Find The Way, the second ECM outing by praiseworthy American pianist Aaron Parks, flows steadily and unhurriedly as it keeps creating generous settings, each of them with delightful nuances to be discovered and savored. Opposing to his previous Arborescence, recorded solo, the new work flourishes in a classic piano trio with bassist Ben Street and drummer Billy Hart providing reliable substrative integrity.
Both “Adrift”, the opening tune, and “Unravel”, which expresses a doleful sincerity, shine with Park’s soft and nice touches, conveying a fluid lyricism over a dawdling melancholy that recalls the style of Steve Kuhn and sometimes Bobo Stenson. Hart’s percussive work is outstanding on that first tune as he molds his own textures, changes, and readapts them once more according to what’s happening around him.
Far more static and stripped to its essentials, “Hold Music” exhibits harmonic voicings in rotation with the bassist playing straight like in a pop/rock piece and Hart losing himself in that percussive airiness that forces any sturdy surface to bend and quiver.
…show more content…
This piece ranks right below “Alice”, a powerful piece inspired by the modal journeys of Alice Coltrane, in the competition for the most outstanding piece on the album. On the latter, one can find the bassist adventuring himself in unexpected portions of the song, always in the company of the inventive drummer, whose pulse acquires a rock flow that vehemently drives us to a dramatic finale. The liquidity in Parks’ progressions bestows the same effect as an oasis in a desert, irrigating and nourishing on all
album contains an amazing combination of poetic lyrics and edgy music that make it an
The opening stanza sets the tone for the entire poem. Updike uses symbolism to portray the sad, disappointing life Flick ...
When I read poetry, I often tend to look first at its meaning and second at how it is written, or its form. The mistake I make when I do this is in assuming that the two are separate, when, in fact, often the meaning of poetry is supported or even defined by its form. I will discuss two poems that embody this close connection between meaning and form in their central use of imagery and repetition. One is a tribute to Janis Joplin, written in 1983 by Alice Fulton, entitled “You Can’t Rhumboogie in a Ball and Chain.” The second is a section from Walt Whitman’s 1,336-line masterpiece, “Song of Myself,” first published in 1855. The imagery in each poem differs in purpose and effect, and the rhythms, though created through repetition in both poems, are quite different as well. As I reach the end of each poem, however, I am left with a powerful human presence lingering in the words. In Fulton’s poem, that presence is the live-hard-and-die-young Janis Joplin; in Whitman’s poem, the presence created is an aspect of the poet himself.
Music is magical: it soothes you when you are upset and cheers you up when you are down. To me, it is a communication with souls. I listen to different genres of music. When appreciating each form of music, with its unique rhythm and melody, I expect to differentiate each other by the feelings and emotions that it brings to me. However, I would definitely never call myself “a fan of jazz” until I witnessed Cécile McLorin Salvant’s performance last Friday at Mondavi Center. Through the interpretations and illustrations from Cécile’s performance, I realized that the cultural significance and individual identity are the building blocks of jazz music that create its unique musical features and support its development.
The album begins with the hard-rocker “Come Together”. The song is a perfect example of John Lennon’s rock influence in the Beatles. “Come Together” is a song that’s popularity has been revived due to its appearances in many commercials. Its trademark chorus, “Come together right now over me”, is known just about everywhere. Ringo’s heavy drums and John’s deep poetic lyrics drive the song, while Paul’s voice and George’s sharp guitar contribute to the body of this song. John Lennon was well known for his creative lyrics. His mind provided lyrics for such insightful songs such as “Across the Universe” and “A Day in the Life”.
...althier freedom than he had with heroin. He is able to channel his struggles caused by heroin into something beautiful with his music. Through this realization, the narrator also knows that he is in denial of his own tragedies when the tears fall out as he remembers people such as his mother, his dead uncle and his daughter.
Emotional intensity, infectious melodies and passionate lyrics make for extremely compelling music; this album definitely had all three. The album’s melodic and lyrical magic that exuded from Mick Fleetwood, John McVie, Christine McVie, Lindsey Buckingham and Stevie Nicks left me mesmerized. When these sincere artists combined their vocal harmonies and surreal songwriting with their emotionally driven revelations of love, loss, heartbreak and turmoil, one of the ultimate classic albums emerged.
Merwin's magisterial control of lyric syntax and narrative order give the reader no difficulty; they are able to understand his work since it flows free from form ("Boston Review" 1). "The consistency, the inclusive and transforming vitality of the work makes it the crowning achievement of Merwin's long and extremely diversified career" ("Boston Review" 1).
Willoughby, David. "Chapter 11." The World of Music. 7th ed. New York: McGraw-Hill, 2012. 249-53. Print.
The song presents to the listener a new ear to listen from. This ear is intuitive and can hear the sounds of nature.
Mind-bending psychedelic rock, rainbow prisms, and the druggie culture of the seventies may be the first thing that comes to mind when people hear Pink Floyd. But look inside and there’s something deeper. Diving into the vault of Pink Floyd songs one could see a very common theme. Not only is Pink Floyd songwriter Roger Waters a skilled music composer, but he is able to write astounding and notable stories through his songs. The story he created through writing the album: The Wall is nothing but impressive. The second to last song on the album, “The Trial” is the epitome of a well written closer. The conclusion contains the dark, high, and intense sound listeners are used to as well as a meaningful narrative. The plot is emotional
Culture Centers in Higher Education: Perspectives on Identity, Theory, and Practice is a powerful and enlightening book by Lori D. Patton. Patton is a higher education scholar who focuses on issues of race theories, African American experiences on college campuses, student development theories, campus environments, inclusion, and multicultural resources centers at higher education institutions. She has a variety of publications and was one of the first doctoral students to complete a dissertation that focused exclusively on Black culture centers entitled, “From Protest to Progress: An Examination of the Relevance, Relationships and Roles of Black Culture Centers.” In Campus Culture Centers in Higher Education Patton collaborates with many higher education scholars and faculty members to discuss various types of racial and ethnic culture centers in higher education, their overall effectiveness, relevance, and implications for improvement in relation to student retention and success. Diversity, inclusion and social justice have become prevalent issues on all college campuses, and this piece of literature gives a basic introduction for individuals unfamiliar with cultural resource centers. This book successfully highlights contributions of culture centers and suggestions for how centers can be reevaluated and structured more efficiently. For many faculty, administrators, and student affairs professionals unfamiliar with the missions and goals of culture centers, Patton’s text provides a concrete introduction and outline for the functionality of these resources and also offers recommendations and improvements for administrators managing multicultural centers.
Rytell, David. “Music Worthy of a Riot.” David Rytell’s Home Page. 1989. Web. 17 September 2011.
middle of paper ... ... The multiplicity of visions found within Morrison’s novel mirrors the multi-instrumentation of combo jazz and various solo ‘viewpoints’ from which a tune is played by different band members (Pici). Such a non-omniscient and non-omnipotent narrator makes storytelling an ongoing development, just like it is with the jazz music.
The smooth start of the song’s instruments gives the listeners the psychological feeling of peace and mind ease, which lets the listener focus more on the lyrics and the singer’s direct message becomes clear and vivid. The consistent and soft beatings of the drums almost heartbeat-like, and the lively sound of the guitar rhythms make up most of the background music. It gives the listener a calming state of mind to think about the world and use the imagination to get involved with the song.