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about

As with Full Circle, this is a completely new version of the second piece I wrote while at university in 1972 (again, leaving a lot to be desired, in hindsight. Even back then, I was trying to get a Latin jazz feel in odd time signatures, much like some of the Stan Kenton charts of that time. When I reworked the material, I knew I wanted to get a Central American vibe (Zacapa is a town in Guatemala), so I opted to use the marimba behind the flugelhorn & soprano sax lead. I really wanted to have the arrangement be interesting, especially since it was for 70-piece studio orchestra, which gave me a lot of colors to play with. I opted to not give improvised solos to the lead instruments, but instead to John Pierce's amplified Flamenco guitar and myself on Fender Rhodes electric piano. The instrumentation for large studio orchestra was as follows:

Piccolo | 2 Flutes | 2 Oboes | English Horn | 2 Clarinets | Bass Clarinet | 2 Bassoons
5 Saxes | 4 Trumpets | 4 French Horns | 3 Trombones | Bass Trombone | Tuba
Guitar | Fender Rhodes Electric Piano/Yamaha Electric Grand Piano | Fretless Electric Bass | Drums
Percussion 1 (Orchestra Bells, Marimba)
Percussion 2 (Congas, Bongos, Maracas, Claves, Guiro)
Harp
1st Violins (8)
2nd Violins (8)
Violas (8)
Cellos (6)
Basses (4)

credits

from What Was Can Still Be, track released July 22, 2022
Tony SingingEagle, Fender Rhodes Electric Piano; Yamaha Electric Grand; Fretless Fender Jazz Bass; Percussion; VST Studio Orchestra.

John Pierce, Guitar.

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Tony SingingEagle Sacramento, California

I have been an “music arranger for hire” for over 50 years. Now, at 70 years old, time to start recording and releasing my own (backlog of 25+) compositions. My style is mainly Jazz in its many sub genres, scored mostly for Jazz Ensemble and Studio Orchestra. My main goal is not to “make it big” either reputation-wise or monetarily. I simply want people to hear my music. ... more

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