Bill Charlap is a traditional pianist whose recordings usually consist of jazz standards and borrowed compositions. In his latest, “Notes From New York”, the story repeats itself and he leads his reputable trio, composed of his longtime associates Peter Washington on double bass and Kenny Washington on drums, on a voyage that tries to bring the past into the present.
To the habitual structural simplicity, Charlap adds his personal melodic touch through a clear language that also reveals agility.
Whether in a hurried or laid-back pace, the rigor of the rhythm section guarantees the solid foundation for the pianist’s nimble moves.
From the selection of standards, I was particularly pleased with the beautifully dragging accent of “Make Me Rainbows”,
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I grew up listening to some of his gems such as “Scratch” and “Wanton Spirit”, albums that transpire all his charming spells and elastic expressiveness grounded on hard-bop and post-bop styles.
His new record, “Book of Intuition”, was recorded with Kiyoshi Kitagawa on double bass and Johnathan Blake on drums, a furiously responsive rhythm section that much contributed to the musical quality of the songs.
Barron’s compositions are quite impressive - “Magic Dance” shows pure Bossanova delicacy, “Bud Like” bounces with a frenzy Latin pulse, “Cook’s Day” delivers a calm yet expressive groove, and “Lunacy” is a rhythmically splendorous experience. In addition, we also have the magic of solo piano in “Light Blue”, one of the two Monk’s numbers, and the plaintive sounds of Charlie Haden’s “Nightfall”.
The trio pulls a myriad of emotions throughout the ten tracks of the recording, making it another captivating and essential work in Barron’s extended
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Powerful without being aggressive, Allen and his peers embark on irresistible grooves and strong dynamics that cause immediate empathy on the listener. Oscillating between beseeching and hard-hitting, the calls emitted by the leader’s tenor sax find consistent support in the pungent bass plucking and bowing of August, and in the laudable maneuvers of Royston, whose resolute drive and dry timbre feel quite fresh. The collective sounds simultaneously feisty, raw, and
Ringing in the New Year, we’ve chosen an individual who has created his own music and created interesting remixes of other songs over the course of (now) 16 years. We enjoy the twists he plays on his music and admire his efforts to take his music to live performance stage. Local to Brick Township, NJ, Brian Stewart (DJversion666) started out, born and raised, in Evansville Indiana, playing in a multitude of bands, playing bass and/or singing various genres of music. Upon moving to Nashville, he has done studio work, laying down bass tracks for commercials and advertisements. Continuing down the path of music Stewart attended Berklee College of Music in Boston, Massachusetts. He combines various genres and ties them all together with an industrial sound.
As a co-writer and producer, Brown has worked to develop many of the artists we have come to know today. Performers such as, Rick Barry, Status Green, Corey Wagar, Jerzy Jung, Natalie Stovall, Alex Brumel, and Andrew Holtz have all come to know his commitment to songwriting quite well, with some gaining major momentum because of it. His long career has seen him go thru several major label recording deals and at least three distinct publishing deals. He has achieved song placements in TV and film, and working with great producers and mentors like Danny Kortchmar (Don Henley, James Taylor, Rod Stewart), Peter Collins (Jewel, Rush, Indigo Girls), Monty Powell (Keith Urban, Lady A, Diamond Rio) and others that he’s no doubt picked up a few tricks from over the years.
The feelings the saxophone sends during the 20 measures of the sixth chorus create a deep feeling that attracts the listener to the next piece of the song. So far, the message Jordan has sent has been undesirable and depicted through the failures of a country that denies its people of color. The extended saxophone solo represents a turning point in the song and in the way African American began to think. Throughout the entire song up until the 6th chorus, the saxophone, although vital to the music, is simply an instrument that is part of the ensemble. During its solo the saxophone takes its own identity and becomes appreciated for what it is throughout the song, a vital instrument in the song and band. During the 9th chorus the saxophone solo is repeated again, however this time it is only 6 measures which distinguishes it from the 8 measure refrain and 12 measure
This work is directly inspired by Der Blaue Reiter Almanach. Primarily a work of prose, it consisted of plays, essays by leading artists and musicians detailing works of the era, and commentary on art, music, theater, and related subjects. The Brooklyn Rider Almanac is conceptually a modern recreation of this idea in music, in that musicians are providing a commentary of artists or their work through their music. In a way, The Brooklyn Rider Almanac approaches the idea of cross-disciplinary art from an opposite prospective as the Onomatopoetic Project. Many of the works presented during the concert as a part of The Brooklyn Rider Almanac were inspired by looking an artistic muse or idea as an inspiration to create music that reflects the muse. Artists from classically trained composers to jazz and rock musicians contributed to this collection of works, and the results are both fascinating and inspiring. One great example of this is Necessary…Henry by Albanian Cellist Rubin Kodheli. Inspired by the jazz musician Henry Threadgill, this work incorporates the styles of rock musicians like Jimi Hendrix into and what could be perceived as the farthest possible medium from rock: the string quartet. Like Threadgill’s earlier use of non-jazz instrumentation and ideas in jazz works, Kodheli uses sounds from the rock genre like virtuosic guitar-like riffs, rock groves, and highly
Mike Stern is an American jazz guitarist known presently for his solo work and previously as the guitarist for legendary trumpeter Miles Davis in the early 1980s. Much of Stern’s compositions and improvisations incorporate a variety of musical styles including rock, blues and jazz traditions. Big Neighborhood is Stern’s 14th solo album released in 2009. The album is recognized for its eclectic musical styles and guest artist collaborations. As one reviewer states, “Big Neighborhood’s styles range from blazing jazz-fusion to African tinged exotica and trippy Middle Eastern journeys.” (Widran, 2009). Both reviews incorporate Stern’s diverse musical content and guest artists as the focus for their arguments.
Carringer, Robert L.. The Jazz singer. Madison: Published for the Wisconsin Center for Film and Theater Research by the University of Wisconsin Press, 1979. Print.
The history of the Concert Band and Wind Ensemble will be reflected through a timeline of events, including an analysis of significant events, groups, composers, and advancements. When society envisions a Wind Ensemble, talented musicians, grand music halls, and difficult arrangements typically come to mind. However, a modern-day Wind Ensemble includes a variety of musicians, each with positive and negative aspects. In society today, music is greatly appreciated and accepted. It is considered an honor and a privilege to expose our ears to the music.
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
As might be expected of one of her background and artistic gifts it is in the Part Three "The Guide" we see poetic, rhythmic and musical qualities at its best. She uses words with a keen sense of their rhythmic and musical potentialities: her style is richly figurative.
This song contains many different types of language features which help communicate the writes perspectives so you can
Arnold, Denis, ed. The New Oxford Companion to Music. Vol. 2. Oxford: Oxford UP, 1983.
...frican American Musicians as Artists, Critics, and Activists. Berkeley, CA: University of California, 2002. 54-100. EBSCOhost. Web. 8 May 2015.
Smith, Jane Stuart and Betty Carlson. “The Gift of Music: Great Composures and Their Influence.” Wheaton, Illinois: Crossway Books Publishing. 1987. Print.
The experience that brought about the conception of my understanding is starkly fixed in my memory. I was at a concert featuring one of Schubert’s Suites for String Quartet and my lack of familiarity with the work only served to heighten my already bursting excitement. They were late getting started and the audience around me fidgeted and chattered. I ignored them, sitting still in my seat, tense with anticipation. Finally the lights dimmed and a pregnant silence took hold. Despite my expectancy I was unprepared for the sudden eruption of applause like a bomb detonating in the hall as the four black figures strode onto the stage. Reminding me of Virginia Woolf’s description in The String Quartet, the performers “seated themselves facing the white squares under the downpour of light, rested the tips of their bows on the music stand, [and] with a simultaneous movement lifted them.” I leaned forward on my seat, straining to hear the first note even before it sounded. With an almost telepathic communication from the first violin, it began. From that moment I was lost. The audience, the musicians, even the music itself was forgotten, swept away by the surge of emotions that engulfed me. As I listened, or rather encountered the exquisite performance, for it was more intimate than listening, I realized with more force than ever before, that this was what I wanted to do. I wanted to make people feel like this when I sang.
Foster, Edward Halsey. Understanding the Beats. South Carolina: University of South Carolina Second Printing, 1992