Craig Sharmat

Staking a claim in one creative quadrant would be enough for most musicians, but Craig Sharmat has managed to succeed both as an artist and as a composer of commercial production music. A gifted guitarist, Sharmat’s latest single, “A Day in Paris,” is currently nestled in the Top Ten of Billboard’s Contemporary Jazz chart. His work in a wide range of styles (head to scoredog.tv for a taste) has been featured on The Real Housewives of New Jersey,  America’s Most Wanted, and countless other television shows. His library tracks are heard worldwide. Sharmat is also one of the select composers who helped elevate orchestral emulation to a high art. We spoke earlier this week.

Gary Eskow: Given the wide range of styles you work in, do you ever feel like you’re bursting at the seams?

Craig Sharmat: Actually, I often find it a relief. If I’ve been writing jazz all week, I can’t wait to get back to one of my crime shows or whatever else might be requested.

GE: Growing up, who were your major influences? I hear echoes of John McLaughlin.

CS: I love McLaughlin but never felt I had the facility to play like he does, so I gravitated toward players who felt more accessible. I don’t believe there’s a “best” of anything; motivation comes from many great players. I found those who fit where I thought I could go-George Benson, Larry Carlton, Robben Ford, and Pat Metheny, to name a few.

GE: Is there a common thread in the music you write? If so, how would you describe your musical personality?

CS: There may be a common thread, but if it’s there, it’s the result of habit-what I naturally hear. It’s not something I consciously aim for. In fact, it’s almost the opposite; if I’ve said something before, I try not to say it again.

GE: Do you continue to study? If so, what are you studying now?

CS: I always try to improve. I listen to many scores, study whatever’s available, and learn from other composers. I also teach Spud Murphy’s EIS method, which keeps me constantly thinking about theory and possibilities I may have left dormant.

GE: Any new toys in your studio in recent years? And what software do you rely on? Give us a quick tour of your project setup.

CS: I recently bought a harp guitar-which is way cool-and the new Fractal Axe-FX guitar processor (I had the previous version, too). I’ve been running Logic for many years. I have four computers: a 12-core Mac Pro as my main machine, two PCs that I power up when I need extra sounds and don’t want to overload the Mac, and a MacBook Pro for when I’m on the road and want to take a setup with me.

GE: Do you often work in other studios?

CS: Not often. I work at Ocean Way in Nashville when recording real orchestra for Warner Chappell. Most musicians I know have their own studios, so if I need a player, I usually just send files and we communicate from there.

GE: Do you have a “stable” of musicians and singers you regularly work with?

CS: I do, though not many singers-my work doesn’t require them very often.

GE: How would you describe the current state of the music industry-both the record side and commercial production music?

CS: I work in my own bubble, so I can only speak to what I’m involved in. Other jazz artists tell me their income has taken a serious hit in recent years. That may be partly because many radio stations have pulled away from smooth and traditional jazz formats. I hear complaints on the production music side as well, though I have many friends who are doing well. Personally, I have no complaints. It seems there are more jobs than ever before, but fewer high-end ones. Cable TV has cut into the bigger budgets because people don’t watch the major networks as much as they used to. But cable has also created a huge industry for other kinds of music. If you ask my opinion-and it seems you have!-more people are able to make a living now, which is better than having just a few receive more.

GE: Have you checked out services like Topspin and Nimbit? Do you plan to sell your material directly, or are you staying with a label?

CS: I’m signed to a small independent label, Innervision Records.

GE: Tell us a bit about “A Day in Paris.” When did you write it? Where did you record it? Who are the players?

CS: I’d been producing Gypsy Jazz tracks for a library-and for myself-for years. One day I thought, “Why not record a hybrid smooth-jazz track for commercial release?” I hadn’t heard a track that really captured the Gypsy Jazz feel and incorporated an R&B sensibility. I wrote the song early in 2012 and hired Rayford Griffin for drums, Benedikt Brydern (currently touring with Yanni) on violin, and Peter White-the smooth-jazz guitar icon-to play accordion. He did a great job.

As of today, “A Day in Paris” has landed in the Top Ten of Billboard’s Contemporary Jazz chart. I might as well promote my upcoming album Bleu Horizons, which will include the single. I’m hoping to release the album later this year, though the holidays may push it into early 2013.

GE: Anything else we should know about Craig Sharmat?

CS: That’s more than I usually say, so I guess not! I’m glad I chose music as my profession. If you’re dedicated, you can make a career in this business—and I can’t imagine a better way to make a living.

Appeared in Mix, August 2012