John Mark Painter (born c. 1967) is an American musician and songwriter. He is best known for his role, with his wife, singer Fleming McWilliams, in the rock and roll duo, Fleming and John.
Painter grew up in Miami, and began playing trumpet, saxophone, bass, guitar and piano by age 11.
Painter met McWilliams while attending Belmont College in Nashville, and immediately began collaborating on songs. While pursuing a record contract, Painter began playing is studio sessions for artists like Indigo Girls, Nanci Griffith and Jewel (singer).
Fleming and John released its first album, Delusions of Grandeur, in 1995 for independent label R.E.X. Records, then Universal Records. Their second album, The Way We Are in 1999 notably showcased Painter's skills as arranger and as instrumentalist on a panoply of uncommon instruments.
Painter continues to work heavily in the Nashville area as a studio musician, performing on albums by Carolyn Arends, Ben Folds Five, Fear of Pop, Owsley, Rich Creamy Paint (Rich Painter, who is John Mark Painter's nephew), Sixpence None the Richer, Gabe Dixon Band, Sevendust, Jon Foreman, Frally Folds and others.
Also producing artist such as Shapiro, Pantana, and Alva Leigh for Dweeb Records at IHOF Studio.
Painter was the composer for the 2005 animated film "Hoodwinked", the 2006 film "The Second Chance" starring Michael W. Smith, and the VeggieTales DVD "The Wonderful Wizard of Ha's".
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“But I’m his poor shepherd, as plain you may see,
That am come to beg pardon for him and for me.””
—Unknown. King John and the Abbot of Canterbury (l. 99–100)
“Nobody can misunderstand a boy like his own mother.... Mothers at present can bring children into the world, but this performance is apt to mark the end of their capacities. They can’t even attend to the elementary animal requirements of their offspring. It is quite surprising how many children survive in spite of their mothers.”
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“A painter told me that nobody could draw a tree without in some sort becoming a tree; or draw a child by studying the outlines of its forms merely,—but by watching for a time his motions and plays, the painter enters into his nature and can then draw him at will in every attitude.”
—Ralph Waldo Emerson (1803–1882)