Tunnel To Light is the new recording from saxophonist Travis Laplante and drummer Jason Nazary; an intimate document of a 16 year musical friendship.

Tunnel to Light’s side A consists of three improvised acoustic performances, recorded in Vermont during the Spring of 2021. After both musicians had spent close to a year with extremely limited in-person musical connections, the longing to play in person together felt urgent. The timing of the recording represents a celebratory moment; a return to sharing and uniting sound in the same space together. The acoustic improvisations on Tunnel to Light all have an uncanny quality of musical distillation inside of them, as if the essences of the improvisations are further revealing themselves as each moment passes. This quality is a result of the countless hours Laplante and Nazary have spent deeply listening to each other, cultivating a rare musical sensitivity even within wild and dense sonic territory. The players seem to be able to understand what WILL happen in this way that allows the listener to forget that the players have only the present and past to guide them; they have no idea what will happen! And that's the risk, and the surprise when the resulting sounds are so fused.

Bell High Locust, the final track of Tunnel To Light, was in fact the first piece of music made for the record. While side A finds the two musicians improvising in the same space & time, side B was created remotely, each contribution recorded individually, at home, during the height of the pandemic. The original framework of the piece was improvised by Nazary, experimenting with live electronics & various close mic'd percussion textures, from bowed cymbals to beaded shakers to multiple woodblocks and cowbells. The result was an ever evolving sonic tapestry that created the foundation for Laplante's contribution, also improvised in one take at his home in Vermont. Despite being recorded a month apart, the two performances sound as one, the musicians displaying a near telepathic bond. Finally, this composite was filtered through Nazary's unique production aesthetic, subtly shaping the piece into a hyper realistic, psychedelic landscape that is a distinctive addition to both musicians' catalog.

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