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Tony Glausi is widely celebrated as one of the most accomplished trumpet players on the planet, with more awards and accolades than we have time to get into here. For years now, Glausi has been hailed as such while being overlooked for his prowess as a composer and producer. With EVERYTHING AT ONCE, his new album out September 3rd, Tony heads for straight-to-the gut pop jams and R&B-influenced tunes that take inspiration from a bevy of sources while still remaining uniquely true to Glausi’s vision as an artist.

From the opening notes of album opener “I Could Fall In Love,” with Charlemagne the Goddess, it’s clear that Glausi is shedding some of his skin as an instrumentalist and firmly establishing his prowess as a bandleader and singer. He handles keys, vocals, and trumpet, with his composition allowing enough room for drummer Anwar Marshall to imbue the track with a subtle swing. This blink-and-you-miss-it edge gives the song a bouncing swagger irreplicable in the hands of most musicians. The second track, “Backseat Bump”, stomps around Glausi’s impeccable synth work and Herman Araujo’s arena-ready drums. 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-limits, a choice that gives the record an unimpeachable scope and range.

“It's so crazy because none of it should make sense together, but it all does,” he exclaims. Tony wrote the album from a first thought, best thought perspective. Each song was composed with keen attention to detail, but the ideas arrived in Tony’s head almost subconsciously, all inspired by wildly different experiences. “It was only after coming up with each new song concept that I’d ask myself, ‘Okay, well, now how am I going to produce this?’" He always found a way. Ultimately the music was recorded between the Summer of 2019 and Fall of 2020 in various studios throughout Brooklyn, Manhattan, Los Angeles, Portland, and Mexico City, then compiled and completed in early 2021. EVERYTHING AT ONCE is cinematic, a feature length production introducing Tony Glausi the polymath. It’s an album of places, faces, and interactions. Quite simply, Tony Glausi has created a mixtape to his life, thanks, in part, to his willingness to try anything. “The album is literally a two year snapshot of my life. Each story is like a scene from a film, or I guess 10 different films” Glausi concludes. They’re all worth watching, over and over again.