On Wednesday, October 26, 2016, there was a combo jazz ensemble that performed at the Florence Kopleff Recital Hall. The jazz ensemble consisted of Josh Holland on trumpet, Andrew Venet on bass, J. Paul Whitehead on piano, and Ryan McDaniel on drums. The songs that they performed that night were; “Blue Bossa” by Joe Henderson, “My Funky Valentine” by Joshua Holland, “My One and Only Love” by Gut Wood, and “Jig-a-Jug” by Joshua Redman. Throughout the night, they played a combination of combo jazz and bossa nova. The Florence Kopleff Recital Hall is located between Sparks Hall and the Arts and Humanities building and is across from Hurt Park. The band performed in front of a large stage at the front of the room to where everyone could see them. …show more content…
This song tended to sound like a bossa nova piece with a mixture of hard bop included. During this performance, the trumpet player, Josh Holland, tends to vibrate at the ends of the notes, which seemed to have a slight vibrato, with a linear tone to it. The drummer, Ryan McDaniel, used the technique of ‘drum bombs’ in the performance as well. The pianist, J. Paul Whitehead, played with his right hand giving the ‘oom-pah’ sound and his left hand doing the comping. There were solos played by the trumpets, pianist, bass player, and drummer, in that order. This piece of jazz tended to get us in the feel of era of music they were …show more content…
Throughout this piece there was stop time breaks which tended to last for about four beats, while the bass player continued to play along to the beat. Every musician had a solo throughout this piece of art. The pianist played on the beat to where his left hand was giving the ‘oom-pah’ and his right hand doing the comping. There was not much of and expression in the pianist compared to the Josh Holland playing trumpet, Andrew Venet playing bass, and Ryan McDaniel playing drums. There were no blue notes being played, this song was just playing behind the beat. Lastly, this piece tends to have a long vibrato throughout this piece of work. The third song that the jazz ensemble performed was, “My One and Only Love,” performed by Guy Wood. throughout this piece, there seemed to be a rhythmic feel that was often relaxed and not much that was upbeat. The form of this song seemed to be an AABA form where 16 notes were played on a beat every eighth note. This piece of art seemed to be influenced by the style of blues. There was a lot of solo improvisation throughout this song and tended to be less collective improvisation. Overall, this piece of jazz lasted for about three solid minutes before going to the last piece of art performed for the
Of the five minutes, I believe that the most interesting segments are the first solo and the last minute or so; I will be analyzing these particular portions in depth. From the very start, this song is hot and fast. To open, the entire band plays a fast phrase that follows the 12 bar blues scale and this phrase remains central throughout the entirety of the song. The bass and piano hold this phrase while the horns transition into a separate rhythm to compliment it. These two phrases are repeated until the beginning of the first saxophone solo at :56. During this solo the bass transitions to a shuffle line while the piano compliments. The other horns join in with riffs after the first two choruses of the solo. The solo continues for another two choruses with the whole band playing before it is rounded off. The final minute of the song begins with a repeat of the third, fourth, and fifth choruses. In the final 20 seconds, things begin to get very interesting. The horns hold the last note of the chorus as the rhythms comes to a sharp halt. The horns engage in a brief agglomeration of notes that exhibits a strong use of polyphony and could be described as somewhat hectic. The drummer begins to shine with a solo of his own which he continues for the final seconds of the song, before resolving the entire song with a final
“West End Blues” begins with a 12-second trumpet solo that displayed Armstrong’s wonderful range and demonstrated the syncopated styling unique
The jazz band I observed played a series of six different songs. Although all the songs were categorized as jazz, each song had its own special style and sound to it. The band consisted of three different players. Paul Meyers, the guitarist and composer, Andy Eulau, the bassist, and Dave Rataczak, on drums. The songs performed were entitled “Love for Sale” by Cole Porter, “Once I Loved” by Antonio Carlos Jobim, “Stars” by Paul Meyers, “Blues for Mel” also by Paul Meyers, “Last Night When We Were Young” by Harold Arlen, and “Samba Novo” by Luis Eca.
The first song played was from a genre that I had previously taken a test on, Sonata. The musicians played the song by the book. There were three movements and polyphonic texture. It was even fast and jerky. Nonetheless, this is the part where my rollercoaster was going down. In my opinion it was boring. Although very well played, the song itself did not interest me. I did not like the roadrunner, coyote essence of the song. The piano accompaniment would sometimes play the melody and let the clarinet follow and then they would switch. This to me seemed force instead of like the Sonatas that I listened to in class. However, apart from the musical aspect of the first piece there was a certain intensity expressed by the performers. I had never seen a
The cd starts with the song "Strike up the Band " performed by Oscar Peterson. The piece consists of a piano, cello. This song in my opinion sets the mood of the cd. It represents pure jazz music without the vocals. When i close my eyes and listen to this song I picture a club from the 1940's with jazz music and people dancing around. The second song, "Summertime", a very famous jazz piece performed by Ella Fitzgerald and Louis Armstrong, starts with a horn and an orchestra in the back. The lyrics of the song talks about a slaved woman, looking over her workers child. "Summertime" is sort of a lullaby song. Louis Armstrong's performance in this song is very well done; I really enjoyed his vocals. I also noticed the use of violins in this piece. The song ends with a duet with both of the singers together.
The performance demonstrates the variety of the flexible-but-not-quite-free post-bop genre with an intensity on modal jazz- something that had pioneered by Miles and was a staple of the 50s and 60s. Each player displays strong influences of modal jazz, avant-garde, and free jazz without completely submitting to any solid genre. The forms and tempos are much more free and open than more common jazz
...nt from lower pitch sound to high pitch, showing various pitches they can make. They differed in style when they went solo. Ron Eschete mixed high and low pitch sound very irregularly and each tone seemed very distant like Monk?s style. Todd Johnson rhythm and tone was more smooth and close to each other, giving impression of cool jazz style. The other element is a swing feeling. This can be described as a feeling that makes you want to dance, clap your hands, of tap your feet. During the concert, as I looked around in the audience, I could see people bobbing their heads, and tapping their feet. Due to the fast tempo, the Ron Eschete Trio?s music just made people want to dance even though it sounded smooth and mellow.
The very first piece in the performance is one of the most interesting works of the concert. Bloom, the marimba quartet seemed to be blending in between post-rock and minimalism. It began with a four note motive which was a subtle introduction. I noticed constant repetition throughout the work. The members each had four mallets in which they introduced various thick textures. It sounded as if this piece had an overall joyful tone especially when all members played together...
On Monday, October 16, 2017, I was honored to attend Leonard Bernstein Centennial Celebration in the June swagger gates concert hall at the University of Denver. The conductor in this concert was Joseph Martin and his assistant was Chris Ugolini. In this concert, there were several instruments used. Catherine Flinchum, Daniel Eng, Mari McCarville, and Rose Khorsandi were playing the flute. Chris leech and libra Bennett played the oboe. Max Arakaki, Leslie Kahler, Natalie Boggs, and Meggie Evans played the clarinet. in addition, kyle Przybylski played the bass clarinet and Glenna Boggs with Renee young played Bassoon. The Alto saxophone was played by Rachel Webb and Emily Nicol. Peter Davis, john burton, Austin hood, and Jordan Thomas played
The New York New Music Ensemble began with a bang, literally. This ensemble has been around for twenty-three years and it is considered to be “the raising standard” in contemporary chamber music. On Thursday afternoon, I saw the ensemble perform three pieces: Trio, Nutturno, and Marxville Songbook. These three possess very similar tone color and composition.
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
The band that played was a quartet composed of a saxophonist, a bassist, a drummer, and a pianist (a guitarist was originally scheduled to perform, but he did not show up). Before attending the concert, I read that the band was heavily influenced by the work of Miles Davis. This led me to surmise that I would be listening to cool jazz since Miles Davis is credited with
After carefully listening to audio, one can clearly state that there are two musical ideas A and B. The piece of music has three parts, pattern of idea A,B,A. Idea A begins from 0:00 to 2:18. Idea B begins from 2:18 to 3:18. Then, after 3:18 to 4:52 the piece returns back to the first musical idea A. Idea B marks the introduction of the piano solo, a different instrument that comes in. At the end of idea B, the piano solo stops and reintroduces the instruments of idea A. The composer uses dynamics and timbre to achieve variety. Dynamics are achieved by different levels of volume the listener hears from the instruments. Furthermore, timbre is achieved by the use of a variety of instruments in the piece. The listener can distinctly hear drums, trumpets, saxophones, and bass in musical idea A and in idea b introduces a piano solo. A variety of pitch can be heard from 1:20 to 2:18, which is an improvisation, because the instrument has nots that are high and notes that are low.
Herbie Hancock has played an incredible role in jazz history, particularly jazz fusion and funk jazz. Jazz fusion incorporates musical elements from other musical styles such as, rock and roll. Funk jazz is characterized by the Hammond B-3 and organ. With my love for electronic instruments and funky sounds I decided to watch Herbie Hancock’s performance at the Newport Jazz Festival located at Newport, Rhode Island. Originally, the performance was done in 2008 making it a relatively recent performance. Hancock performed alongside some wonderful musicians and artists: Dave Holland, a bass player; Chris Potter, a saxophone player; Vinnie Colaiuta, a drum player; Lionel Loueke, a guitar player; and lastly the two beautiful vocalist, Sonya Kitchell
Although music is a very diverse and broad topic, it finds its own way to bring people together and allow people to express themselves in many ways. There are various ways that people can express themselves through music; singing, playing an instrument, or even just listening to music. When playing an instrument, you can either do it independently, with a small band, concert/jazz band, or an orchestra. Although these are all common, the typical high school band is a concert band, which consists of many sections of instruments. First, there is the woodwind section, which usually holds the main melody, and the harmony. Then, there is the brass section which holds both the melody, and the countermelody. The final section of the band resides in the back, which is the percussion section.