Project Details
Project Description

I first met Clark when his band was playing at The White Dot on Ponce de Leon Boulevard in 1987. A long-time friend and bandmate of his, Marc Hoffman, was the bass player and I was in another music group with Marc. Within a few months, after blue wall was up and running, Clark was there to help test-drive our new setup. At that time, I had no idea just how prolific he was as an artist, musician and songwriter - he was always painting, writing or producing some band or project. I had the pleasure of playing drums for him in a version of Code Blue, and later, when Clark got the call to produce the subdudes record, Primitive Street, in New Orleans, he hired me to do the horn and string arrangements. And while they were recording the album, the chief engineer was called away for about a week. Without losing a beat, Clark called me to engineer for a few days in New Orleans. I remember the studio was in a Masonic Temple, and the control was outfitted with an API desk with a Neve sidecar. If memory serves, Tori Amos was recording some tracks for latest project in the same studio, just before the subdudes sessions. When I got to town, Clark insisted we stay at his mom's home in New Orleans - he had an easy way about him. For me, it was the feeling of family. I left Atlanta for good in 1997, and saw him again in 2000, in New Orleans, for Marc Hoffman's wedding. It was as if we had come full circle, thinking back on that night in 1987 when Marc introduced us. When I heard that he had become quite ill, I spoke with him on the phone a few times. Despite his advanced state of decline, he was witty and as funny as ever, seemingly without fear or dismay - he had accepted that this was his time. He was a true creative, and his work lives on, and I, for one, am grateful for this, and for sharing in this life with him.