University of Northern Colorado and at the age of 36 has already achieved more than most musicians ever dream of. Although Rahn had been producing and programming tracks for other artists since the mid nineties it was his work on Wayman Tisdale’s 2004 #1 single, ‘Ain’t No Stopping Us Now’ that really brought him to the forefront of the music industry. The relationships that Rahn established while working with Tisdale and an assortment of other smooth jazz heavy hitters proved pivotal in launching his solo career. In fact his move from the console to the stage was seamless and in 2006 Rahn shared top billing in Catalina along-side Brian Culbertson. Since then he has toured with Tim Bowman and played with headlining acts such as Wayman Tisdale, Eric Darius, Kim Waters and Greg Karukus. In 2007, Rahn signed with nu-Groove Records and released his debut CD, ‘Once in a Lifetime.
Integrating a solo career with his work as a producer is something that Rahn juggles with ease. He quickly learned from his mentors the necessity of separating artistic desires from production goals. .As Rahn himself explains “I learned from Wayman Tisdale about what he calls, ‘staying in your lane’. Knowing when to stay in your lane has been a key to my success.”
As a producer, the Billboard credits to his name are many. Current projects include Wayman Tisdale’s top 10 rated ‘Throwin’ It Down’, ‘Life in the Fast Lane’ by Dave Koz, ‘Goin’ All Out’ from Eric Darius and the excellent ‘Third Wind’ by Bob Baldwin. Part of Rahn’s skill is the way he specializes in integrating familiar sounds with new ideas. Some of his work with Dave Koz and Eric Darius, or on the Wayman Tisdale single ‘Throwin’ It Down’, perfectly exemplifies how he draws on vintage elements while still pushing the music forward into new and exciting areas. When working on covers the last thing on Rahn’s mind is to have them sound like old remakes and, although paying homage to the original, he also bestows a funky, modern edge. “I balance it pretty well” says Rahn. “When I’m in the studio, I usually let the ‘producer’ take the lead. I’m almost always in producer mode and making sure that what is being played serves the song best.,” For instance, the arrangements for Tisdale’s albums ‘Way Up’ and ‘Rebound’ are replete with solid, contemporary mixes while for much of the new Eric Darius album, ‘Goin’ All Out’, Rahn has opted for an R&B tinged edge.
However, Rahn is quick to admit that playing the saxophone was his first love. “I was an artist before I was a producer. The producer thing just kind of happened,” comments Rahn. “Long before I was doing what I do now, I was playing the saxophone”. Rahn believes that in order to be a successful performer, it is not only important to be original in the creative process but also to pay close attention to the connection with the listening audience. As he says, “Music is not just for me. If a song was just for me, then I really don’t see the point of recording it on an album. The reason for my playing is to reach out and share with people and I want to take what is in my heart and really connect with the audience. I hope the music I do offer brings people happiness and is a positive force. I’m not the kind of guy that wants to sit around and do dark music. I want to do music that touches people and gives them a lift.”
When writing new music, Rahn stays up-to-date on industry trends but doesn’t try to write specifically to fit the radio format. “I’m aware of what’s working in the music industry”, he observes, “but I don’t write my material based on that. The majority of it is what is in my heart. Whatever is moving me at that moment is what dictates what happened. “I let my heart lead the way but I also use what I’ve gleaned from the industry. The trick is to make sure all of that is done to best serve the art.”
Although he continues to break new ground and redefine the landscape of contemporary jazz, Rahn does not consider himself a pioneer. “There are many great pioneers in this genre that have come before me” he reasons. “I’ve certainly learned from them. I have no doubt guys like Jeff Lorber, Grover Washington, Jr. and David Sanborn have been pioneers. There are a lot of changes in the industry right now and I’m part of those changes, but I certainly wouldn’t consider myself a pioneer. I’m not pretentious or presumptuous about what I’ve done or am going to do. I’m just happy about doing what I love.”
We are all aware that these are perilous times for smooth jazz. Whether history marks Rahn as a pioneer remains to be seen. Sometimes it is the diligence and strength of one voice that can make all the difference.