TOM SALVATORI - Album releases

Lost Time in Mission Bay - EP 2019 (c) Salvatori Productions, Inc.

Tom Salvatori

A new collection of quiet and reflective original solo nylon string guitar compositions - featuring Autumn Suitino in A Minor. Music that will be there for you when you embark on your next rainy day mood swing.

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Ballad of Dwight Fry Suite 2017 (c) Salvatori Productions, Inc.

Tom Salvatori

CD Single Release - Instrumental Nylon String Guitar interpretation of the iconic songs "Second Coming", "Ballad of Dwight Fry" and "Sun Arise" from Alice Cooper's 1971 "Love it to Death" album release

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A Year in the Life 2013 (c) Salvatori Productions, Inc.

Tom Salvatori

An album of all-original solo nylon string guitar compositions conceived to evoke the nature and sentiment of each appropriate month of the year

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Sketches 2015 (c) Salvatori Productions, Inc.

Tom Salvatori

An album of all-original solo nylon string guitar compositions

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Horizons (Hackett) 2014 (c) Salvatori Productions, Inc

Tom Salvatori

CD Single Release - Quiet and Reflective solo guitar rendering of Steve Hackett's composition originally appearing on the 1972 'Foxtrot' album release by Genesis

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Hope for the Future (McCartney) 2014 (c) Salvatori Productions, Inc.

Tom Salvatori

CD Single Release - Quiet and Reflective Solo Guitar rendering of Paul McCartney's 'Hope for the Future' Song that is featured in the Destiny Video Game

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Yesterday (McCartney) 2015 (c) Salvatori Productions, Inc.

Tom Salvatori

CD Single Release - A quiet and understated version of a Beatles classic

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On the Quiet Side of the Guitar 2012 (c) Salvatori Productions, Inc.

Tom Salvatori

This CD represents a collection of the pieces I like to perform during my live solo guitar shows. The 14 pieces are presented here as I originally composed them - simply...just me and my nylon string guitar (and, as I like to say...) unencumbered by elaboration, unadorned by ornamentation.

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Ever Ever On 2010 (c) Salvatori Productions, Inc.

Tom Salvatori and Iris Litchfield

2CD Set - Melodic Nylon String Guitar (Salvatori) and Grand Piano (Litchfield) instrumental compositions scored with warm and tender Chamber Ensemble arrangements by John Catchings. CD1 features Piano and Guitar in Ensemble. CD2 features Solo Guitar and Solo Piano

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Tu Sei Bella Aci Catena (EP) 2009 (c) Salvatori Productions, Inc.

Tom Salvatori

Three Tom Salvatori guitar compositions inspired by visits to Italy.

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When Evening Falls 2007 (c) Salvatori Productions, Inc.

Tom Salvatori and Iris Litchfield

Contemporary instrumental album of soothing and melodic music showcasing original Piano (Litchfield) and Classical Guitar (Salvatori) compositions, gently entwined together and supported by warm and tender Cello arrangements (John Catchings).

Notes: GREAT NEWS!

March 9, 2008

We are very pleased to report that our new CD release, When Evening Falls, has today been named Best Neo-Classical Album of the year as part of the prestigious 2007 NAR Lifestyle Music Awards. Broadcasters of contemporary instrumental music programs worldwide are responsible for the voting, so we offer a big THANK YOU to the Program Hosts for this special honor and for introducing our new music to their listeners. Special thanks also to the folks at NewAgeReporter.com for creating a home for contemporary instrumental music! It is unbelievable that the NAR site received 2,950 new titles in 2007...obviously contemporary instrumental/new age music is alive, well and thriving - in large part due to artists from the independent music community. Someone should tell Billboard what they are missing. Better yet...don't. Let's continue enjoying our own independent journey.

THANK YOU!

Tom and Iris

RECENT REVIEWS

"Take three talented artists, mix and match them in various combinations and who knows what will result. In the case of When Evening Falls, you end up with a beautiful collection of soothing and introspective instrumental pieces. Featuring the considerable talents of acoustic guitarist Tom Salvatori, pianist Iris Litchfield and cellist John Catchings (with some violin and viola assistance on one track and bass on another one), the fourteen selections on this album are divided up into solo numbers by Salvatori and Litchfield or assorted permutations of one or the other or both with Catchings.

The album is cohesive with a consistent mood maintained throughout. The two composers (Salvatori and Litchfield) were obviously simpatico when it came to the aim of When Evening Falls, the title of which aptly portrays the mood evoked by the music. Peaceful, somber, warm, nostalgic and reflective, the CD is emblematic of what I refer to as "autumn afternoon music," meaning it’s suited for grey skies, falling leaves, and a crisp bite to the air. Whether one bathes in this music while seated before a fire, or perhaps driving through rolling hillsides and small rural towns dressed in gold and red for the season, When Evening Falls weaves a comforting web of warm yet often sad or reflective music.

As if the music itself wasn’t enough, the CD’s artfully-designed Digipak [by Stephen Ravenscraft] is a veritable work of art as well. Hell, even the font choices are spot on (you’d be surprised how rare that is). From every perspective, When Evening Falls is a splendid recording and a must have for lovers of gentle "nighttime" acoustic instrumental music." Highly recommended. Rating: Excellent

  • reviewed by Bill Binkelman, Binkelman's Corner, as featured on NAR "When Evening Falls...is a wonderful, dusky dream-filled album with fourteen tracks of pastoral and contemporary tunes that will inspire, relax and alleviate stress.

Tom Salvatori and Iris Litchfield, both classical trained composers, have united on this contemporary album in the spirit of harmony in a figurative and literal sense. Tom is from Illinois and Iris is from Kent, England, but the miles could not separate the kindred spirits of these two gifted performers. Additionally, the music is far more mellifluous for the talents of cellist John Catchings who joins them on several cuts.

When Evening Falls is pensive, relaxing music that is enjoyable at any hour. The mating of guitar and piano with an infrequent visit by the cello makes for several agreeable duos, while the solos are as welcome as are old friends. For a soothing interlude of warm, peaceful music, you cannot do much better than Tom Salvatori and Iris Litchfield.

  • reviewed by RJ Lannan, The Sounding Board, as featured on NAR

"He’s known as a guitarist’s guitarist, an expert at both classical guitar and the combination of classical with any number of musical genres. Tom Salvatori enchanted listeners with his last album from 2002, Late Night Guitar, which was a children’s album disguised as an excellent, meditative study in the healing power of the nylon string guitar.

In 2007 Tom joins forces with pianist Iris Litchfield for a gorgeous duet album of timeless instrumental music – supplemented by the cello arrangements of John Catchings. A seamless blend of vintage classical music and the curative vibes of the New Age meditation genre that was so popular in the mid-90’s. When Evening Falls is the most appealing outing yet from the versatile guitar imagination of Tom Salvatori."

  • Robert Silverstein

20th Century Guitar Magazine

ABOUT WHEN EVENING FALLS:

While history itself brings us the give and take, the rise and fall, and the ebb and flow...the history of music can chime in anytime with a comparable contrast of its own...namely the Piano and Classical Guitar. Although both instruments have been celebrated over time for their powerful delivery of multi-voiced composition, each is nestled comfortably and deeply in its own musical circle, championing and then tending to its own unique audience.

'When Evening Falls' is a collaborative music project that provides a friendly nudge to these two circles. It represents a give and take between Piano and Guitar as communicated by two kindred-spirited composers each adept in the art of conveying their music through their instrument of choice. Iris has never touched a Guitar and Tom has never played a Piano, yet both breathe life into their art through the delightful music that is produced on their respective instruments. As composers, they share a unique quality and style that not only renders a compelling theme, but then ensures it is soothingly nurtured through its rise and fall.

The Piano and Guitar...when Iris and Tom bring these circles together, a synergy occurs, a 'sweet spot' for lack of elevated patter...resulting in a calming ebb and flow of timeless and beautiful music chronicled in this CD release for our listening enjoyment.

*Mr. Catchings appears courtesy of Chapter & Verse Media, Inc., Nashville, TN, USA.

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Late Night Guitar 2001 (c) Salvatori Productions, Inc.

Tom Salvatori

Beautiful, timeless all-original, all-instrumental guitar based lullaby oriented CD featuring flute, oboe, cello and piano accompaniment from prominent arrangers in the mp3.com community, Nashville, and Chicago. Quiet and relaxing. Warm, lush melodies.

Notes: RECENT REVIEWS of Late Night Guitar:

"If it catches you at the right time, I guarantee you'll have a moment(s) where a tear will well, without you being able to do anything about it." Tim Panting, Reviews Editor, Classical Guitar Magazine (UK)

"Salvatori's music has been a darling among children's music critics...although 'Late Night Guitar' also appeals to grown-ups. His sense of musicianship is very high..." Chicago Tribune

"Effortlessly breezes past age barriers...you'd be hard pressed to find a more comforting and melodic acoustic fingerstyle guitar album." 20th Century Guitar Magazine

"Refreshingly unpretentious...particularly pleasing...gentle guitar lines. [Late Night Guitar is] a quality mainstream release to be welcomed by its target audience." Classical Guitar Magazine (UK)

"I loved your stuff, very soulful and relaxing. The world needs more music like yours. Sonically top notch, full and warm...well done." Brian Wittmer, Director, A&R, Universal Music Group

"Tom...Your music has become a staple of my show. Beautifully crafted music that grows deeper and more tuneful with each and every play...and as if the music wasn't enough, what a striking and beautiful CD jacket. I come from a time when cover art was an important part of the whole "album" experience. Your artwork for "Late Night Guitar" is most impressive...Thanks for enabling us here in the beautiful Hudson Valley of New York share your vision..." Ken Harris, WVKR, Walden NY

MakeaStar.com on the song 'Tucker's Lullaby' - "Absolutely beautiful. This piece is chock full of emotion with a soaring melody, mesmerizing theme, and a chord progression that speaks worlds of truth. With just a classical nylon string guitar and a small string and wind section, you've managed to assemble quite a moving work here. Some things are best said simply and quietly. Nice...tasteful...warm... rich, and robust sounding. Exquisite. Top performances lead way with perfectly executed passages, perfect intonation, and an exceptional overall feel and mood. Certainly, there are recognizable influences, yet this work emotes an original feel and mood unequaled by the masses. Thus, you have developed your own sound far beyond the reaches of the normal bland, stuffy, classical composers/artists. Bravo. A Perfect "10" - Make-A-Star.com

RECENT ACHIEVEMENTS:

LATE NIGHT GUITAR, WINNER OF 2002 CHILDRENS MUSIC WEB AWARD Classic Recording for Children Category! (www.childrensmusic.org)

LATE NIGHT GUITAR debuts at #2 on the New Age Voice Top 100 Radio Play list and holds its strong position in the coveted "Top 5" through the entire 4th quarter, 2002!

ARTISTS NOTES on LATE NIGHT GUITAR:

The highest honor ever bestowed upon me as a musician had nothing to do with the footlights at Carnegie Hall, celebrity status or glowing reviews in the papers. It came quietly, almost unnoticeably, from a darkened room across the hallway one night. It was from the little voice of a child. . ."Dad, can you come in here and play your guitar?"

Begrudgingly, and almost heeding the "you'll only keep him up" advice from my wife, I walked across the hall, sat on the edge of the bed and played some of my quieter compositions. After wiggling a little foot and getting no response, I left the room.

I didn't understand it right away, but after countless nights of serenading my little ones to sleep, I realized that I had received the ultimate gift of validation for my music...a child's approval!

ABOUT THE RECORDING

Two and a half years in the making and finally a release! This CD is extra special because it was inspired as a dedication to the years of sitting on the edge of the bed and playing my little ones to sleep. It is also special because it was touched by the hearts of several arrangers from all walks of musical life...from a local piano teacher/choir alto (Laura Saunders)...to a prominent Cellist in Nashville (John Catchings)...to a touring keyboard player in the renowned Midwest band "New Odyssey," (Gary Polkow)...to prominent mp3.com artist and game music wizard (David Allen Young)...to a player/arranger of music at a local church (Don Baddorf)...to my brother, arranger/audio director/producer/commercial and computer game music composer (Michael Salvatori)...each of whom were called on to prepare beautiful and timeless arrangements to accompany my guitar solos.

And, beautiful and timeless they've become!! Each arrangement came back as a special gift, reflecting the warmth, expressiveness and style of each of the arrangers who contributed their efforts. I'm hopeful you'll enjoy the very special contributions by these artists as you enjoy the CD for years to come.

Thank you for your interest in my (our) music! We look forward to sharing this beautiful CD with you and your family....generation after generation.

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Invoking the Veiled Reference 1997 (c) Salvatori Productions, Inc.

Tom Salvatori

https://www.amazon.com/Invoking-Veiled-Reference-Tom-Salvatori/dp/B00GUBH64Q

CD Sold Out. Album Downloads Available.

Very quiet solo nylon string guitar stripped down to the minimal cornerstones of compositional styling; unencumbered by elaboration... unadorned by ornamentation.

Notes: On his 1997 solo guitar release (now available as digital download only), Salvatori starts heading down the road to find out where his style fits in among the rank and file of the guitar world. Funny thing is, down yonder he runs into a fork in the road of composition and has to make a decision. Play for speed? Play to impress? Play to technical wizardry?

No way.

He takes the road less traveled. His compositions are minimal in that they have a simple eye on melody and an even simpler ear on the only thing he really cares about - the quiet side of the guitar.

In these 15 solo pieces, we all benefit as Salvatori starts whittling out his crafty niche. A guitarist's guitarist only in the sense that when the speed demons all come back from their stage performances, they will put on Tom's music to help them relax and unwind. It is evident that Tom favors the intimacy of a one-on-one, personal and private dialogue with each one of his listeners.

Download these tracks, play them at home late at night, close your eyes and let the cares of your day wind down...as you fall into a deep, nourishing slumber...

LINER NOTES FROM ORIGINAL ALBUM RELEASE:

A ROAD MAP THROUGH THE VEILED REFERENCES:

1……..THE TIME IN NICK’S BOTTLE…..4.34 IN THIS PIECE, A TIP OF THE HAT GOES TO NICK DRAKE’S FRUIT TREE AND JIM CROCE’S TIME IN A BOTTLE. MORE THAN LIKELY, THEIR INFLUENCE IS MANIFEST THROUGH THE DESCENDING BASS LINE THEME THAT IS PRESENT THROUGHOUT THE PIECE.

2……..MICHELLE’S LULLABY…………1.56 THIS LULLABY WAS COMPOSED AS A DEDICATION TO A DEAR FRIEND’S LITTLE GIRL, MICHELLE CARLSON, WHO WAS BORN WITH A DISABLING DISEASE CALLED RETT SYNDROME. I’VE BEEN TOLD THAT MY MUSIC SOOTHES HER; WHICH IS A COMPLIMENT THAT TOUCHES ME DEEPLY AND MAKES THIS PIECE VERY SPECIAL TO DEDICATE.

3……..SOME OF YESTERDAY…………2.48 HERE’S A PIECE THAT CARRIES A LITTLE BIT OF FINGERPICKING SPEED ALONG WITH IT. MORE THAN ANYTHING, IT SEEMS THAT THE ALTERNATING BASS NOTES ARE REMINISCENT OF A STEVE HACKETT STYLING.

4……..LOST AT SEA………………….4.19 THIS ONE SPEAKS TO ME AS A MUSICAL EXPRESSION OF WHAT IT WOULD BE LIKE TO BE LOST AT SEA. THE RHYTHM SEEMS TO REFLECT THE EBB AND FLOW OF THE WAVES. THE TEMPO CHANGES REPRESENT THE RECALL OF BETTER TIMES, BUT FATE TAKES OVER AND DEALS THE LAST CARD DOWN TO AN UNRESOLVED ENDING.

5…….AT THE GATE…………………0.41 THE NOT-SO-VEILED REFERENCE TO O COME ALL YE FAITHFUL IS INTENDED. SO IS THE RESOLVE AT THE END.

6……..NOT IN KANSAS ANYMORE…..3.05 HAD I WRITTEN THE SOUNDTRACK TO THE WIZARD OF OZ, I MIGHT HAVE USED THIS PIECE DURING THE HOUSE-SPINNING-IN-THE-TORNADO SCENE.

7……..SLIPPING AWAY………………2.53 HERE’S A PIECE THAT JUST FEELS COOL TO PLAY. NOTHING MORE OR LESS, IT JUST FEELS GOOD TO PLAY IT ON THE GUITAR.

8……..WALKING DOWNHILL………….1.07 WALKING DOWNHILL WAS COMPOSED FROM A STYLISTIC PERSPECTIVE THAT WOULDN’T MAKE MARK KOZELEK OF THE RED HOUSE PAINTERS TOO UNCOMFORTABLE.

9……..CAME TRAVELING…………….3.37 CHRIS DEBURGH FANS MAY SENSE A MELODIC SPRINKLING OF A SPACEMAN CAME TRAVELING IN THIS ONE. ADDITIONALLY, I’VE PLUCKED MY MOST OBVIOUS NOTE OF REFERENCE TO CLOSE THE COMPOSITION…A THUMB OVER THE NECK TRIBUTE TO NO ONE OTHER THAN MR. STEVE HOWE.

10…….SEEKING RESOLVE…………….2.12 PETER GABRIEL, IN HIS OBSCURE SOUNDTRACK PASSION, COMPOSED THE MOST BEAUTIFULLY LINGERING MELODY EVER WRITTEN IN THE HISTORY OF MANKIND IN A PIECE CALLED WITH THIS LOVE. SEEKING RESOLVE COMES IN ALONG THE SAME LINES SANS THE SUPERLATIVE.

11……..CLOSING THE DOOR……….…..2.31 DON’T THINK I’M LEANING TOWARD THE FOOTLIGHTS OF BROADWAY HERE, BUT SOMETHING ABOUT THIS ONE REMINDS ME OF JOSEPH’S CLOSE EVERY DOOR. QUESTION: WHAT DOES EVERY COMPOSER OWN, YET NOT CLAIM TO POSSESS? ANSWER: A PERSONAL FAVORITE. THIS IS IT FOR ME!

12……..THE CAROUSEL……………….3.23 COMPOSED IN YET ANOTHER LOOSELY DEFINED HACKETT STYLING, THE CAROUSEL CONJURES UP A VISUAL OF KIDS PLAYING IN THE PARK…RUSHING FOR POSITION ON A CAROUSEL THAT DAD SPINS AROUND SLOWLY AT FIRST…THEN PICKS UP SPEED…HITS FEVER PITCH…AND SLOWS DOWN ALL TOO SOON TO THE DISAPPOINTMENT OF THE KIDS’ DAZED AND DIZZIED PERSPECTIVE.

13…….URBAN WITHDRAWAL………..1.31 HAD I WRITTEN THE SOUNDTRACK TO FALLING DOWN, THIS IS THE MUSIC THAT WOULD HAVE BEEN PLAYING WHEN BILL FOSTER FINALLY CRACKED.

14…….LABYRINTH…………………..3.06 THIS IS A PLAYFUL COMPOSITION THAT CALLS TO MIND THE COFFEE TABLE GAME LABYRINTH, WHERE ALL THE CONCENTRATION YOU CAN MUSTER MAY NOT BE ENOUGH TO GUIDE A MARBLE THROUGH A MAZE OF HOLES. I’VE POSITIONED THE “C” BASS NOTE AT SPOTS IN THE PIECE TO REPRESENT THE SOUND OF THE MARBLE FALLING THROUGH ONE OF THOSE BLASTED HOLES.

15…….TRAPPED……………………..1.47 THIS PIECE WAS COMPOSED AS A TRAP, A CONTINUOUS REPEAT ANCHORED BY AN “A” HARMONIC. THERE’S NO ESCAPE FROM THE STRUCTURE OF THIS COMPOSITION…WHICH IN ITSELF OFFERS REASON ENOUGH TO BRING THIS ALBUM TO CLOSURE.

ALL PIECES COMPOSED, ARRANGED AND PERFORMED BY TOM SALVATORI. PRODUCED BY: MIKE SALVATORI AND PERRY MASCETTI.

RECORDED AT: AUDIO ACCESS, GLEN ELLYN IL, NOVEMBER 28, 1995.

ENGINEERED BY: PERRY MASCETTI. EDITED AT: O’DONNELL-SALVATORI, CHICAGO, IL BY MIKE SALVATORI. MIXED AND MASTERED AT: AUDIO ACCESS, OCTOBER, 1996.

1997 © SALVATORI PRODUCTIONS, ASCAP LOMBARD, IL 60148 (312) 519-6470 E-MAIL TOM@SALVATORIPRODUCTIONS.COM

THANKS TO MIKE AND PERRY FOR THEIR ENCOURAGEMENT. THANKS ALSO TO MY FAMILY AND MY BOYS, JOEY, NINO, AND LOUIS FOR THEIR SUPPORT AND ENTHUSIASM THROUGH THIS PROJECT.

A WORD ABOUT MY COMPOSING:

MUSICALLY SPEAKING, OVER THE YEARS IT SEEMS THAT NEARLY EVERYTHING I PLAY ON MY GUITAR REMINDS ME OF SOMETHING THAT I’VE HEARD BEFORE. NOT THAT THIS PHENOMENON HAS STOPPED ME FROM BEING OPEN TO NEW MELODIES AND IDEAS WHEN I’M PLAYING; IN FACT, I ENJOY LISTENING TO MY NEW IDEAS DEVELOP AND THEN FIND IT AMUSING TO DETERMINE THEIR INFLUENCES.

NOT SURPRISINGLY, THE ARTISTS I AM ENTHUSIASTIC ABOUT SEEM TO FORMULATE MY “FRAME OF REFERENCE.” YOU MAY LISTEN TO MY MUSIC AND HAVE A COMPLETELY DIFFERENT OPINION OF ITS INFLUENCE. AND, AS LONG AS IT’S NOT 19TH CENTURY OPERA OR COUNTRY MUSIC, I’LL BE OPEN MINDED TO YOUR OPINION.

MOST COMPOSERS NEVER CITE THEIR INFLUENCES BECAUSE THEY WANT EVERYONE TO BELIEVE THEY ARE THE CREATIVE CENTER OF THE MUSIC WORLD. BUT, SINCE I’M SO DAMN COMFORTABLE WITH MY MUSICAL LOT IN LIFE, I DON’T HAVE A PROBLEM AT ALL WITH SHARING THE NODS. YOU WILL NOTE THAT I’VE FREELY UNVEILED THE VEILED REFERENCES BY PROVIDING COMMENTARY DIRECTED TOWARD THE DEVELOPMENT OF EACH COMPOSITION.
I HOPE THESE NOTES HELP YOU TO VISUALIZE WHAT I SEE WHEN I PLAY THE PIECES…I ALSO HOPE THEY INTRODUCE YOU TO SOME GOOD MUSIC TO ENJOY DOWN THE ROAD. AFTER ALL, I’D LIKE TO THINK THAT IF THE MUSIC INFLUENCED ME, IT PASSED A TEST OF SORTS.

IT IS MY GUESS THAT, MORE THAN LIKELY, THE NOTES, MELODIES, AND CHORD STRUCTURES PRESENTED HERE ALREADY EXIST IN ONE FORM OR ANOTHER IN THE HISTORICAL EXPANSE OF MUSIC. THE ARTISTIC DIFFERENCE COMES IN THE STYLING THAT IS BROUGHT TO THE NOTES AND MELODIES…TIMING, PHRASING AND EXPRESSIVENESS ARE ALL COMPONENTS THAT DIFFERENTIATE STYLE. MINE HAPPEN TO BE CALLED TOM-ISMS. I LEARNED THIS FROM MY BROTHER, MIKE.

A WORD ABOUT MY MUSICAL STYLE: FROM THE ROUGH TAKES THROUGH THE FINAL PRODUCTION OF INVOKING THE VEILED REFERENCE, I BANTERED BACK AND FORTH WITH MIKE ABOUT WHETHER OR NOT I HAVE A GUITAR STYLE. THIS HAS BEEN A BIG QUESTION IN MY MIND SINCE WE PRODUCED UNDER COVER OF DARKNESS; BECAUSE THAT CD REPRESENTED THE FIRST TIME MY MUSIC HIT THE LIGHT OF DAY IN ANY FACET OF ITS EXISTENCE. IT WAS DURING A ROUGH AUDITION OF MY NEW MUSIC THAT I FINALLY CORNERED MIKE WITH THE QUESTION “DO I HAVE A STYLE?”

MIKE INITIALLY RESPONDED WITH A SAFE, GENERIC, AND SOMEWHAT PATRONIZING “WHY OF COURSE, TOM, EVERYONE HAS A STYLE.” DEEP DOWN, MIKE KNOWS THAT A COMMENT LIKE THAT WILL BE CHALLENGED. I DUG IN MY HEELS AS FOLLOWS:

TOM: DECADES OF KNOWING ME AND THAT’S ALL YOU CAN SAY? EVERYONE HAS A STYLE?!

MIKE: WELL, IT’S HARD TO DEFINE. YOU HAVE A STYLE THAT’S DIFFERENT FROM EVERYONE ELSE.

TOM: DIFFERENT? IS THAT DIFFERENT AS IN GOOD DIFFERENT OR BAD DIFFERENT?

MIKE: DIFFERENT AS IN DIFFERENT. STEVE HOWE AND STEVE HACKETT BOTH PLAY GUITAR, BUT I’D SAY THAT HOWE HAS A MUCH DIFFERENT STYLE THAN HACKETT, RIGHT?

TOM: YEAH…SO WHICH ONE DO YOU THINK I SOUND LIKE?

MIKE: NEITHER ONE.

TOM: SO…IT’S BAD DIFFERENT?

MIKE: NO, NOT AT ALL. LOOK AT IT THIS WAY…IF I TURN ON THE RADIO AND ONE OF YOUR SONGS IS PLAYING, I’D IMMEDIATELY KNOW IT’S YOU.

TOM: OH, COME ON; HOW WOULD YOU KNOW?

MIKE: BECAUSE OF YOUR STYLE.

TOM: O.K.! NOW WE’RE GETTING SOMEWHERE! WHAT IS MY STYLE?

MIKE: IT’S HARD TO SAY…IT’S DIFFERENT.

TOM: ARE YOU HAVING FUN MESSING WITH MY MIND?

MIKE: NO, REALLY. YOUR STYLE IS DIFFERENT…BUT YOU DEFINITELY HAVE A STYLE.

TOM: WHAT? WHAT! IS IT IN THE MELODIES, THE CHORDS, MY FORM…WHAT IS IT?

MIKE: I DUNNO. I SUPPOSE IT’S JUST SAFEST TO SAY THAT YOUR MUSIC IS FULL OF TOM-ISMS.

TOM: WHAT IS A TOM-ISM?

MIKE: YOUR MUSIC; YOUR STYLE. IT’S FULL OF ‘EM.

TOM: WHAT IN THE HELL ARE YOU TALKING ABOUT?

MIKE: YOUR STYLE. IT’S DIFFERENT. IT’S RAMPANT WITH TOM-ISMS.

TOM: RAMPANT TOM-ISMS?

MIKE: YEP. YOUR STYLE IS RIFE WITH TOM-ISMS.

TOM: RIFE TOM-ISMS?

MIKE: YESSIREE! THAT’S IT!

TOM: GREAT…JUST GREAT…FLAT-OUT SUPER. THANKS FOR YOUR HELP. CLEAR AS A BELL. THANKS AGAIN. REALLY.

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Under Cover of Darkness 1995 (c) Salvatori Productions, Inc.

Tom Salvatori

Quiet, brooding solo nylon string guitar recorded during a thunderstorm.

PRESS REVIEW

"Purpose. Direction. Intent. Tom Salvatori's talent is interpreting our life and times with acoustically presented awareness. A minimalist in that Tom isn't flailing away in wonder of his own identity; not because he lacks for talent, depth, or degree of difficulty. On the contrary, he exhibits strength in restraint, and intensity through the vivid power of mindfulness he presents in his compositions. Salvatori layers his instrumentals with a beautiful variety of fingerstyle techniques, orchestrated to define each work as needed." - Artguitect Radio, June, 2000

'Under Cover of Darkness' - 30 minutes in length. ADD. Released summer, 1995. This CD represents the long-awaited 1st release recorded in the very living room of Tom's own home. Legend has it that, with all else planned (furniture moved out, wife and kids gone for the weekend, snifter of Amaretto Di Saronno at hand, microphones in place, guitar tuned...) the last remaining issue to be dealt with was ultimately the most obvious....the weather.

A storm front moved in...and thunder and lightning chose to ruin several of early takes.

That is, until Tom made one of those split second decisions that results in a long standing impact on his inaugural release.

He decided to embrace the enemy. He decided to weave the thunderstorm into his guitar work that night. He hung a couple microphones outside the bay windows and proceeded to communicate with the forces of nature.

The rest, as legend has it, is history. Seminal releases will never be the same!

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