InCeption self-produced album obviously within tight budget constraints. There is no information about Tony Furio in the liner notes and the evil synthesizer is employed in lieu of real instruments. But most of all, only 22 minutes of music are provided, parsimony that asks too much of both potential purchaser and reviewer. For the former, it's very little for the money and for the reviewer, too little to make a confident recommendation.
Having said that, what's here is kind of interesting and certainly a diverse menu. On a couple of cuts, Furio resembles a troubadour musically orating tales of lost and found loves such as on "Places That Belong to You" and "Alone", the latter complete with castanets. Instead of a lute, the background strumming is nicely provided by Sarel River. Also like a troubadour of yore, falsetto is used to provide a contrast on "Calling You". More contrast comes with a medium tempo on "How High the Moon" with the Don Fagerquist like muted trumpet of Wayne du Maine laying down lines underneath followed by a solid solo. The premier cut is an ardent rendition of "The Way You Look Tonight" from the Dorothy Fields/Jerome Kern score for the film Swing Time. Gary Fitzgerald is jack of everything on this album, with a long list of different paraphernalia to his credit.
Furio is not a crooner. He has a light voice and delivers the lyrics with sincerity and in tune. Perhaps on his next CD, there will be more for everyone to chew on. This album can be purchased by via email to Tony at firstname.lastname@example.org.
Track Listing: How High the Moon; Long Before I Knew You; Calling You; A Day in the Life of a Fool; Misery; The Way You Look Tonight; Alone; Places That Belong to You
Personnel: Tony Furio - Vocals; Sarel River - Guitar; Rob Anzellotti - Bass; Wayne de Maine -Trumpet; Mr. Peter - Drums; Gary Fitzgerald - Sound Effects/Background Vocals/Synth Xylophone/Cabasa/Shaker/Synth Percussion/Castanets/Synth Bass/Guitar
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.