TIM DAVIES

TIM DAVIES Tim Davies is not your average composer and drummer. While he is classically trained in composition and percussion, the LA based Australian is just as at home writing for a big band, playing drums in a rock band or conducting a symphony orchestra. Imagine Oliver Nelson gets drunk with John Bonham listening to Prokofiev. While claims like this are made by many people, Davies backs it up with his ever building list of credits. Ever since he was given a cassette of Australia’s Daly Wilson Big Band at age 12, Tim Davies had the dream to write for and play drums in his own big band. That goal was realized in 1998 when he formed his first big band in Melbourne, Australia. Although it only had a short run before Davies moved to the States the band made quite an impact. Since 2000 Davies has led a big band in Los Angeles featuring top session and touring players. The band's first record, Epic, was released in 2003 and a new album is nearing completion. Since 1999 Davies' compositional output has been predominantly big band music. Grounded in the traditional, his music adds elements of rock, metal and hip hop, creating a blend that is truly unique. Davies' big band music is now played all over and often recorded and broadcast. He is often commissioned, most recently by the Australian Army to celebrate the 40th anniversary of the Band Corps. He has been a guest artist with bands in Australia, Europe and the USA and often returns home to perform with his Australian band. When not writing for or leading the band, Davies has found his niche working as an arranger, orchestrator and conductor in Hollywood. His first break came after a lesson with band leader and arranger John Clayton. Clayton invited Davies to assist him for his 3 years as the Director of Jazz at the Hollywood Bowl. In his time with Clayton Davies did orchestrations and transcriptions for the who's who of the jazz world. Artists included Jimmy Smith, Dave Brubeck, Nancy Wilson, Ray Brown, Oscar Peterson and Take 6. He also did transcriptions and arrangements for tributes to Johnny Mandel, Neal Hefti and Quincy Jones and worked on albums for Natalie Cole, Diana Krall and Michael Buble. In the years since, Davies has gone on to arrange and orchestrate for many records and live concerts featuring Joan Osborn, Rachel York, Jim Bianco, Colin Hay, Tunde Baiyewu, Jamie Cullum, Queen Latifah, Sarah Bareilles, Salaam Remi and American Idol. In addition to his jazz work, a large part of his time is spent orchestrating music for Film and Television. Known for his string writing, he is often commissioned to write textural/ambient music for which he has coined the term Symphonic Sound Design. Examples of this can be heard in the scores to Resistance 2 (VG), InFamous (VG), When a Stranger Calls (film) and Prototype (VG). Recent orchestration highlights include When A Stranger Calls and the TV show Pushing Daisies for composer James Dooley, the TV show Invasion for composers Jon Ehrlich and Jason Derlatka, The Simpson's Movie for Hans Zimmer, The Pathfinder for Jonathan Elias, Death Race for Paul Haslinger and Australia for David Hirschfelder. Davies skills are also in demand in the relatively new world of orchestral scores for video games. Recent credits include The Simpsons Game for Hans Zimmer and James Dooley, SOCOM 3, SOCOM CA and Monsters Vs Aliens for James Dooley, God of War 2 for Cris Velasco, Mike Reagan, Gerard Marino and Ron Fish and Haze, Beowulf, Clive Barker's Jericho, Prototype and GI Joe for Cris Velasco and Sascha Dikiciyan. Davies has also contributed arrangements for the touring productions Video Games Live and Play!. Recently Davies has become in demand as a conductor. He has conducted most of the above mentioned film, TV and game projects along with many sessions for other movies, games and albums including projects for Steve Jablonsky (The Sims and Gears of War 2), Tim Wynn (Red Alert 3), Latin superstar Luis Miguel, Sara Bareilles, David Archuleta and actress/singer Emmy Rossum. Davies endorses Pearl Drums and Sabian Cymbals..

"Tim Davies' writing for big band reflects a complete understanding of styles and moods. He uses the orchestra well to express the many influences he has, which range from his Australian roots to America's jazz. I am thrilled to witness today the growth of this emerging young leader of tomorrow's music." John Clayton