Many record labels, producers, musicians, vocal groups, bands and other industry
professionals are familiar with Dennis?ability to work out memorable
harmonies, create and structure rhythm parts, string and horn arrangements and
seamlessly pull whole sections together while solving musical puzzles on the
spot. All this while staying on schedule and within the given budget. The
nickname "Doc" soon caught on as he displayed an almost
surgical skill at enhancing or fixing almost anything musical.
Take a look at his Discography and listen
to some examples of his work on the Artist Sampler
page and get a better idea of the kind of product Doc delivers.
Some of the artists he has worked with include
O'Jays, Patti LaBelle, Teddy Pendergrass, Back Street Boys, Phyllis Hyman,
Gerald Levert, The Temptations, Stephanie Mills, Jean Carne, Tisha
Campbell-Martin, Hinton Battle, and many more.
a young musician,
still in high school, and not yet known as "Doc,"
Dennis relied on older musicians he worked with to shuttle him and his Fender
Rhodes electric piano to and from gigs in the New York City area. He worked with established groups such as The
Chambers Brothers, Joey
and the Starliters (of
"Peppermint Twist" fame), The Jewel Page Revue, and
CBS Records' Duke Washington's All Stars, to name a few.
While still developing in the study of formal music, theory, and
composition, he began writing and arranging rhythm section, horn, and string
charts for many of these acts. He
became more and more in demand among the vocal groups and bands in the city.
He later teamed up with veteran singer, Doug McClure of The Flamingos
to become keyboardist/vocalist/music director of the seven-piece horn band Abaco
Dream. Signing with A & M Records, the group released "Life
& Death In G & A," which went top ten and finished in
Billboard Magazine's Top 100 for the year 1969. From that point, Doc's
remarkable professional career took flight as musician, arranger and producer.
Performing on stage with The O'Jays
says, "in today's competitive music market, you MUST be willing and able
to deliver the best sounding, commercially viable product your budget can
afford. Examine the QUALITY of the music you hear on radio or television.
Don't confuse this with the type or style of music, but COMPARE the
musicality, structure, sonic quality, etc. of that material with YOURS.
If you need to bump up your product to the next grade, or take it to
the next level, I am confident I can help take you there."
concludes with, "record labels are spending less money while expecting
more from the production. The
fact that I have worked closely with many labels in the area of production,
arranging, and artist development, means you can take advantage of this
ability and information all under one roof. It's kind of like one-stop
shopping. Call or e-mail
me and let's see where we can begin."
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