Tony Glausi Quartet
October 13 @ 8:30 pm - 10:00 pm
Tony Glausi is widely celebrated as one of the most accomplished trumpet players on the planet, with more awards and accolades than we have time to get into here. For years now, Glausi has been hailed as such while being overlooked for his prowess as a composer and producer. With EVERYTHING AT ONCE, his new album out September 3rd, Tony heads for straight-to-the-gut pop jams and R&B-influenced tunes that take inspiration from a bevy of sources while still remaining uniquely true to Glausi’s vision as an artist.
From the opening notes of album opener “I Could Fall In Love,” with Charlemagne the Goddess, it’s clear that Glausi is shedding some of his skin as an instrumentalist and firmly establishing his prowess as a bandleader and singer. He handles keys, vocals, and trumpet, with his composition allowing enough room for drummer Anwar Marshall to imbue the track with a subtle swing. This blink-and-you-miss-it edge gives the song a bouncing swagger irreplicable in the hands of most musicians. The second track, “Backseat Bump”, stomps around Glausi’s impeccable synth work and Herman Araujo’s arena-ready drums. It’s a revelatory performance from Glausi and his band, with the man himself allowing for a simmering trumpet solo. As the album goes on, Glausi continues to surround himself with transcendent talent, including Latin GRAMMY nominated Nana Mendoza, whose staggering vocals bring to life their co-composition “Celeste Inmensidad,” and British singer Max Milner, who helps carry us into the B side of the record with “Is Anybody Fkn Listening?”.
“Coming out of high school and studying music in college, I was pretty fixated on jazz trumpet playing, and my earlier releases were heavily oriented around improvisation and swing. But as I continue to write and explore new sounds, I feel like I get closer and closer to my true voice, one record at a time.” EVERYTHING AT ONCE is brimming with confidence. Tony’s chops as a jazz aficionado inform the work merely because of the expansiveness of his scope. You get the sense there’s nothing he and his bands can’t do. All of it works with thrilling, life-affirming success.
If there’s any aspect of the record that recalls Glausi’s days as a rigorous student of improvised Black American music, it’s the joy of collaboration and the beauty in seeking out varying perspectives to unite a singular work. “Writing EVERYTHING AT ONCE, I felt like the project wasn’t about me. It wasn’t about Tony, the trumpet player. I just wanted to make fucking songs,” Glausi explains. “I sing on three of them, but I just wanted to produce the music and ultimately let my collaborators shine,” he adds. This passion for remarkably sturdy, creative songwriting is apparent throughout the record, especially on tracks like “The Ominous Blue,” which features Braxton Cook on vocals, flute, and saxophone. It’s a meditative soul jam, meeting somewhere between D’Angelo and Herbie Mann. The layered vocals envelope the instrumentation without ever getting in the way of Ian Lindsay’s electric bass or Glausi’s intimately rapped verses. Glausi’s versatility stitches the album together, weaving a myriad of ideas into a cohesive whole that would likely fall apart in another’s hands. With EVERYTHING AT ONCE, Glausi doesn’t consider any ideas as off-limits, a choice that gives the record an unimpeachable scope and range.
“It’s so crazy because none of it should make sense together, but it all does,” he exclaims. Tony wrote the album from a first thought, best thought perspective. Each song was composed with keen attention to detail, but the ideas arrived in Tony’s head almost subconsciously, all inspired by wildly different experiences. “It was only after coming up with each new song concept that I’d ask myself, ‘Okay, well, now how am I going to produce this?’” He always found a way. Ultimately the music was recorded between the summer of 2019 and fall of 2020 in various studios throughout Brooklyn, Manhattan, Los Angeles, Portland, and Mexico City, then compiled and completed in early 2021. EVERYTHING AT ONCE is cinematic, a feature length production introducing Tony Glausi the polymath. It’s an album of places, faces, and interactions. Quite simply, Tony Glausi has created a mixtape to his life, thanks, in part, to his willingness to try anything. “The album is literally a two year snapshot of my life. Each story is like a scene from a film, or I guess 10 different films,” Glausi concludes. They’re all worth watching, over and over again. –Will Schube
—a bit more—
Growing up in a musical family in Portland, Oregon, Tony began to sing and play the piano at a young age. Citing Stevie Wonder, Aretha Franklin, Tracy Chapman, Paul Simon, Queen, Chet
Baker, and Earth Wind & Fire amongst his earliest influences, by ten years old he had started to play the trumpet and compose. Tony now resides in New York and performs and records with the likes of Billboard-charting pianist and singer Peter Cincotti, GRAMMY-nominated Nana Mendoza, British singer-songwriter Max Milner, and more. He is also currently starring in Speakeasy: Times Square weekends at Bond 45.
To date, Glausi has produced ten records of his own music in physical and digital formats, garnering awards, high-praising press, and an ever growing buzz amongst fans of all ages across social media platforms. As a diversified composer, his works have been commissioned on many occasions to be performed and recorded by world-class musicians. He has toured dozens of countries around the world playing at renowned festivals and clubs including the Montreux Jazz Festival in Switzerland, the Leopolis Jazz Festival in Ukraine, the New Morning in Paris, and the Blue Note in New York, while also having performed as a featured guest artist with ensembles such as the United States Marine Corps All Star Jazz Band, the Eugene Symphony, and high school and college bands throughout the states.
Among other accolades, Tony has won first prize in the jazz division of the 2014 National Trumpet Competition, first prize in the jazz division of the 2017 ITG International Trumpet Competition, and first prize in the 2017 Carmine Caruso International Jazz Solo Competition. He was also the sole recipient of the 2016-17 Laurie Frink Career Grant, an award given every other year to a young brass player in honor of Laurie’s legacy as an incomparably inspiring pedagogue, mentor, and friend.
Tony is on teaching staff at The New School for Jazz and Contemporary Music in New York and at The Idyllwild Arts Academy in Los Angeles. Over the years he has also held teaching positions at the University of Oregon, where he completed his degrees, and the John G. Shedd Institute for the Arts, where he founded the Shedd Youth Jazz Orchestras.