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 The 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.
As 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 Dee 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.
Doc 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.”
He 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.”