Jason Vitelli
New York City, New York, United States | Established. Jan 01, 2005 | INDIE
Music
Press
"It’s an album that resists categorization or understanding, and it constantly morphs and evolves, often within a single song. Nevertheless, it is also an album that invites the possibility of understanding with repeated, close listening." - The Big Takeover
"Vitelli’s crystalline, classically-inflected piano style and clear voice give the music on Head Above Tide a regal, refined feel that may remind some of Neal Morse-era Spock’s Beard crossed with early Billy Joel. There’s a deliberately dry production aesthetic to the songs that conveys a kind of immediacy; listeners will feel as if they’re right there with Vitelli and his backing musicians . . . Head Above Tide is quite subtle, but with that subtlety comes depth. The disc may not reveal all of its charms on initial listen; ace guitar solos are sometimes buried in the mix. But repeated listens yield rewards." - Musoscribe
"All evident on this album . . . carefully constructed complex, but at the same time very listenable musical structures, based on pop, jazz and classical music, intricate arrangements and thoughtful lyrics based on obvious knowledge of everything around the person who wrote them . . . he obviously has high production values too, something such music demands. Out of the 16 tracks here, there’s not even one that drops below such high standard." - Sputnik Music
". . . the artist has surrounded himself with talented musicians to help craft a layered and rewarding record around his words . . . Head Above Tide boasts impressive work from Vitelli and his backing band; percussionist Yorgos Maniatis is particularly noteworthy, his understated but elaborate drumming serving as the album’s backbone along with Michael O’Brien’s bass. The record is filled with warm, jazzy flourishes, including Vitelli’s warm alto sax on tracks like Autumn Hymn. Backing vocalists Lisa Trenary and Cherette give plenty of life to many of these songs, their full-bodied gospel-tinged harmonies elevating and enriching “Fault Lines” and “Welcome to My Life, Healing” among others. The instrumental track “(descension)” is a surprising highlight given that it’s only a minute long, but it quickly emphasizes the album’s clean and refined sound engineering . . ." - MobToronto
". . . The start of this year sees Vitelli sharing his newest endeavor, “Head Above Tide,” which is absolutely delightful. Filled with eclectic sounds from jazz to rock , the record is an art rocker’s dream . . . Stunning vocals, gorgeous harmonies, and skillfully crafted textures make up the record, over a bed of charming instrumentation. With each song having a life of it’s own, I fell in love with pieces such as “D-Day,” and “Trees.” Jason Vitelli has quickly become one of my favorite artists, and he as really outdone himself on this latest release. My ears are beyond pleased, as yours will be." - Modern Mystery Blog
"With his scratchy tenor voice (not unlike Peter Gabriel), Vitelli can alter the mood of the song, shifting into a dulcet falsetto. This dynamic is effective on other ballads, including the gospel-tinged, "American Reflection" and "A Promise"
. . . The acoustic resonance of Confluence takes on different shadings with the addition of the ensemble. "Blank Page" exhibits a haunting theme with the cello accompaniment. Small touches, like a celeste expand the sonic landscape, without altering the flow of the piece. The celeste and cello create a mosaic with harmony vocals on "River Nile". "From Egypt" evokes a classical ambiance with captivating string accents . . ." - Audiophile Audition
". . . Jason's music is an amazing cocktail of soft-rock, pop, blues, folk and even jazz. If I were forced to name an artist who came immediately to my mind the first time I listened to No Photographs is Elvis Costello, from his earlier albums. Even the timbre of the voice isn't that far (though Jason seems more gifted, sorry Elvis :-)). Other influences (seem to) come from Lloyd Cole, Peter Gabriel, Billy Joel and even Bob Dylan! Consider this list of artists as a reference, just to get an idea, actually Jason Vitelli's music deserves a category of its own . . . Another good example of how, even without audiophile efforts, it is possible to produce a very good recording, even a pop-rock album, a musical genre which is so often brutalized by sound engineers. " - TNT Audio
". . . Yep, this is good stuff. And it isn't your normal fare. To give you an example, after the motatin' "Tortured Lane," Vitelli dips into mental electronics with "Locked," a space mission gone awry, before laying you back with the light pop/jazz/folk of "Morning Sun," alto sax floating over and between layers of harmony vocals, synthesized strings and acoustic guitar. On to "Zeta Male," a musical nod to rock opera, intended or not. To the very mainstream light rocking "Broken," which could have ended up on an England Dan & John Ford Coley album had the timing been right. At first, you get the feeling of a musical rollercoaster, and it is a ride." - Rock and Reprise
"I hear everything from Peter Gabriel-era Genesis to prog-rock, with a healthy dose of singer-songwriter fare all mixed together and churned out in a completely individual manner . . . and speaking of the sound, this is where the album shines especially bright. I don't think I've ever heard an original rock recording sound so pure and uncompressed . . . You just need to wick up the volume and you'll hear this album in all its glory. The dynamics are outstanding and the tone is spot
on . . ." - The Audiobeat
". . . one can listen to the entire recording at one setting or just a single "side". I chose to listen to the entire recording and find it very involving all the way through with a unique and varied mixtures of styles from simple acoustic ballads to hard electric rock . . . great original music . . ." - Positive Feedback (Issue 61)
Vitelli incorporates a variety of genres on this record, from blues ("June"), jazz ("Morning Sun"), folk ("Long Way") and my personal favorite, soft rock. My favorite song, "Last Rites," falls into the latter category and stuck with me like leather car seats in the summertime. I thought Vitelli did a great job with the arrangements, and the string sections were well-placed and timely.
Another solid track was "Broken." I particularly enjoyed the melody, and it sounded like something Train or Counting Crows might record, and if that’s not a good enough reason to check it out, Vitelli also rhymes a lyric with "head full of piss."
I had mixed feelings about "Locked." The ghostly guitars and ambient noises on the track were fantastic. However, the broodingly, indie-flick inspired direction the song seemed to be headed in never fully materialized. Still, it would definitely have a home on my iPod.
Throughout the album Vitelli also demonstrates a vast-reaching vocal range, including some Five For Fighting-esque falsetto on several tracks and the talking-over-the-music-rather-than-singing style made popular by David Byrne.
As with strawberries and jumbo shrimp, there are many ways to enjoy No Photographs, but there are three things I know for sure; Vitelli is a talented and capable vocalist, he is also a romantic and a poet, and Harry Connick Jr. better watch his back, 'cause he’s not the only sensitive crooner on the block anymore. - Indie-Music.com
Discography
Head Above Tide - 2018
Confluence - 2011
No Photographs - 2009
Photos
Bio
Blending dramatic arrangements, folk sentiment and audiophile production values, NYC artist Jason Vitelli presents Head Above Tide. On his third full-length release, striking lyrical poetics highlight the suite of 14 songs, which sparkle with musical immediacy, and upon repeated listening, reveal an expansive emotional landscape.
“These songs coalesced around the idea of facing adversity and overcoming obstacles,” says Jason. “Over the years I’ve resolved my angst and became more sympathetic.” Romantic relationships, family, literature, fantasy and the culture surrounding him have become his personal points of reference in these stories.
What inspires Jason are characters in circumstances far different than his own, yet sharing a common thread of humility. For his song “Labyrinthine,” the pointed lyrics evoke the protagonist in the William Styron novel Sophie’s Choice, with driving string lines and tumultuous rhythm propelling her toward certain oblivion. The call and response harmonies in “Three Marionettes” portray the hardships endured by child refugees in the Second Sudanese Civil War; their oppression a symbol of the boundlessness of human cruelty. “In a greater sense, none of us can emerge out of any trauma unscathed,” he notes.
For “The Persecuted,” he references recent history when the New York State Supreme Court validated marriage equality. “When you are going through a difficult moment, it helps to realize that persecuted people, even in the throes of despair, have found ways to overcome their struggles,” he says. With the evocative “Autumn Hymn,” Jason imagines echoes of Charles Ives and the sound of a marching band disappearing into the dusk, a metaphor to mirror the passing parade of life.
Born and raised in the village of Dix Hills, Long Island, Jason recalls his first imaginative instincts as a child. “I was interested in creating something from nothing, and sharing it with other people. I felt like an outsider to some degree; introverted and intrigued by intricacy.” After attending Binghamton University for Music Composition and studying film scoring at NYU, he apprenticed with acclaimed TV composer Gary Pozner and subsequently wrote music for various short films, documentaries and mixed media projects. Soon however, Jason felt the urge to shift his focus to live performance, opting to reinvent himself as a singer-songwriter.
Uniting lyrics and his rich baritone with a musical language that came so naturally to him opened up new possibilities. “Though I loved composing for film because of the visual component, I was sitting in front of a computer all of the time. When I did my first open mic as a performer I was hooked – I wanted to commune with an audience directly.”
New York City provided plenty of opportunities in historic venues like The Bitter End, Café Wha? and Kenny’s Castaways. With his facility as an instrumentalist, Jason also joined various aggregates as a sideman, and for the experience of performing in a public space would be drawn to often play music in the subways. In 2009, he self-produced his full length debut No Photographs and overdubbed most of the parts on his own. Producer and engineer Barry Diament was so intrigued by the work that he produced a live direct-to-stereo recording of Jason on his boutique label, Soundkeeper Recordings. The next album, Confluence, brought his skills as a bandleader and live performer to the fore. For the new album, Jason employs a combination of traditional overdubbing techniques and live stereo tracking. “I want the musicians reacting to each other in real time as much as possible,” he says. “Often the interaction is what makes something distinctive and alive.”
Integrating live performances with engrossing storytelling, Head Above Tide confirms Jason’s commitment to exploring the human condition through song. “The reason that we love film and art is that they bring us out of ourselves, show us someone else’s reality, and in doing so, allow us to understand ourselves more through the process,” he says. “It is my goal to help people open their eyes to a broader horizon. As hard as life can be, grace and compassion will always keep our heads above the rising tide.”
Band Members
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