"The Way It Is"
Behind the Album
Where do I begin with this one? The title? The motivation? The overall direction? The varied styles? The departure from my “comfort zone”? The Hat? How about all of the above.
I knew that this 3rd album, in some ways, needed to wrap up my initial goal, which was to finally finish writing, recording, producing, and releasing my backlog of original material (ok, and one arrangement) before I get too bloody old to remember how. But, as it turned out, I had a variety of compositions left over that didn’t all quite fit the tone of the first two albums, i.e., jazz originals for big band and studio orchestra. So, I made the conscious decision to allow this one to have a variety of style, feels, and orchestrations. The result, I feel, is quite satisfying – at least to me as the producer.
At times, it was most definitely a departure from my comfort zone – jazz. And, although there is quite a bit of that still present, I had to remind myself that it was OK to write a couple of pieces that were all orchestra and very much of a cinematic nature. It was OK to allow my classical writing to come forward and have a Bach chamber orchestra sitting across from a big band – and then play together as one unit. And it was perfectly fine to return to another one of my first loves, the electric band funk sound utilizing several different classic synthesizers. All of this, including “the hat,” got to shine as one homogenous creation.
The title has a few different meanings to me. The Lakota word héčhetu means “the way it is.” I partly decided to use this phrase as the title because, well what if some listeners wondered why I was writing such a variety of styles. Hey, I’m a composer. It’s just the way it is. And there was another main reason. I still have a bit of difficulty reconciling my two different sides as both a native who tries very hard to live by the old traditions, and also a composer and recording artist of western jazz. But hey, it’s just the way it is. Héčhetu yeló.
Please note: this album is due to be released on Friday, 22nd December, 2023. However, each song is available now as fully released singles.
A Bit More About Each Song
Indefintely Forever
My first summer at The Eastman School of Music was the beginning of me really becoming a writer by hanging out with and learning from the best in the business in the early 70s. And, although I had finished four new arrangements to take with me, I decided one to write a new original piece. It took me only 2 days to finish and the result was this piece (although the original title was “From Riches to Rags”). I scored it for augmented big band, again using the extra 4 French horns, tuba, 2 flutes and vibes. It is still one of the best pieces I ever penned, especially the melodic lines themselves. Hopefully big band jazz and fully arranged original compositions will last indefinitely forever.
Almost There
I originally wrote this piece my freshman year at MSU, just before heading up to Eastman for the first time. As best as I can remember about that chart I wrote in 1972, it was totally dreadful – a real stinker. But, as with all my charts while I was at university, I got played on one of the jazz band concerts. I remember Dr. Tom Ferguson (who I never had the chance to thank for recommending me to Eastman) making a joke about the title, “Almost There,” when he said, “which isn’t the case at all; he’s got about 4 more years!”
So the piece you hear on this album (and also the single) is completely re-composed for two reasons: the first I stated already (it really was bad). But the second reason was practical: I couldn’t remember the whole chart and, to best of my knowledge, no score existed. So, I rewrote it, arranged it as a rock ballad and scored it for electric band. Much better, because this was what I wanted it to sound like all those years ago.
Last Minuet in Yorkshire
I really wanted to try something different with this one. First, the original piece was done as part of my composition recital when I graduated in 1977 (yes, I did two additional years of undergraduate work). I remembered that piece, transcribed it from an old cassette I still had and thought it needed to be a musical juxtaposition of two styles. First, a 17th century minuet, which would be played a Bach style chamber orchestra. Second, it would be a jazz waltz, played by a 17-piece big band. As the scoring proceeded, I treated the whole thing as if these two musical groups were on stage, trying to outdo one another, as they showed off their different styles. Then (in my mind), they try swapping styles and finally, they come together and play the tune as one big studio orchestra. And you know what? It works!
70 Winters Young
My third concerto for jazz soloists and studio orchestra in terms of releases, was actually the first one I wrote. Originally titled “Divina Luz” in 1973, it was performed on the Arranger’s Holiday Concert that year. I even had a mention in the local Rochester, NY newspaper as having written some of the best sax sectional writing that night. But, because of time constraints, the third movement was cut for the concert. The score part for the third movement was lost years ago, so when I decided to include it on this album, I had to completely recompose it. This time around, I used the opening theme as a sort of connective tissue throughout the piece. This version is infinitely better than the original and it now completes my Concerto Trilogy, along with “Unfinished Business” and “Regeneration 2020.”
Guerrero
I sat down at the piano one day in late 2020 and wrote the opening theme of this one, calling it “The Resistance March.” Again, it was not finished at that time, but I kept hearing it in my head while I was working on the first album. For the third album, I knew I wanted to use it, but needed to finish the composition, which I did in a day. Then I needed to make peace with the fact that it was most definitely not jazz and needed to be orchestrated for straight orchestra.
As I was writing it and started seeing the score take shape, I realized it was of a cinematic nature. Once I started recording it, I realized I was seeing scenes in my imagination and that this was the accompanying film score. So, I added in some metallic percussion and a few sound effects. Those film scoring classes back at Eastman really came in handy.
And for those who might not know, Guerrero is the Spanish word for “warrior.”Flamenco Electrico
This piece gave me the opportunity to revisit one of my first loves from the 70s – all electric jazz-fusion, in the style of Chick Corea’s Return to Forever, or the Mahavishnu Orchestra. But this piece is Flamenco, is it not? Yes, but the original tune I wrote in 2001 seemed to lend itself to this orchestration. And why not? However, I felt the basic synthesizer/electric rhythm section needed something to ground it in the Flamenco tradition; so, I added a virtual Flemenco dance group, including acoustic guitar, percussion, clapping (palmas) and footwork. That really sealed the deal for me. So there you have it. Perhaps one day I should consider redoing it as “Flamenco Acoustico?” Only time will tell.
Once Upon a Winter's Morn
One of my other compositions that never saw the light of day was this piece. It started out as a simple melody with very simple supportive harmonies. And, once again, it was in no way a jazz piece, so I knew it needed to be scored for straight orchestra. But, as with many of my unfinished compositions, it was just that: unfinished; incomplete; in need of a revisit. This time around, I added a new middle section, a sort of second bridge, if you will. Now it was complete and ready to be recorded. When I finally heard it, I was blown away by how something so simple could sound so rich. I just needed to give it a title. As I finished it on a rather cold winter morning . . . well, you can figure out the rest.
Twas a Simpler Time
The closing piece on my third album has had an interesting life, to say the least. The tune was composed in 1995, as a prospective theme song for a yet-to-be-developed children’s show that never got beyond the concept stage. So, as with so many of my compositions, it ended up in a drawer for several years. Then, in 2004, I was in the cast of The Odd Couple, being produced by a local community theatre. I kept thinking it needed a bit of music, like the underscore of many films. The director gave me the green light and I reworked it as the opening theme to the play. But after closing curtain, back into the drawer it went. Until this album, where I added a solo section, backed by some blues changes. Now it was finally coming to life. As an added attraction, I had my musical padawan learner, John Panfili (who is also an up and coming composer/piano player) record one of the blues solos. He really added to the final track.
Dedication
This album is dedicated to my teacher and friend,
Manny Albam (1922–2001).
I never dreamed I would be so fortunate to call you
my friend and to know I could always count on you
to point me in the right direction – but it happened.
I never really had the chance to express the respect, admiration and love I had for you while you were
still here, so I guess now is as good a time as any.
Thanks, Manny!
Album Credits
All music composed, arranged, performed,
and produced by Tony SingingEagle.
Copyright © 2023 Aspen Danse Music, ASCAP.
All rights reserved.
Recorded between April, 2023 – October, 2023
Sacramento, California
"The Way It Is"
Behind the Album
Where do I begin with this one? The title? The motivation? The overall direction? The varied styles? The departure from my “comfort zone”? The Hat? How about all of the above.
I knew that this 3rd album, in some ways, needed to wrap up my initial goal, which was to finally finish writing, recording, producing, and releasing my backlog of original material (ok, and one arrangement) before I get too bloody old to remember how. But, as it turned out, I had a variety of compositions left over that didn’t all quite fit the tone of the first two albums, i.e., jazz originals for big band and studio orchestra. So, I made the conscious decision to allow this one to have a variety of style, feels, and orchestrations. The result, I feel, is quite satisfying – at least to me as the producer.
At times, it was most definitely a departure from my comfort zone – jazz. And, although there is quite a bit of that still present, I had to remind myself that it was OK to write a couple of pieces that were all orchestra and very much of a cinematic nature. It was OK to allow my classical writing to come forward and have a Bach chamber orchestra sitting across from a big band – and then play together as one unit. And it was perfectly fine to return to another one of my first loves, the electric band funk sound utilizing several different classic synthesizers. All of this, including “the hat,” got to shine as one homogenous creation.
The title has a few different meanings to me. The Lakota word héčhetu means “the way it is.” I partly decided to use this phrase as the title because, well what if some listeners wondered why I was writing such a variety of styles. Hey, I’m a composer. It’s just the way it is. And there was another main reason. I still have a bit of difficulty reconciling my two different sides as both a native who tries very hard to live by the old traditions, and also a composer and recording artist of western jazz. But hey, it’s just the way it is. Héčhetu yeló.
Please note: this album is due to be released on Friday, 22nd December, 2023. However, each song is available now as fully released singles.
A Bit More About Each Song
Indefintely Forever
My first summer at The Eastman School of Music was the beginning of me really becoming a writer by hanging out with and learning from the best in the business in the early 70s. And, although I had finished four new arrangements to take with me, I decided one to write a new original piece. It took me only 2 days to finish and the result was this piece (although the original title was “From Riches to Rags”). I scored it for augmented big band, again using the extra 4 French horns, tuba, 2 flutes and vibes. It is still one of the best pieces I ever penned, especially the melodic lines themselves. Hopefully big band jazz and fully arranged original compositions will last indefinitely forever.
Almost There
I originally wrote this piece my freshman year at MSU, just before heading up to Eastman for the first time. As best as I can remember about that chart I wrote in 1972, it was totally dreadful – a real stinker. But, as with all my charts while I was at university, I got played on one of the jazz band concerts. I remember Dr. Tom Ferguson (who I never had the chance to thank for recommending me to Eastman) making a joke about the title, “Almost There,” when he said, “which isn’t the case at all; he’s got about 4 more years!”
So the piece you hear on this album (and also the single) is completely re-composed for two reasons: the first I stated already (it really was bad). But the second reason was practical: I couldn’t remember the whole chart and, to best of my knowledge, no score existed. So, I rewrote it, arranged it as a rock ballad and scored it for electric band. Much better, because this was what I wanted it to sound like all those years ago.
Last Minuet in Yorkshire
I really wanted to try something different with this one. First, the original piece was done as part of my composition recital when I graduated in 1977 (yes, I did two additional years of undergraduate work). I remembered that piece, transcribed it from an old cassette I still had and thought it needed to be a musical juxtaposition of two styles. First, a 17th century minuet, which would be played a Bach style chamber orchestra. Second, it would be a jazz waltz, played by a 17-piece big band. As the scoring proceeded, I treated the whole thing as if these two musical groups were on stage, trying to outdo one another, as they showed off their different styles. Then (in my mind), they try swapping styles and finally, they come together and play the tune as one big studio orchestra. And you know what? It works!
70 Winters Young
My third concerto for jazz soloists and studio orchestra in terms of releases, was actually the first one I wrote. Originally titled “Divina Luz” in 1973, it was performed on the Arranger’s Holiday Concert that year. I even had a mention in the local Rochester, NY newspaper as having written some of the best sax sectional writing that night. But, because of time constraints, the third movement was cut for the concert. The score part for the third movement was lost years ago, so when I decided to include it on this album, I had to completely recompose it. This time around, I used the opening theme as a sort of connective tissue throughout the piece. This version is infinitely better than the original and it now completes my Concerto Trilogy, along with “Unfinished Business” and “Regeneration 2020.”
Guerrero
I sat down at the piano one day in late 2020 and wrote the opening theme of this one, calling it “The Resistance March.” Again, it was not finished at that time, but I kept hearing it in my head while I was working on the first album. For the third album, I knew I wanted to use it, but needed to finish the composition, which I did in a day. Then I needed to make peace with the fact that it was most definitely not jazz and needed to be orchestrated for straight orchestra.
As I was writing it and started seeing the score take shape, I realized it was of a cinematic nature. Once I started recording it, I realized I was seeing scenes in my imagination and that this was the accompanying film score. So, I added in some metallic percussion and a few sound effects. Those film scoring classes back at Eastman really came in handy.
And for those who might not know, Guerrero is the Spanish word for “warrior.”Flamenco Electrico
This piece gave me the opportunity to revisit one of my first loves from the 70s – all electric jazz-fusion, in the style of Chick Corea’s Return to Forever, or the Mahavishnu Orchestra. But this piece is Flamenco, is it not? Yes, but the original tune I wrote in 2001 seemed to lend itself to this orchestration. And why not? However, I felt the basic synthesizer/electric rhythm section needed something to ground it in the Flamenco tradition; so, I added a virtual Flemenco dance group, including acoustic guitar, percussion, clapping (palmas) and footwork. That really sealed the deal for me. So there you have it. Perhaps one day I should consider redoing it as “Flamenco Acoustico?” Only time will tell.
Once Upon a Winter's Morn
One of my other compositions that never saw the light of day was this piece. It started out as a simple melody with very simple supportive harmonies. And, once again, it was in no way a jazz piece, so I knew it needed to be scored for straight orchestra. But, as with many of my unfinished compositions, it was just that: unfinished; incomplete; in need of a revisit. This time around, I added a new middle section, a sort of second bridge, if you will. Now it was complete and ready to be recorded. When I finally heard it, I was blown away by how something so simple could sound so rich. I just needed to give it a title. As I finished it on a rather cold winter morning . . . well, you can figure out the rest.
Twas a Simpler Time
The closing piece on my third album has had an interesting life, to say the least. The tune was composed in 1995, as a prospective theme song for a yet-to-be-developed children’s show that never got beyond the concept stage. So, as with so many of my compositions, it ended up in a drawer for several years. Then, in 2004, I was in the cast of The Odd Couple, being produced by a local community theatre. I kept thinking it needed a bit of music, like the underscore of many films. The director gave me the green light and I reworked it as the opening theme to the play. But after closing curtain, back into the drawer it went. Until this album, where I added a solo section, backed by some blues changes. Now it was finally coming to life. As an added attraction, I had my musical padawan learner, John Panfili (who is also an up and coming composer/piano player) record one of the blues solos. He really added to the final track.
Dedication
This album is dedicated to my teacher and friend, Manny Albam (1922–2001).
I never dreamed I would be so fortunate to call you my friend
and to know I could always count on you to point me in the
right direction – but it happened.
I never really had the chance to express the respect, admiration and love
I had for you while you were still here,
so I guess now is as good a time as any. Thanks, Manny!
Album Credits
All music composed, arranged, performed, and produced by Tony SingingEagle.
Copyright © 2023 Aspen Danse Music, ASCAP.
All rights reserved.
Recorded between April, 2023 – October, 2023
Sacramento, California
"The Way It Is"
Behind the Album
Where do I begin with this one? The title? The motivation? The overall direction? The varied styles? The departure from my “comfort zone”? The Hat? How about all of the above.
I knew that this 3rd album, in some ways, needed to wrap up my initial goal, which was to finally finish writing, recording, producing, and releasing my backlog of original material (ok, and one arrangement) before I get too bloody old to remember how. But, as it turned out, I had a variety of compositions left over that didn’t all quite fit the tone of the first two albums, i.e., jazz originals for big band and studio orchestra. So, I made the conscious decision to allow this one to have a variety of style, feels, and orchestrations. The result, I feel, is quite satisfying – at least to me as the producer.
At times, it was most definitely a departure from my comfort zone – jazz. And, although there is quite a bit of that still present, I had to remind myself that it was OK to write a couple of pieces that were all orchestra and very much of a cinematic nature. It was OK to allow my classical writing to come forward and have a Bach chamber orchestra sitting across from a big band – and then play together as one unit. And it was perfectly fine to return to another one of my first loves, the electric band funk sound utilizing several different classic synthesizers. All of this, including “the hat,” got to shine as one homogenous creation.
The title has a few different meanings to me. The Lakota word héčhetu means “the way it is.” I partly decided to use this phrase as the title because, well what if some listeners wondered why I was writing such a variety of styles. Hey, I’m a composer. It’s just the way it is. And there was another main reason. I still have a bit of difficulty reconciling my two different sides as both a native who tries very hard to live by the old traditions, and also a composer and recording artist of western jazz. But hey, it’s just the way it is. Héčhetu yeló.Please note: this album is due to be released on Friday, 22nd December, 2023. However, each song is available now as fully released singles.
A Bit More About Each Song
Indefintely Forever
My first summer at The Eastman School of Music was the beginning of me really becoming a writer by hanging out with and learning from the best in the business in the early 70s. And, although I had finished four new arrangements to take with me, I decided one to write a new original piece. It took me only 2 days to finish and the result was this piece (although the original title was “From Riches to Rags”). I scored it for augmented big band, again using the extra 4 French horns, tuba, 2 flutes and vibes. It is still one of the best pieces I ever penned, especially the melodic lines themselves. Hopefully big band jazz and fully arranged original compositions will last indefinitely forever.
Almost There
I originally wrote this piece my freshman year at MSU, just before heading up to Eastman for the first time. As best as I can remember about that chart I wrote in 1972, it was totally dreadful – a real stinker. But, as with all my charts while I was at university, I got played on one of the jazz band concerts. I remember Dr. Tom Ferguson (who I never had the chance to thank for recommending me to Eastman) making a joke about the title, “Almost There,” when he said, “which isn’t the case at all; he’s got about 4 more years!”
So the piece you hear on this album (and also the single) is completely re-composed for two reasons: the first I stated already (it really was bad). But the second reason was practical: I couldn’t remember the whole chart and, to best of my knowledge, no score existed. So, I rewrote it, arranged it as a rock ballad and scored it for electric band. Much better, because this was what I wanted it to sound like all those years ago.
Last Minuet in Yorkshire
I really wanted to try something different with this one. First, the original piece was done as part of my composition recital when I graduated in 1977 (yes, I did two additional years of undergraduate work). I remembered that piece, transcribed it from an old cassette I still had and thought it needed to be a musical juxtaposition of two styles. First, a 17th century minuet, which would be played a Bach style chamber orchestra. Second, it would be a jazz waltz, played by a 17-piece big band. As the scoring proceeded, I treated the whole thing as if these two musical groups were on stage, trying to outdo one another, as they showed off their different styles. Then (in my mind), they try swapping styles and finally, they come together and play the tune as one big studio orchestra. And you know what? It works!
70 Winters Young
My third concerto for jazz soloists and studio orchestra in terms of releases, was actually the first one I wrote. Originally titled “Divina Luz” in 1973, it was performed on the Arranger’s Holiday Concert that year. I even had a mention in the local Rochester, NY newspaper as having written some of the best sax sectional writing that night. But, because of time constraints, the third movement was cut for the concert. The score part for the third movement was lost years ago, so when I decided to include it on this album, I had to completely recompose it. This time around, I used the opening theme as a sort of connective tissue throughout the piece. This version is infinitely better than the original and it now completes my Concerto Trilogy, along with “Unfinished Business” and “Regeneration 2020.”
Guerrero
I sat down at the piano one day in late 2020 and wrote the opening theme of this one, calling it “The Resistance March.” Again, it was not finished at that time, but I kept hearing it in my head while I was working on the first album. For the third album, I knew I wanted to use it, but needed to finish the composition, which I did in a day. Then I needed to make peace with the fact that it was most definitely not jazz and needed to be orchestrated for straight orchestra.
As I was writing it and started seeing the score take shape, I realized it was of a cinematic nature. Once I started recording it, I realized I was seeing scenes in my imagination and that this was the accompanying film score. So, I added in some metallic percussion and a few sound effects. Those film scoring classes back at Eastman really came in handy.
And for those who might not know, Guerrero is the Spanish word for “warrior.”Flamenco Electrico
This piece gave me the opportunity to revisit one of my first loves from the 70s – all electric jazz-fusion, in the style of Chick Corea’s Return to Forever, or the Mahavishnu Orchestra. But this piece is Flamenco, is it not? Yes, but the original tune I wrote in 2001 seemed to lend itself to this orchestration. And why not? However, I felt the basic synthesizer/electric rhythm section needed something to ground it in the Flamenco tradition; so, I added a virtual Flemenco dance group, including acoustic guitar, percussion, clapping (palmas) and footwork. That really sealed the deal for me. So there you have it. Perhaps one day I should consider redoing it as “Flamenco Acoustico?” Only time will tell.
Once Upon a Winter's Morn
One of my other compositions that never saw the light of day was this piece. It started out as a simple melody with very simple supportive harmonies. And, once again, it was in no way a jazz piece, so I knew it needed to be scored for straight orchestra. But, as with many of my unfinished compositions, it was just that: unfinished; incomplete; in need of a revisit. This time around, I added a new middle section, a sort of second bridge, if you will. Now it was complete and ready to be recorded. When I finally heard it, I was blown away by how something so simple could sound so rich. I just needed to give it a title. As I finished it on a rather cold winter morning . . . well, you can figure out the rest.
Twas a Simpler Time
The closing piece on my third album has had an interesting life, to say the least. The tune was composed in 1995, as a prospective theme song for a yet-to-be-developed children’s show that never got beyond the concept stage. So, as with so many of my compositions, it ended up in a drawer for several years. Then, in 2004, I was in the cast of The Odd Couple, being produced by a local community theatre. I kept thinking it needed a bit of music, like the underscore of many films. The director gave me the green light and I reworked it as the opening theme to the play. But after closing curtain, back into the drawer it went. Until this album, where I added a solo section, backed by some blues changes. Now it was finally coming to life. As an added attraction, I had my musical padawan learner, John Panfili (who is also an up and coming composer/piano player) record one of the blues solos. He really added to the final track.
Dedication
This album is dedicated to my teacher and friend, Manny Albam (1922–2001).
I never dreamed I would be so fortunate to call you my friend
and to know I could always count on you to point me in the
right direction – but it happened.
I never really had the chance to express the respect, admiration and love
I had for you while you were still here,
so I guess now is as good a time as any. Thanks, Manny!
Album Credits
All music composed, arranged, performed, and produced by Tony SingingEagle.
Copyright © 2023 Aspen Danse Music, ASCAP.
All rights reserved.
Recorded between April, 2023 – October, 2023
Sacramento, California