatrical releases - including Plain Clothes, Prince of Bel Aire and Mary Kate & Ashley Olsen’s Holiday in the Sun.

There have also been countless
(because at this point I literally can't remember all of them) television and radio shows worldwide, including performances on 18 live concert DVDs to date."

"See what I mean, a very long road…"