Seems improbable, but there is a thread running through all of this. There has been a cross play between music and fine art throughout his career. In referencing either, he is quick to say "palette is everything". He began mixing that palette early as a classically trained musician of symphony orchestra caliber. Then, in the early 1980's, he changed its hue a bit and founded the Uptown Poetry Club, an improvisational jazz group that still performs today.
During the music period, he took a "day job" as a photo assistant at an analog printing company. His grandfather was a photographer and his father a painter, so it seemed a logical choice. It was the dawn of the digital age, just as graphic design moved off the drawing board into the digital realm. This placed him in the first wave of computer graphic designers. His early work during the early 1990's garnered so much attention that he was represented by stellar Manhattan galleries, including Burns Fine Art Ltd. in Soho.
That early recognition served to catapult him right back into the music business, though this time as a much sought-after designer of album cover art for GRP, Verve, Blue Note, Tommy Boy, Atlantic and Sony.
He broadened his scope into print publishing ten years ago with free-lance design work for Conde Nast, publisher of Vogue, Vanity Fair, and The New Yorker. He still contributes to Conde Nast, though he now focuses most of his time on adding to the rich palette of work shown here.