Daniel Mylotte is a guitar player, singer, songwriter, and producer from Buffalo, New York. Curriculum Vita click here.
In the past I’ve:
Performed in front of audiences ranging in size from one to ten thousand, on at least five different instruments. Composed music as a staff producer for CMH Records, KAP Music, ieMorrison, Digital Juice, and have compositions featured in music libraries around the world under such names as DaniMyl, MasterWorks Recording, mwstudio, and Parkside Music. Produced tracks for artists across the U.S. Taught hundreds and hundreds of students on many instruments. Recipient of a John Lennon Songwriting Award, the Berklee Professional Music Award, and numerous scholarships.
I recently took a couple years off from gigging and have been letting some ideas for bands and projects simmer on the back burner. I found I love photography so I’ve been studying that a bit. My son and I are working up a set of tunes to go out and play acoustically. A few years ago I bought a beat up old house and have been throwing countless hours and dollars into restoring it.
Berklee College of Music 1997-2000 – hot damn I even graduated! summa cum laude – so there. Many important figures there but some names stick out. Tomo Fujita (guitar, student of Joe Pass) made me learn the whole instrument over again the right way. Forever indebted to you Tomo. Brett Willmott (guitar) – I mean he was Pat Metheny’s teacher so yeah. Great guy all around. Luciana Souza (voice, music of Brazil) – even if it hadn’t been for all the wonderful things I learned from Luciana, she turned me on to Hermeto (who she sang for!) so that’s worth a big shout out. Donny Nolan (jazz arranging) – possibly the single best music educator I ever met and a great human being. John Aldrich (songwriting) – one of a kind human being and musicology encyclopedia – go look him up. Joe Galeota (drums) – a ray of light – without rhythm there’s nothing. Ted Pease (jazz composition) – Ted once said of my work (I was still writing primarily jazz then), “your writing has a quirkiness to it that is really quite original.” Considering that you taught some of the late 20th century’s great jazz writers I’m going to take that as a complement, Ted.
SUNY Fredonia 1995-1996 – Jim Piorkowski (classical guitar, student of Eli Kassner) – even though i was not cut out for classical guitar and didn’t care much about it, Jim will go down as one of my most influential teachers because he taught me the proper way to practice. Don Bohlen (composition, student of Milton Babbit) – oh man Dr. Bohlen was a nut but also brilliant in that disaffected hyper-academic kind of way. I absolutely hated his style of composition (and often his teaching style, too) but the man knew a staggering amount about music. I once aced his obscenely difficult composition final and he ragged on the class and said “you better watch out for these rock guys.” I still have that test somewhere and I probably couldn’t decipher any of it now. Maybe I’ll scan it in someday. Dr. Bohlen told a story once about his teacher’s teacher, the Paris luminary Nadia Boulanger. She said Gershwin went to study with her in Paris because he felt like a charlatan and she said “I’m the one who should be taking lessons from you!” She taught him anyway.
I was always breaking my nails or freezing up during classical recitals and I just had no idea why I was doing it. My boss Dr. Russo at my summer internship in a bio-med lab at UB brought in this article about Berklee one day and made me read it. I enrolled a few weeks later.
University of Miami 1994 – I tried to be an audio engineer but at least we got Ron Revog out of the deal.
The Erie County Wind Ensemble directed by John Maguda – saxophone
The Canisius College Jazz Band directed by Pete Ciraolo – saxophone
early private studies with Tony Scozzaro, John Maguda, Paul Furlong, Pat Georger
summer programs at Eastman School of Music (Gene Bertoncini) and Colgate University