Jewel Eyes


"Jewel Eyes", my first Album, includes compositions I wrote and recorded from 1976-1980. My longtime friend, Chuck Auster, had formed Wren Records and asked me to make an Album for the label. At the time, I was performing and touring with Gato Barbieri, and when I was at home in New York, was performing regularly with my own group at Seventh Avenue South and Sounds of Brazil, with occasional shows at The Bottom Line, Dance Theater Workshop, Ali's Alley (Rashid Alley's club) I had recorded two of the songs at Downtown Sound with James Mason earlier. One was "Dance of the Clouds", a piece I originally wrote for choreographer Martha Bowers' modern dance company Dance Theater, Etc. in New York. The other is "New Funk" which features the soprano saxophone of Jim Clouse and the solid as ever groove of Richie Morlaes, with whom I had toured with Gato and who was a member of my early bands . Associate Producer and Engineer John Palermo and I added additional tracks and remixed these at Song Shop Studios where we recorded and mixed most of the other songs on the album. In 1978, I began performing "Jewel Eyes", which an exploration for me into the combination of funk, rock and jazz fusion rhythms with Arnold Schoenberg's Upper Structure Triad approach to harmony. Drummer Terry Silverlight was essential to this track. Percussionist Roger Squitero added his magic and subtle grooves to all of these tracks.

Here I've got to say a word about saxophonist Ed Palermo, who contributed so much to this album and my bands. Ed's soaring tone was the perfect match for these pieces. Ed is a great arranger and song writer himself and was playing with his Ed' Palermo's Big Band at Seventh Avenuse South at the same time I was performing there with my group

One day I showed up for a Gato rehearsal and there was a new drummer: the Brazilian, Portinho, who eventually taught me the meaning of "swing" in Brazilian music. Bassist Lincoln Goines was also on that tour, and when we returned, I formed a group with both of them to perform my compositions. "Que Tu Quieres", "Free" and "Cenote", are the result. I've recorded "Que Tu Quieres" several times since the "Jewel Eyes" sessions, but, at the time, we were looking for a congero for this piece, which moved between Samba and Salsa. Portinho brought a congero to the session who he said "was new in town, Cuban, and only spoke Spanish." In walked Daniel Ponce for his first New York recording session. You can hear the Port Allegre/Havana sauce in the conga solo at the end of the tune.

"Free", a difficult piece to perform, is a fast Baiao, a rhythm from the north of Brazil, with Portinho and Lincoln swinging and swinging. For this piece and "Cenote" I brought in Brazilian electric guitarist Claudio Celso who claimed to be a "rock guitarist". Listen to his solos on both these tunes and for the incredible energy he brings to them.

"Cenote" begins quietly, featuring the subtle and beautiful voice of Ilana Morillo. The piece does not remain subtle for long, and the rhythm builds and sound builds to a climatic guitar solo by Claudio Celso. Cenote is the Mayan term for well, evident in Central America. I was inspired to write "Cenote" by stories of sacrifice, worship, and the central communal nature of these sacred wells that I visited in Yucatan. Ilana's voice and Claudio's guttural guitar solo paint the extremes of this culture.

I had written the ballad "Aurora" for Gato, and, with my band, Ed Palermo played it with elemental emotion, I really wanted Gato to record it, so I asked him if he would. We recorded the tracks at Rite Track in New York with Richie, Lincoln, Roger, and friend and guitarist Bill Washer. Gato's sensual performance makes this recording of "Aurora" very special.

Side One
JEWEL EYES (5:28)
Keyboards: Frank Ferrucci
Drums: Terry Silverlight
Bass: Lincoln Goines
Saxophone: Ed Palermo
Percussion: Roger Squitero

AURORA (4:15)
Special Guest Artist: Gato Barbieri, Tener Sax
Keyboards: Frank Ferrucci
Drums: Richie Morales
Bass: Lincoln Goines
Guitar: Bill Washer
Percussion: Roger Squitero

QUE TU QUIERES (5:16)
Keyboards: Frank Ferrucci
Drums: Portinho
Bass: Lincoln Goines
Guitar: Claudio Celso
Congas: Daniel Ponce
Percussion: Portinho
Saxophone: Ed Palermo

NEW FUNK (4:59)
Keyboards: Frank Ferucci
Drums: Richie Morales
Bass: Lincoln Goines
Saxophone: Jim Clouse
Percussion: Mustafa Ahmed

Side Two
CENOTE (7:33)
Keyboards: Frank Ferrucci
Drums: Portinho
Bass: Lincoln Goines
Guitar: Claudio Celso
Congas: Daniel Ponce
Percussion: Portinho
Voice: Ilana Morillo

FREE (5:03)
Keyboards: Frank Ferrucci
Drums: Portinho
Bass: Lincoln Goines
Guitar: Claudio Celso
Congas: Daniel Ponce
Percussion: Portinho
Saxophone, Flute, Piccolo: Ed Palermo

DANCE OF THE CLOUDS (8:07)
Keyboards: Frank Ferrucci
Drums: Richie Morales
Bass: Lincoln Goines
Saxophone: Jim Clouse, Ed Palermo (Sax Solo)
Percussion: Roger Squitero
All selections composed and arranged by Frank Ferrucci
Copyright Lotza- Barza Music (BMI)

Producer: Frank Ferrucci
Associate Producer: John Palermo
Studios: Songshop, NYC/ Rite Track, NYC/ Crossfire, NYC/ Downtown Sound, NYC
Engineers: John Palermo, James Mason
Assistant Engineers: Jim Stasiak, Peter Darmi
Mastered by: Ted Jensen, Sterling Sound, NYC
Album Design: Mary Mattingly
Cover Illustration: Mary Mattingly
Photography: Cristina Taccone

Executive Producer: Chuck Auster

"That keyboardist/ composer Frank Ferrucci has stepped out of his customary role as sideman, arranger or musical composer will be good news to any who have seen or heard him perform around New York, or around the world on tour with Gato Barbieri.
For those unfamiliar with Frank�s subtle, provocative style at the piano, Fender Rhodes or synthesizer, Frank�s first solo recording provides a welcome change to the now formulized approaches to contemporary composition. IS it jazz? Rock? Latin? The diversity of Frank�s talents- as composer, arranger, producer and performer- are impressive� and just as impressive is the roster of players that serve up this tantalizing array of music.
Sparked by Frank�s sense of aural color and fluid rhythmic perceptions, this album is a musical gem� providing the listener an opportunity to look through these �Jewel Eyes� rather than at them.
--Marc Silag, Musician Magazine