Inside the Mind of a Musical Master | Jason Hausman’s Award-Winning Commercial Scores

Greazy Keyz: Welcome to another episode of Local Music Somewhere at rBeatz. I’m your host, Greazy Keyz, and we have an incredible episode lined up today with my good friend Jason Hausman. Welcome to the studio, Jason.

Jason Hausman: Thanks, brother.

Greazy Keyz: Awesome! For those who don’t know, Jason Hausman is a composer for film and television based in Charlotte. With over 20 years at Studio Hotsaki, he has created award-winning music and sound design for clients ranging from NASA to PBS to Sony Pictures. But let’s start with some background. Jason, how did you get started in the music industry, especially here in Charlotte?

Jason: Well, I began as a visual artist. My mom was an art teacher, and I was supposed to go that route. She was a bit disappointed when I discovered the Beatles and decided to pursue music instead. I started playing violin in fifth grade, switched to percussion and drums in seventh grade, and played drums throughout college while dabbling in classical composition at UNCG. Eventually, I began performing as a drummer and was a singing drummer.

While at UNCG, after my first year, a guy named David Stokes approached me and said, “If you ever start a band, I want to be your drummer.” I thought, “Wait, what?” He insisted I needed to be upfront, saying, “I’m a better drummer than you.” So, he encouraged me to get a guitar that summer, and I did. I ended up starting a band called Blue Mongoose with David and two others, Brooks Smith and Shane Lee. We played a lot of frat parties and gigs at Ziggy’s back when it was just a house.

We even opened for big acts and did a short stint with Herbie Mann in Florida. It was a blast, and I still think I was a better player back then, maybe because I didn’t know any better. Eventually, I started playing solo under names like Jason Hausman Syndicate and Jason Hausman and Shall of Sea.

I was in Georgia playing a gig with Chris Cooper when my wife, Jen, called me in ’99. She said a girl had quit at a recording studio, and although she was just answering phones, Jen suggested I check it out. I interviewed, got the job, and it was a great studio that worked on big projects like commercials and films. I quickly moved up to operations manager and then GM within a year. After almost five years there, I decided to start Hotsaki, and within a week of setting up my studio, I was working. It was scary but exciting.

Greazy Keyz: That’s amazing! I’ve always regarded you as a trailblazer in our community and the industry, especially in film scoring. A lot of people don’t realize we have a vibrant music scene right here in Charlotte.

Jason: Absolutely. And while I was doing film scoring, I also began working on art installations. Recently, I collaborated with Blumenthal Performing Arts.

Greazy Keyz: Let’s talk about that. You worked on an installation called “Man.” How did that come about?

Jason: In 2022, Tom Gabbard at Blumenthal reached out to me after Matt and Tim from Creator Mornings recommended me. They wanted a long-form piece of music for an installation by an artist named Manfred P. It was for the International Arts Festival in Ballantyne. I composed a 30-minute piece and collaborated with my friend Darryl Monteith on piano.

Greazy Keyz: So did you have the subject matter beforehand?

Jason: Yes, they had the installation concept ready. My inspiration came from the art itself and what it means to humanity. I often take time to reflect and develop ideas before I start writing. I prefer to find inspiration outside of traditional writing, like in the shower or driving, and I usually record melodies into my phone.

(excerpt from “Song for Man” plays)

Greazy Keyz: Powerful stuff! The entire composition is around 30 minutes, and it encourages reflection. It’s perfect for meditation.

Jason: Exactly! They even host yoga classes in front of the installation.

Greazy Keyz: You also worked on other pieces like “Sky of Bubbles” and “Gaia.” Can you share about those?

Jason: Sure! “Sky of Bubbles” features iridescent installations by Atelier Cisou. I created a vibrant soundscape with vocalizations from Emily Sage, which really captured the essence of childhood wonder.

(excerpt from “Sky of Bubbles” plays)

Greazy Keyz: Incredible! And what about “Gaia”?

Jason: “Gaia” is a giant globe installation that offers a unique perspective of Earth. It’s currently at Bloom Studios, and the music for it is about 36 minutes long.

(excerpt from “Gaia” plays)

Greazy Keyz: Sounds amazing! You have a live performance coming up, don’t you?

Jason: Yes, it’s a rare event for me. I usually play once a year. I’ll be performing at Blumenthal’s Stage Door Theater on October 11th, with an incredible band.

Greazy Keyz: Can you share who will be playing with you?

Jason: Of course! Darryl Monteith will be back on piano, along with Troy Kahn on guitar, Ron Brendel on bass, Al Sergal on drums, and Joseph Queesol on backup vocals.

Greazy Keyz: That sounds like an incredible lineup! Where can folks find tickets?

Jason: Tickets should be available on the Blumenthal website and will also be linked through ourbeets.com.

Greazy Keyz: Thank you so much for joining us today, Jason! Looking forward to your performance!

Jason: Thanks, brother!

Greazy Keyz: This has been Local Music Somewhere at dev.rbeatz.com. Take it easy, and we’ll see you next time.