We recently connected with David Vito Gregoli and have shared our conversation below.
Hi David Vito, thanks for joining us today. Can you talk to us about a project that’s meant a lot to you?
I was honored when Ayurvedic author Lissa Coffey approached me several years ago about collaborating on Song Divine: The Bhagavad Gita Rock Opera. We share an interest in Eastern philosophy, and to be offered to adapt Lissa’s translation of this ancient sacred text to music with near-total creative freedom was an amazing opportunity.
It was also pretty intimidating, as this would be the first time an English translation would be put to music. And the Bhagavad Gita has 18 chapters — that’s a lot of songs to write and record! So, I focused on taking it one step at a time, merging global sounds with my Pop sensibility, letting go and embracing my creative journey. I found that delving into writing in the Pop realm after many years of focusing on instrumental music was a bit like riding a bicycle and so much fun.
I’ve collected many instruments from all over the world, and it was exciting to experiment with their unique sounds and moods. I had decided that all the songs would be based on traditional Indian Ragas, which I transformed and molded into catchy Pop melodies. Each song has a distinctive tone that mirrors its lyrics. This elevated approach was daunting, and there were struggles for sure. But it was absolutely the right choice.
Once the composing was done, then came the recording. I played most of the instruments, along with some Indian musicians who recorded in Delhi. We did an extensive search to cast the perfect singers, and as icing on the cake, we even scored Indian superstar Sonu Nigam!
The project certainly had a lot of moving parts, and it carried an unusual gravitas, given the epic nature of the material. Urged on by Lissa’s enthusiasm, I really pushed myself creatively beyond where I ever thought I could go — and you could say this project was as enlightening to me as it hopefully is to the audience. Song Divine was so expansive in scope that I consider it my opus grande. In 2023 we did a sequel album, the award winning “We Share The Moon” with lyrics based on the great Indian poets like Kabir. Again, it was a labor of love and devotion — and so well received.
Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.
I call myself a Sound Painter…
My musical journey has been a long and winding road, so to speak, and quite diverse; though today I’m mostly known as a multi-instrumentalist/producer in World and New Age, my earliest explorations were rooted in Pop, Rock, Jazz & Blues, as well as later earning a degree in Classical Music. Those influences color virtually all my productions today—from ambient soundscapes to Americana singer/songwriters. As a producer and collaborator, I’m known for layering eclectic instrumentations into unique genre- blends, which reflect a lifetime of obsession with all types of music.
I grew up in Los Angeles, and my ear was glued to a transistor radio from age 6. As a kid I was first drawn to the drums, but soon pivoted to bass and finally guita, which just opened up my entire world. By the time I was in my teens I was already working in L.A. clubs with original and cover bands and was dubbed a young “guitar virtuoso.”
I credit my early spiritual practices for keeping me grounded. I was introduced to transcendental meditation at 13, and that path brought me to yoga, Buddhism and ultimately New Age and World Music. And as much as I’m well-known in that space, I still love to rock out. Like producing a ‘legacy’ album MORE (for singer/songwriter Erich Harrington) a couple of years ago, leaning into the songs’ retro flavors from as far back as the ‘60s. I get to voice my influences in everything I do, but never more literally than this project. So fun!
Probably my most monumental undertaking so far has been Song Divine: The Bhagavad Gita Rock Opera. The thought of putting Lissa Coffey’s English translation of the Gita to music was admittedly a bit intimidating. I wanted to honor the sacred texts while reimagining them as a blend of Indian Ragas and Rock/Pop. I really dug deep into my extensive musical IQ and pushed myself creatively for this one. It was an intense yet exhilarating experience.
I think artists are drawn to my ability to play a huge range of instruments and deliver a strong production aesthetic that elevates their work. I have a keen ear for editing that is tuned to an artist’s authenticity, that supports and amplifies their true voice.
I especially enjoy working with musical artists doing their first album and helping hone their voice as seasoned professionals looking to do something different. That’s one of my superpowers, looking at things differently. We have to always ask: how do you stand out in such a saturated market? For me, it comes down to how you touch an audience and convey your own inherent uniqueness. And I never lose sight of that when I work with another artist.
But it’s a two-way street…I learn something from everyone I work with — from Grammy winners to emerging artists — and I strive to bring the same integrity, versatility and passion to each of my clients’ projects. I’ve had the good fortune to have been involved with so many great adventures — with New Age artists like Jai Uttal, Constance Demby, and Steven Halpern as well as Pop-centered artists like Julia Fordham, Donna De Lory and Tamara Champlin.
And I’m continuing to release new collaborations with Grammy-winners Ricky Kej, and Jim “Kimo” West, as well as more with Lissa Coffey and many others. It’s an exciting time, and I’m feel like I’m just getting started!
How about pivoting – can you share the story of a time you’ve had to pivot?
The music business has changed so radically since I started gigging in 1975 at 15. I was playing nightclubs, parties, weddings, restaurants…you name it. By the time the ‘80’s rolled around, advances in synthesizers and drum machines began to push bass players and drummers out of work. Even as a guitar player, I too was made obsolete when DJs replaced live bands.
While that was devastating for live musicians, I’m grateful that it encouraged me to expand my musical reach. I shifted to being musical director/guitarist for singer/songwriters, a trend that emerged in the ‘90s with artists like Jewel, Julia Fordham, and Sarah McLachlan. When I returned to the Southland after a brief stint in Seattle, I decided I was going to do everything differently: I started my own record label Dharmapala Records and became a full time music producer. Eventually I started being an artist myself, specializing in a hybrid of New Age and World with Pop/Funk flavors.
The next earthquake came following the demonetization of music by Napster and the behavior of big labels, when with the spectre of social media allowed streaming to emerge as the dominant music platform. Tragically, the business model of these streaming companies drastically underpays the artists. Now AI is threatening to replace artists altogether and putting more and more music artists out of work.
Like many artists, I’ve had to learn how to navigate Facebook, TikTok and YouTube to take advantage of their marketplaces for reaching new audiences. There are no more A&R reps, no lawyers, managers or accountants to take the burden off the independent artist so they can concentrate just on creating: Now it’s all on the music creator be all things to all people. It’s daunting, but music has been my whole life, and I have no choice but to continue to adapt.
I think we’re on the edge of another big shift. Like all big shifts, they’re unforeseeable until they’re already here. I can’t tell you how it’s going to manifest, but I am keeping my eyes peeled, so I can take advantage of it for my clients. Change is the one constant in the universe!
What’s a lesson you had to unlearn and what’s the backstory?
One of the most important lessons I’ve had to unlearn was that my musical vision is sacred and that’s what I have to share with the public. I’ve come to realize that my vision is for me. What I give to the public is something that they can experience within the context of their own lives. And the two are rarely the same, especially when so many of my influences are not particularly commercial. I start by creating music for myself, and then I mold that into something others can more easily enjoy.
The way I see it is there are two mixes to every piece: One is exactly how I hear it in my head, that makes me feel good about it. Then there’s the second mix which is for everyone else. I might tone down elements that are too esoteric or eclectic, but at the same time not compromising the integrity of the piece. That’s a skill that takes some time to hone. These days you’ll see artists release a few different mixes, alt takes and such, due to the nature of the streaming world. So, I might release a record with the ‘public mix’ and then later release the song as an ‘alt mix’ with my original intention on display. With both, I hope to convey something different and impactful to both the audience and myself.
Contact Info:
- Website: https://www.VitoGregoliMusic.com
- Instagram: https://www.instagram.com/vitogregoli
- Facebook: https://www.facebook.com/VitoGregoliMusic
- Youtube: https://www.youtube.com/user/vitoji
- Soundcloud: https://soundcloud.com/david-vito-gregoli
Image Credits
Photos by Sej Saraiya