- Career Highlights
- Band leader of the Sheryl Bailey Three, featuring drummer Ian Froman and organist Gary Versace
- Performances with Howard Alden, Rob Bargad, Richard Bona, Irene Cara, KJ Denhert, Dena Derose, George Garzone, Gary Grainger, Jazz Guitars Meet Hendrix, David Krakauer, John Pisano, Gary Thomas, and Jack Wilkins
- Recordings include solo albums A New Promise, Live in NYC, Live @ the Fat Cat, The Power of Three, Bull's Eye!, Reunion of Souls, and Little Misunderstood; and Bubbemeises, Krakauer Live in Krakow (David Krakauer), Munia: The Tale (Richard Bona), and Destiny (Gary Portnoy)
- Featured in Just Jazz Guitar (February 2003) and Guitar Player magazine (August 1999)
- Finalist, 1995 Thelonious Monk Competition
- B.M., Berklee College of Music
In Their Own Words
"I came from a family of professional musicians and we all had to study the piano. Maybe it was because I was rebellious, but I wanted to play the guitar instead of the piano. I think it was because you could play rock music on the guitar. So I had studied piano and trumpet as a kid, but when I got the guitar, that's when I got really serious about music."
"[The guitar] is loud. It's a contemporary instrument. The electric guitar, which is mostly what I play, to me it's a contemporary sound. It's a voice, and it seemed like the voice that expressed me the best. There are so many things you can do with the guitar, whether you want to play straight jazz, or you want to be a singer songwriter, or a composer, or a film scorer. You can get a good background in harmony, melody, and rhythm from studying guitar. It's in many ways a complete instrument."
"I try to make my teaching as practical and as based in the real world as possible. Because I do perform and I tour a lot, and record, I try to bring that experience to my students, to tell them this is what you really need to know to go out there and do it, and be successful."
"The ideals of being professional—being prepared, being on time, having a good attitude, being someone who's friendly and easy to work with—sometimes is as important about getting the gig as anything. Because there are so many great players, the more that you're prepared and the more that you're a good person to work with, you're going to move to the top of the list of people to call."
"For me, what's important is that the material that we're dealing with in class is practical to what a real musician has to deal with. It's about developing the skills that you're really going to need to make you successful. Those are the skills that I learned at Berklee, too. I think that's what's awesome about Berklee: You get to study with people who are really out there doing it, and to learn from that experience."