Today’s guest has been a guitarist with the rhythm and blues group Genesis III, the Jimmy James Jazz Orchestra and has performed as a freelance member of various New York society orchestras. In addition to teaching music, he currently has students from ages 7 to 70, he has also been the guitarist for vocalist Carmen John as well as a classical guitarist for the “From Bach to Broadway” ensembles. A solo guitarist throughout the New York metropolitan area, he has also performed as the guitarist with vocalist Gradie Stone and as a member of the Local 16-248 Jazz Big Band. He is the owner and founder of MillSound Music and is currently the President of the American Federation of Musicians Local 16-248. 
The American Federation of Musicians is comprised of 80,000 members in the United States and Canada. Its members perform in orchestras, backup bands, festivals, clubs and theaters both on Broadway and on tour. The American Federation of Musicians members also make music for films, TV, commercials and sound recordings and it is the largest union of musicians in the world.

It is  my honor to introduce today’s guest, Anthony V. Scally Jr.

Satin Doll: An Interview with Anthony Scally

6 or 7 single notes played with a violin sample. Oh the possibilities. 
Another "Generative" music piece. Simple input, with variable looped controls controlling the processing. Made entirely with LIVE 9.
...Fun.

Violin Entropy 1

I am grateful to Andrew Steinberg and the Megalopolis Saxophone Orchestra for giving me the opportunity to compose music for this excellent ensemble. In addition to them, the work also bears a dedication to N. Stanley Balch (1938-2018), for many years the director of the Central High School band in my hometown of Helena-West Helena, Arkansas. He taught me some of the first lessons I learned about music for large ensembles, orchestration, and writing for woodwind and brass instruments, exposed me to a lot of modern music, in the realms of classical concert band music as well as jazz, and gave me a great deal of encouragement. 

Through to (and Out of) the Other Side is in a single movement comprising several sections. The first is fast, syncopated and edgy, gradually morphing into a gigue-like rhythm. After a series of episodes this section gradually cycles back to the material of the opening, with siren-like wailing in the altissimo registers of the soprano and top two alto parts. A transition ensues, with some rock and jazz elements and a hint of bluesiness, interrupted from time to time by soft four-part harmonies marked “senza vibrato, ethereal, disembodied.” A very brief accelerando outburst yields to the heart of the work, a slow movement that is by turns lyrical and austere, with fairly large pauses interspersed, suggesting vast spaces. The opening sonority of this section is a simple simultaneous interval of a minor third (C to E-flat), which happens to be the opening sound of a haunting late work of Mozart, his Masonic Funeral Music. Not sure how this found its way in — it is not an exact quotation from Mozart’s piece — but somehow it did. After the climax of this section, a stark two-part chorale for the entire ensemble asserts itself, before the mood is swept away by the final section in waltz tempo. Besides the Mozart reference, another piece, coincidentally also in the key of C minor, wormed its way into my thinking at the end of this work: the Waltz No. 2 from Shostakovich’s Suite for Variety Orchestra, familiar to anyone who has seen Stanley Kubrick’s Eyes Wide Shut, where it accompanies the opening scene. Again, there is no direct quotation, and this reference, such as it is, is even less obvious than is the case with the Mozart. The overall trajectory of my piece seems to travel from a more upbeat, if rambunctious opening, through a much more introspective passage, ultimately returning to a mood similar to the opening, with perhaps more of a satirical cast.

Through To (and Out Of) The Other Side (2018) - 48k

At the Water's Edge - this is the opener from our set at Quinn's on 8/25/25. With Nadav Snir-Zelniker (drums) and Brian Mooney (bass).

(At The) Water's Edge LIVE 2025

Music composed and arranged by Peter Furlan
Peter Furlan - tenor sax
Vinnie Cutro - trumpet
Roger Rosenberg - baritone sax
Neil Alexander - piano & keyboards
Saul Rubin - guitar
Peter Brendler - bass
Nadav Snir Zelniker - drums

Between The Lines

Foucault’s Pendulum

Ashes

When the New York Times book critic Dennis Lehane writes about the opening of James Ellroy’s novel, “Perfidia” he states.
“There — Whalen’s Drugstore, Sixth and Spring Streets. The site of four recent felonies. 211 PC — Armed Robbery.” For better and often for worse, that style — jumpy, feverish and anarchic — mirrors the world we enter.” 
So too does our opening track reflect this  jumpy, feverish and anarchic feeling. Composed and arranged by today’s guest, a musician who has performed and recorded with many world class musicians including Dizzy Gillespie, Eddie Henderson, The Temptations, 10,000 Maniacs, The Four Tops and many others. 
My guest is a saxophonist, composer, arranger and educator as well as the founder, artistic director and conductor of the Rockland Youth Jazz Ensemble, an adjunct jazz professor at Bergen Community College, Bergen Catholic High School’s Jazz Ensemble director and vice-president of the Rockland County Jazz and Blues Society.
In 2019 he was the recipient of the Arts Council of Rockland’s 2019 Performing Artist Award.

 
It is  my honor to introduce today’s guest, the leader of The Peter Furlan Project and The Peter Furlan Trio & Quintet, Peter Furlan.

Foucault’s Pendulum

Peter Furlan

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