James Raymond
An accomplished songwriter and composer, James was Musical Director for the hit Nickelodeon series "Roundhouse" for all three successful seasons, writing an original song for each episode, and receiving two nominations for a Cable Ace Award. James has written and produced for several projects, including three television spots for the prestigious New York ad agency Satchii & Satchii as well as three national AT&T spots. Television arrangements include work for CBS's, "The Client" and "L.A. Doctors", additional music for 1997 Warner Brothers pilot "Justice League of America" and HBO's "The Sender". In the spring of 1998, he scored the CBS pilot, "To Have and To Hold", which landed him the series. James scored the second season of the WB series, "Jack & Jill" and produced the main title theme. Most recently, James scored the short film “Great Lengths” which is getting recognition at several film festivals.
A Few Words with James Raymond
Maybe you could start by telling us a bit about your background, how did you get into making music?
I was drawn to music at a very young age. My adoptive parents knew that my biological parents were in the arts and were keen enough to push me in that direction and expose me to a lot of music. I started piano lessons when I was seven and continued studying classical music until I was sixteen. By that time I was completely into rock & roll, listening to a lot of Beatles, Elton, Stevie, Three Dog Night, all kinds of stuff, and learning their songs and writing some of my own.
What projects have you been working on recently?
I've had a great year so far... I wrote 4 songs and played keyboards on a new record from David Crosby and Graham Nash (it's titled "Crosby/Nash"!) That was a great experience working with them and the other fine musicians: Russel Kunkel, Leland Sklar, Dean Parks, and Jeff Pevar. It was produced, recorded and mixed by Nathaniel Kunkel, a fantastic talent. I scored a short film "Great Lengths" that was written and directed by a talented USC film school grad. I'm producing and writing for some young artists that I hope to get record deals for and working on a solo project that falls somewhere in the 'electronica' genre I think.
How did you get involved with Crosby and Nash?
I mentioned earlier that I was an adopted child... When I turned thirty I decided to look for my birth parents. In the course of that whole journey I found out that David Crosby was my biological dad. It was quite a shock but at the same time explained why music was such a powerful force in my life. We ended up meeting and becoming great friends and out of that we started playing music together. We formed a band with guitarist Jeff Pevar (CPR) and have recorded two studio and two live albums together. Through David I met Graham and was eventually asked to tour with him in support of his solo album release last year. I love working with both of those guys because aside from being legends, they are just beautiful people to be around and learn from. Now I get to work with Stephen Stills as well so I feel like I've won the trifecta!
In terms of performance, sound quality and playability, do you think that virtual instruments are getting there?
I feel that virtual instruments have reached a point where they can stand up to just about any "real" synthesizer. I have a "boneyard" in my back room with synth modules literally stacked to the ceiling. I just don't need them as much because of all the great virtual synths out there. A good example is that during the making of the Crosby/Nash album, a tune that I co-wrote with Nash and Kunkel called "Don't Dig Here" required a Wurlitzer electric piano part. We had a nice Wurly in the studio, but I couldn't get it to speak in the track quite right. So I pulled up Lounge Lizard on my laptop and within ten minutes I had exactly the right sound for the song.
What do you consider to be the most challenging aspect of your job?
The most challenging part of doing what I do is keeping up with technology and finding ways to incorporate new instruments and tools into my art. Also keeping the playing chops fresh and the most challenging of all: writing a good song!
Finally, what's coming up next for you?
This summer I will be touring with Crosby Stills & Nash on a US tour. On my days off I'll be working in my hotel room/recording studio on a variety of projects including my solo project and another film score for a young up and coming filmmaker. And you can bet that I'll be giving Tassman and Lounge Lizard a work out!