…I started off doing some jazz clubs out here in LA, and they went great. I did some in New York before The Cutting Room, like 54 Below and Iridium jazz club. From there it just started growing in other parts of the country as well.
I cut a CD called “D Most Mostly Swinging,” with this great 18-piece band of wonderful Los Angeles jazz and studio musicians, studio musicians, and our great producer and trumpet player, William Ario. And so that’s out. It’s been hard to grow because the live performance thing is almost impossible during COVID.
I’ve been dying to get back into doing live performance, more films and television. I just did a short film, which is called When George Got Murdered, and it’s a really interesting film about the George Floyd incident. I don’t know when that’s coming out, and I did some TV prior to that, a pilot called Puck Heads, where I play the owner of a minor league hockey team, so we’ll see what happens with that. Hopefully, that gets picked up. And I’m supposed to do a couple of other films that got put on hold.
Long Island Portfolio magazine publishers Alex M. Wolff and John Joseph Dowling, Jr. are thrilled to be able to support and showcase such great artists and their art in our first issue, Fall 2020. Enjoy the art and stories of Steven Calapai, Billy Mira, Maya Frank, Jeffrey Steele, EDward Steven Katz, Mike Gomes, Tony DeCaprio, Lenny Stucker, and our cover artist Robyn Bellospirito.
Long Island Portfolio magazine is on a mission to help artists of every kind promote themselves and their work from Montauk to Manhattan. We create great content to build and amplify artists social media presence. Nominate your favorite artist to be a Featured Artist and help improve their recognition and reach in our region.
In this issue we have painters, photographers, a jazz musician, country and rock singer song writer, and even stories around food, fashion, cars, cosplay and fantasy, with to poets!
It was pretty bizarre when I went back to Vegas, you know, because I started getting a name for myself, and then that’s when, not too long after that, I got the gig at the Hilton orchestra. I stayed there a good eight years and on the band was James Moody, tenor player, phenomenal player, became like a father image to me, also. Carl Fontana, the great trombone player one of the best in the world if not the best in the world, Sam Noto to a great trumpet player coming out of Stan Kenton, Alex Acuna was on the band for a little while. He later went with Weather Report. It was a phenomenal band, phenomenal, some other players perhaps you had never heard of. We did all the TV shows there because they did them at the Hilton. So I got experience with television work.
Alex: and relying on the ability to read and play nice with others.
Tony: You have to read, you know, because the pressure is on. I became a good reader on the gig and when I had some spots in my reading that I had to work on I would go into LA on my day off and study. I studied with Joe Valenti who was orchestra leader at the LA Philharmonic as he was teaching sight reading to old studio guys, whatever little glitches, and you know the things they had to like, brush up on. He really helped me a lot.
Alex: It sounds like you were constantly looking to improve and learn from everyone you were exposed to. It’s great that you share those lessons with your students. Were there any special techniques developed along the way?
Tony: I have a picking technique that comes from the violin.
I studied with this picking genius at right hand plectrum technique because he was initially a violinist. He went way back to working with the old Paul Whiteman Orchestra and Eugene Ormandy. He was a violinist before the guitar was popular, his name was Joe Sgro.