I have been playing saxophone professionally since I was sixteen years old. That is twenty-eight years of figuring things out — booking gigs, recording albums, chasing radio play, touring on weekends, and working in Hollywood during the week to keep the lights on. My love for music technology started at Berklee. Being a modern film composer deepened it. You cannot score for picture without understanding your tools inside and out — the DAW, the libraries, the signal chain, all of it. I have been on Logic since version 1.0. Any new tip, trick, or piece of gear that comes along, I want to know about it. That is just who I am. I build things. I built my own studio in my backyard. I fix things around my house that I have never fixed before. When I get confronted with a problem I do not know how to solve, I figure it out. So when I looked at a $20 Mailchimp charge for 128 fans one morning and thought there has to be something better built for people like me — I did not just complain about it. I built it.
I graduated from Berklee College of Music and have spent the last two and a half decades doing what I love. Six albums released independently. My single Stimulus reached No. 5 on the jazz radio charts in November 2025. I have toured with Naked Eyes and Haircut 100 — this summer marks my third bus tour with them on their ongoing US return. I teach saxophone, score films, play local gigs, and somehow find time to build apps. If it has music, I do it. My work as a film composer has taken me from short films to features. Hollywood Grit — starring Max Martini, Tyrese Gibson, Patrick Duffy, and Linda Purl — features my original score plus eight songs I co-wrote and produced for the film. The rom-com pilot Yanqui, which I scored with a tango-infused soundtrack, premiered at the 2024 Tribeca Film Festival. For over twenty years I worked in the Hollywood camera union alongside my music career — The Voice, Jimmy Kimmel, major network productions. Two worlds running in parallel. I always came back to my own music. And I always hit the same wall.
Independent artists are running real businesses on razor-thin margins. We are booking shows, releasing music, managing social media, and trying to connect with fans — all while doing the actual creative work. The tools we have been handed were built for Shopify stores, not bands. When accessible technology made it possible to build something myself, I realized it was not just a tool I needed. It was a tool every indie artist needed. Something music-native. Something priced for what we actually make. Something built by someone who is in the trenches with you. That is Dispatch. And that is Rehearsal Space — a suite of tools built for working musicians, by one of us.