I’m happy
to finally share my newest album, Distant Places! This album has a very special
meaning for me on many levels. For one, it comes on the heels of completing my
Ph.D in composition, which was partially responsible for the delay in finishing
production. Secondly, this album was made with some of my favorite musicians in
the world. Some have been a part of The BQE Project for many years (playing
live music to film) and others have been friends since my college days.
Everyone on this album worked tirelessly to capture my original intentions for
each track...and that they did!
The third
reason for the albums significance is its representation of the best I can
offer at this stage of my life. I tried to shape this album as a story....much
in the way the Beatles structured Sgt. Pepper (not that I’m making any
comparison musically). However, each piece contributes to a general arc of
emotions, energy, tension and release. I thought it might be helpful to include
background information on the writing concept and performance of each piece, as
there are many stories within each track of the album.
To listen
to Distant Places on Bandcamp (and to purchase), click below.
Bandcamp
Track Descriptions:
Cat and Mouse: This piece reflects the
influence of J.S. Bach. I’ve always been fascinated with his inventions and
fugues. The title suggests what the music does, which is to say one part is
constantly chasing another (as in many 2-part inventions). Funny story about
this piece: It was performed at Rowan University years ago. I was playing the
udu part along with percussion students. My cousin was in the audience and overheard
some young student quietly announce: “The cat and the mouse by Tom
Nuzzola...who the F*&^k is Tom Nuzzola?” That’s when I knew I had arrived
;)
Over the Horizon:
This was written for Todd Reynolds –
a musician I’ve known and admired since my college days. The following program
notes convey what the piece is about: “Something liberating awaits us ahead….We
can see it faintly in the distance, appearing as a simmering, maroon-like hue
just above the horizon – always in view, yet not attainable. However, we are
driven in its direction.” Over the Horizon expands upon a musical motive
consisting of consecutive fourth intervals, as heard in the opening measures
and serves as the basis for compositional development.
The harmonic trajectory throughout represents a pushing and pulling towards an
unattainable goal, represented in part by the contrasting use of the major and
minor third interval within a triad.
Crossing the Line: In this piece I
wanted to use the pandeiro in a less than traditional sense. Particularly, I
was interested in incorporating rhythms that might be used with tabla or any
hand drum in which fast rhythms could be executed. This was mostly possible due
to the talents of Sergio Krakowski. When I showed him the part, he rose to the
occasion and worked out these rhythms to perform them convincingly on the
pandeiro as is heard in the opening measures and beyond. The guitar part serves
to both present the tune and also set up an ostinato section for the pandeiro solo.
The title is somewhat tongue-in-cheek as it refers to the fact that the guitar
part crosses the bar line at several points. Phrases are displaced
rhythmically, changing the listener’s perspective on the line itself.
Bass Palmas:
Composed for bass quartet, Bass Palmas explores the upright bass
for its full potential as a melodic, rhythmic, and harmonic voice. I wanted
this to be satisfying without other harmonic instruments and therefore, added
only percussion. In terms of its structure, Bass
Palmas is driven by an ostinato pattern (pizz) that ushers in floating,
ambient textures and aggressive, high range solo lines. A rhythmic
accompaniment of cajon and hand claps (palmas) assist the rhythmic drive and
reinforce an unstoppable groove, which switches from pizz to arco and then back
again. The piece culminates in an overlapping of patterns that cross over the
bar line using a series of dominant seventh chord with added major / minor
third inflections.
Red Sky: This piece sounds like its title. I envisioned a red sky in creating the
guitar part. Other instruments were added in support of the feeling /color. A companion video can be
found on youtube with various displays of a red sky.
Rochester Suite: This work is largely reminiscent of my days at the Eastman School of
Music.....and of Rochester, NY. Throughout these movements I sought to
communicate the experiences of being in Rochester and living within the Eastman
community. I also wanted to provide a sense of time travel for my fellow alumni
through highlighting certain experiences musically. Except for Fifth Floor Annex, I’ve made three
videos to accompany these movements with photos spanning several decades
(including images of Rochester from the early 20th century).
a.) Garbage Plate:
Anyone who has ever been to Rochester will be familiar with this meal,
which is the main “plate” at Nick Tahous (home of the famous garbage plate).
Almost all of the performers on this piece attended Eastman around the same
time as me or slightly later. It was important to record with players who shared
in this background. The overlapping lines and “rough and tumble background
rhythms” are meant to convey the funk (as it were) of the food and experience
of having a Garbage Plate at Nick Tahous...best enjoyed after a night of
drinking and general debauchery.
b.) Sibley Tower: I’ve seen Sibley
Tower a few times. However, the name itself inspired me to capture the somewhat
melancholic atmosphere of downtown Rochester. In the accompanying video, I’ve
included shots of the early trolley tracks, department store windows, and the
Eastman School during its early construction—as well as concerts displayed on
the marquis outside the Eastman Theater (now known as Kodak Hall). There is a
dream-like atmosphere to this piece, which allows for a stream-
of-consciousness effect.
c.) Fifth Floor Annex: The title refers to the percussion practice rooms on the fifth floor of
the Eastman annex. Anyone who practiced on this floor, and was not a
percussionist, would most likely complain about the noise. Occupying three
rooms, the percussionists (including myself) have certainly driven others crazy
with our “’round the clock drum set playing” and rudimental exercises. Created
as a drum corps piece, Fifth Floor Annex is dedicated to Steve Gadd (who
incidentally heard this piece and replied, “Sounds great!”).
d.) Going Home (long road back from Eastman): The suite concludes with a track that reflects that long journey back
home each summer as well as the final year at Eastman. The guitar perfectly
captures the sentiment of both the school and city of Rochester. The
accompanying video includes many beloved figures whose presence spanned several
decades at Eastman – namely Junior, Dean Paul Burgett, Chaplain Cyril Roberts, and
John Beck.
Get the Point:
This piece reflects one of the principle
teachings of Bob Moses (known today as Rakalam), focusing on a single recurring
accent over two measures, while playing your instrument and improvising. Moses
suggested singing the rhythms and either clapping or performing the recurring
accent. Close friend, and wonderful musician, John Hollenbeck joins me on this
track. I am singing the rhythms, which have been written out and translated on
the drum set by John. This was a fun piece to record!
Interstellar:
Although written for percussion, the intention
was to make a percussion ensemble sound more like an orchestra. Themes,
motives, and lines run through the ensemble—similar to how they might in an
orchestral setting.
Just Passing through: I originally conceived of this as a piece to be performed with a
looper. In fact, that is the way to approach this for future performances. Each
bass line is played and then looped in preparation for the next event. Everything
is performed to a percussion track, which helps the bass move from section to
section.
Pablo’s Journey: I don’t know who Pablo is....it just seemed like a good title. Pablo’s
Journey was originally intended for guitar and pandeiro. However, it made more
sense with upright bass, which is what you’re hearing in this recording. The
piece is a journey through several chords and harmonic perspectives on the main
motive. Paul Livant did a stellar job of learning this guitar part.....not easy
to play!
Velvet Carnival: The title came later. The feeling is that of a carnival going a bit out
of control – at times dreamy and other times, erratic and wild. Velvet
describes the general texture of the piece...especially the main motive
following the introductory statement.
Golem Overture: I wanted to conclude the album in a dramatic way and this seemed fitting.
The overture consists of several themes from a commissioned score for the
silent film “The Golem.” The piece travels through the various scenes and
emotions encountered in this film including: Rage, love, fear, innocence,
prayer, and rejoicing. I’d love to turn this into an opera some day.
Hope you enjoy!Best,
Tom Nazziola