Widely celebrated as one of the most accomplished trumpet players around, Tony Glausi has also been hailed as a gifted composer and producer.  Coming out September 3^rd, EVERYTHING AT ONCE, Glausi evokes his vast inspiration of pop and R&B while remaining uniquely true to himself.  Today Glausi shares his latest single off the album titled “I Could Fall in Love (feat. Charlemagne the Goddess).” 

Regarding “I Could Fall in Love (feat. Charlemagne the Goddess)” Glausi says: “Charlemagne was perfect for this song, coming in with all these things a girl on the train might think about the guy looking over at her, talking about love and relationships and how it all tends to go. It’s really all in the lyric: 
i could fall in love 
i could fall in love with you
just let me hold your hand
all i wanna do is just hold your hand.”

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 informs 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 envelop 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