philosophy...
We love live jazz. We love recorded, edited and mixed live jazz programs even more. We love promoting live recorded, edited and mixed jazz programs and artists even more than that. We've even been known to get giddy about it. We don't even think what we do is work, even though we get paid to do it. We must be a little bit wacky, don't you think?

In our business, we strive to these strategic goals: to identify talented artists with whom to work; to apply our life-long experiences to the recording, editing, mixing, and mastering of our artists' musical output; and, to creatively prepare marketing materials, diligently promote our artists and their music, and grow loyal fans for them. Our business success metric is directly proportional to the career growth of our artists - we are interdependent.

We believe that there is a lot of great jazz jammed out there every day. But unfortunately, most goes unnoticed. Our aim is to capture it, enhance it, promote it, and distribute it. We pledge to be a dedicated team jamming behind the scenes of our Artists ensuring that their music is polished and available to music fans worldwide.

affordable...
You can certainly pay more for tracking, editing, mixing, mastering, publicity and promotion - a lot more. But we look at the life-time value of our relationship with an artist or label, not just an ad-hoc project rate. Call us classic, but we think that if we do a jam-up job for you while generating a fair return, you will keep coming back; and also tell your jammates about us.



pat patten
Early musical influences include The Beatles, The Allman Brothers Band, Steely Dan, Tower of Power, Gino Vanelli, Miles Davis, Chick Corea, Weather Report, and Yes.

Patten played keys (B3, piano, and synths) in club bands and original music groups from middle school (‘60s) through college (late ‘70s). During the early 1980 years of record-high interest rates, Patten, then a partner in a local music retail store, decided to hone a new skill-set. With distinction he completed the Recording Workshop work/study program and set about the southeast engineering and producing in dozens of recording studios with hundreds of unsigned and signed artists.

Traveling from Newnan GA to Nashville TN tracking and mixing many of today's country music stars and from Muscle Shoals to Memphis recording R&B with producer legends, Pat, in 1987, decided to build his own business. After engaging respected studio designer Steven Durr, construction for Commercial Sight & Sound (CSS) was underway. Patten, the sole proprietor, started servicing the needs of commercial and corporate clients in the West GA and East AL region, but kept his ears by mixing music -- it was the good ‘ole days of knobs, tape and razor blades, midi time-code chasing and sync-to-picture.

coe cloud

Coe, an Air Force brat grew up - well everywhere - New Mexico, Mississippi, Hawaii, Illinois, but spent most of her time in Hampton, VA. Pursuing a musical or visual profession wasn't really considered after receiving her associate of arts degree in electronics. But after attending literally hundreds of concerts - SRV, the Stones, the Who, the Kinks, the Boss, the Beach Boys, the Police, John Mellencamp, Bob Seager, Johnny Winter, CS&N, Neil Young, Ray Charles, Johnny Mathis, Elton John, John Prine (at least 7 times), Sting, Robert Cray, Supertramp, the Motels, Earl Klugh, and Yes just to name a few … plus enjoying and studying the classic films including Citizen Kane, Singing in the Rain, To Kill a Mockingbird, Who's Afraid of Virginia Wolfe?, Last Tango in Paris, A Streetcar Named Desire and Rear Window … in 1990 she took a leap of faith leaving the safety of her day job and moved south.

Through an artist-client introduction Patten and Cloud connected and formed a personal and professional relationship.

Coe joined CSS to handle event coordination and media management (planning and placement); and together they grew the Company into audio, video and multimedia departments. CSS even formed a boutique record label, Tikal Records.

The bleeding-edge decade of the 1990s roared into high gear after a significant multimedia opportunity from global corporate customer Interface Inc. Exploiting emerging CD-i technology from Philips, CSS was recognized as an industry-leader with award-winning multi-language, multi-national projects -- including one of the world's first full-screen, full-motion CD-i titles, a high-tech capital campaign for the Georgia Tech Center for the Arts (now the Ferst Center). Numerous commissions were also completed including 16mm film and original soundtrack projects for the Callaway and Morningstar Foundations.

The mid ‘90s brought CSS a new identity and image - Kinekom (moving communications), as well as new technologies -- the Internet and World Wide Web. Major web projects followed for worldwide organizations including VA-based IAAPA (International Association of Amusement Parks and Attractions) and the CA-based, The Center for Health Design.

After much debate in 1998, Kinekom wound-down its core business units (audio, video and multimedia) to focus solely on Internet software development. Mr. Patten led the company through a successful $2.1M private placement equity investment while Ms. Cloud managed the company's software development engineers to create Effinity, a web-based collaborative product and process. As Effinity V1.0 was ready for commercial availability the Internet bubble burst. The firm was unsuccessful in securing its mezzanine round of financing and shut-down its operations during the summer of 2000.

For the next four years (‘00-‘04), Cloud and Patten navigated the turbulent technology waters while redefining their future focus. Patten co-founded Politically-e Inc. where he continues to serve as Chief Technology Officer and SVP Memberservices. Politically-e Inc. is a software company whose web-based application helps political candidates and public officials better manage their campaigns and improve communications with their constituency. He also serves in a Chief Operational Officer capacity for PsyPractice Inc., an online mental health assessment company with patent-pending testing methodologies. Ms. Cloud produced customizable political advertisements (TV and Radio) through a joint venture under the Grayhill Productions banner. She also worked as 1st Assistant Camera on the 2003 feature production, A Circle on the Cross, and continues to service a select customer base where she provides website development, video Producer/Director skills, Final Cut Pro editing and DVD creative and technical services. In 2004 Coe programmed and authored the DVD Sandfloor Cathedral and the promotional trailer for Lee Johnson Music and Warner Brothers, Warner Music Vision Germany. Together Patten and Cloud, along with Lee Johnson and Paul Hammock, formed M-Cuts Music Publishing LLC, a music publishing and production service for film, television and cable.

January 2005 marked the couple's return to their music and picture storytelling roots. Their mantra: to become more active in the Indie film circuit, make many listening trips to jazz clubs in Manhattan and Atlanta, and grow Jammates LLC, the business boundary through which their creative expression will flow.

paul hammock

July 2005 - Paul Hammock reconnects with Patten and Cloud to resurrect the CSS project studio as well as offer location digital recording and wrap-around services. The trio will target the southeastern jazz and classical communities under the Jammates banner.

Paul brings a wealth of experience in studio production and live performance. He spent eight years as guitarist/songwriter for the rock band The Night Sharks. The band enjoyed a significant following across the South, performing an average of 250 shows per year and recording two albums of original material during his tenure. During this time, he was a partner in a demo production studio and performed assistant engineering duties in a number of studios in the Atlanta area, including Soundscape, Entertainment International, and Paul Davis' Webb 4 Studio.

As chief engineer at Kinekom, a CSS Company, from June '93 to April '97, he was responsible for all aspects of the digital media firm's audio production and post-production services. His role brought him in contact with a wide range of music, broadcast and corporate projects. Supervising, recording and editing 15 compact disc releases, documentary film & industrial video soundtracks, DVD/CD-ROM and CD-i projects, radio and TV commercials, meeting support and live event capture, Hammock offers the breadth of mind to compliment any recording project.

Pursuing audio's lifelong learning, Paul founded Hammock Audio Services in late 1997 and continued servicing the needs of his music, corporate and institutional customers. Recent milestone accomplishments include sessions at the famed Abbey Road Studios in London and a December 2004 Lee Johnson Music project with the Russian National Orchestra in Moscow.

Paul Hammock's 20+ years of onstage, Pro-Tools editing/mixing and Front of House (FOH) engineering/recording elevates him to a level not matched by many in today's musical marketplace. Paul has worked with notable Georgia jazz musicians including: Steve Cunningham, Jerry Fields, Bill Hatcher, Randy Hoexter, Adam Nitty, Sam Skelton, and Trey Wright; plus performed FOH duties with Blackberry Smoke, Brian Howe, Cab Calloway Orchestra, Clarence Carter, drivin' n' cryin', The Tams, Twista, and Wet Willie, and System Engineering for Cornbread, Doug Stone and Dickey Betts to name a few.

jammates © 2005-2007