Daily Inspiration: Meet Gavin Templeton

Today we’d like to introduce you to Gavin Templeton

Gavin, we appreciate you taking the time to share your story with us today. Where does your story begin?
In monumentally broad brush strokes, here’s my backstory.
Music has been central to my life since I picked up the saxophone at eleven. Thanks to my teacher, Frank Perry, I discovered jazz—a refuge during my adolescence and a way to navigate both growing up and the challenges at home, including my older sibling’s struggle with addiction. I often escaped into the music of Charlie Parker, who’s playing spoke to me in a way nothing else did. His tune “Parker’s Mood” was one that especially resonated with me—it was raw, eloquent, and emotionally honest. That kind of storytelling through music inspired me.
I loved playing Jazz as it allowed me to improvise. The concept of making up melodies in real time was a mind blowing revelation. Growing up in Reno, NV, I was fortunate to hone these skills on stage alongside seasoned musicians in nightclubs and casino showrooms. In truth, I was probably too inexperienced for those gigs, but a handful of older musicians saw potential in a young kid eager to learn. They gave me the space to grow. At fifteen, I played my first professional gig, sharing the stage with musicians old enough to be my grandparents. Despite the age difference, they were incredibly kind, patient, and enthusiastic about mentoring the next generation of jazz players.
Eventually, I began applying the music theory I learned through my jazz studies to my own compositions—though my writing wasn’t limited to jazz. In high school and college, I played in rock and funk bands, writing horn arrangements and original tunes. Hearing my compositions come to life through other musicians was incredible, like watching my imagination take shape in real time. That’s when I caught the composition bug.
I moved to Southern California what feels like a lifetime ago to attend grad school at CalArts. Since graduating, I’ve made Los Angeles my home, navigating an artistic journey full of twists and turns. For much of my career, I focused on live performance while also spending significant time in the studio playing on commercial projects. But a few years ago, my path took an unexpected turn—I found myself scoring music for film
In 2013, I flew back east to play on a recording session for Nels Cline in Hoboken, NJ. A woman by the name of Mimi Chakarova was there doing videography for the album. She had a quiet intensity about her, and I was curious to know what her story was. We were basically the only people on the gig that weren’t from NYC, so while everyone went home for the evening we stayed in Hoboken, hung out, and got to know each other.
I learned she was an investigative photojournalist and documentary filmmaker, taking on the videography gig as a side hustle. Without knowing much about her work, I casually told her that if she ever needed music for a future film, I’d be happy to contribute. It wasn’t until after we parted ways that I googled her—and was floored. Her journalism was extraordinary, and her list of accolades was very impressive. Had I realized just how accomplished she was, I might not have been so bold in offering to score one of her films.
Years passed, and in 2019, out of the blue, she reached out—she had a film that needed music. It was a collaboration with Time magazine photojournalist Robert Nickelsberg, and I immediately said, “That sounds amazing!” Since then, we’ve worked on eleven films together. In 2023, I was honored with a Septimius Award nomination for Best Soundtrack for my work on “The Block”, and our latest feature, “In the Red”, premiered at the Santa Barbara International Film Festival in February 2025. Now, I’m scoring her next project, “The Zoo”. Working with her has been incredible, and it has also led to other film scoring opportunities, allowing me to work on documentaries, narratives, and animations with other filmmakers.
Ironically, my initial naivety—my lack of intimidation—paved the way for a close collaboration with an incredible filmmaker who has also become a dear friend. It’s a powerful reminder that we never truly know who’s in the room. Someone could be listening, watching—someone who might change the course of our artistic journey or even our lives.

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
I think one of the biggest obstacles has been the unpredictability of work. When I’m not working, I’m not making money. It would be great to live off a single revenue stream, but the reality of being a musician is that we need multiple sources of income to make a living. Most of us have to wear many different hats, and that hustle can be exhausting—both physically and mentally.

Alright, so let’s switch gears a bit and talk business. What should we know about your work?
As a musician, I see myself as something of a Swiss Army knife—I show up and play whatever the gig demands. One gig could be straight-ahead jazz; another, it’s modern opera, hip-hop, or a John Williams score for a summer blockbuster. I aim to be as versatile as possible, though I’m especially drawn to projects that embrace the abstract and adventurous.

For years, I played in Vinny Golia’s sextet, performing his wild yet brilliant music. His written melodies are incredibly challenging, but when it comes to improvisation, it’s completely free—no chord changes, no rigid forms, just pure vibe. That freedom presents its own challenge, but it’s one I love. He has had a profound influence on me. Another musician I love performing with is Dan Rosenboom, a fellow Vinny Golia disciple. His music is intensely demanding, but always a thrill to play.

As a film composer, I may be among a few performing musicians who actively plays improvisational avant-garde music yet will turn around and compose a traditional orchestral score when needed. Romantic Classical music is probably the last thing that comes to mind when someone hears me wailing away, but I absolutely do it—go figure! Like my playing, I value versatility. My diverse musical background allows me to create everything from elegant, classical film scores to bold and adventurous soundscapes. To me, keeping an open mind is essential as an artist. I have a deep appreciation for all kinds of music—honestly, I’ve never encountered a genre I didn’t like. I’ve heard music performed poorly, but never a bad genre.

We’d be interested to hear your thoughts on luck and what role, if any, you feel it’s played for you?
I consider myself incredibly lucky in many ways—just living in Los Angeles feels like a win. This city is amazing, from its beaches and mountains to its vibrant culture and endless opportunities. It’s a place that constantly inspires me, keeping me focused and motivated.

I’m fortunate to be playing and composing music, especially alongside some of my closest friends, who also happen to be my collaborators. They’re all doing incredible things, and I feel fortunate to be part of that creative journey.

Some of the documentary films I’ve worked on have made a real-world impact—from influencing policy changes that benefit those unfairly treated to highlighting programs that help at-risk youth become firefighters, providing many other communities with a model they can follow. I feel incredibly fortunate to be part of something greater than myself.

And of course, my family. I can’t even begin to say how fortunate I am. I have an amazingly supportive wife. My children are so freaking smart, talented, and beautiful. I can’t even put into words how incredible they are. I’m also blessed with wonderful parents, who have always been super supportive, and even my in-laws are fantastic! I am truly lucky and don’t take any of it for granted.

Contact Info:

• Website: https://gavintempletonmusic.com

Image Credits
Aubre Hill, SBIFF Press Office, Eron Rauch, Brian Bixby, Dan Rosenboom