Attending A Jazz Concert At Uncw

To begin with, the concert started out with a piece from Count Basie called “Hay Burner.” This piece was done by a big band, a band with many instruments and musicians, and that is exactly how it was performed by the University of Indianapolis Jazz Ensemble. The band had a total of four sections: saxophones, trumpets, trombones, and rhythm sections. Throughout the piece, the band focused mostly on the ensemble rather than the soloist, however, the alto saxophone did have a solo. This piece reminded me mostly of the boogie-woogie style of jazz, due to its bluesy tones and driving piano style.

This review is about the Studio Big Band and their performance in the Casa Loma Room at the University of Redlands on Thursday, February 23rd at eight in the evening, under the direction of Prof. David Scott. The concert was made up of the following tunes: “High Maintenance” by Gordon Goodwin, “Four” by Miles Davis (arr. Dave Bardhun), “Nica’s Dream” by Horace Silver (arr. Frank Mantooth), “Witchcraft” by Cy Coleman (arr. Sammy Nestico), “Footprints” by Wayne Shorter (arr. Mat Harris), “Category 4” by Jeff Jarvis, and “Giant Steps” by John Coltrane (arr. Mark Taylor). The music on this program was very relevant for the eras we are covering or will be covering soon in the class, and to this end, the piece I will be focusing on

I attended the Baylor University Concert Jazz Ensemble directed by Alex Parker on Tuesday, November 10th. This ensemble consisted of saxes, trombones, trumpets, drums, a piano, and bass. The concert showcased many individual talents by including solo’s or duet’s in every song. The program consisted of seven songs with no intermission. The pieces I selected were “Big Dipper” by Thad Jones and “Undecided” by Frank Mantooth.

On November 17th, 2016, I attended a jazz concert and had quite a time. The experience was captivating, and gave me a warm feeling inside. There were three different bands that play in the hour slot, and all of them sounded magnificent, but “The Santé Fe Jazz Combo” and “Santa Fe Big Band” stood out the most. The only thing these two bands have in common is that some of the musicians play in both bands. Otherwise, these jazz fanatics are polar opposites.

Going to the jazz performance at the Bechtler showed me a different side of the community in Charlotte coming together. At the Bechtler Museum host, an annual night of jazz the theme for this performance was Jazz Night for Lovers. They had two shows, which both sold out. The line to get in was so long and full with young couples and older couples as well. Once were allow inside the venue everyone took there sits and watched as a beautiful 14-year-old girl sing her heart to the crowd. The crowd loved her and her performance. Things got even better when the jazz band got on stage and there special performer.

The University of Alabama Faculty Jazz Band along with guest player, Bill Peterson the jazz pianist, made up a chamber ensemble and performed beautiful and upbeat jazz music. The faculty members include Tom Wolfe, the guitarist, Chris Kozak, the bass player, and Mark Lanter, the drummer. The entire concert was played in a major key and had nothing but positive energy. The pieces and players were extremely creative and they managed to tell a story and create beautiful imageries through the changing sounds, rhythms, melodies, keys and texture.

The four songs in their set were either composed or arranged by a member of the group. Due to experience, each member was comfortable on stage and highly skilled; therefore, every solo was near perfection. This combo was unique because it had a trombone player, Henry Panion IV. Throughout this entire concert, every performance had one thing in common. Every player seemed to be having fun and loved to play jazz. This was my first opportunity to go to a jazz concert, and it allowed me to hear a completely new style of music. It opened my eyes to a great genre of American

The concert I went to was The Sue Palmer and the Motel Swing Quintet on March 14th at Tio Leo’s in Linda Vista. Within the quintet there was Sue Palmer, Deejha Marie, Pete Harrison, Sharon Shufet, and Jonny Viau. Sue Palmer was the pianist who has been playing jazz music for decades all over the world with top name composers and arrangers. Deejha Marie was the vocalist for the group, Pete Harrison played the bass, Sharon Shufet played the drums, and Jonny Viau played the tenor sax and baritone sax depending on the song. The ambience of the concert didn’t have that old-school jazz concert feel. It was at a Mexican restaurant on its bar side. The bar had minimal lighting, booths around the stage, confetti looking banners across the ceiling,

Hillhouse. It was a Norwegian march named “Valdres” by Robert Jaeger. The piece begins with the trumpets and snare drum with a mezzo piano dynamic. The trumpet repeats the same legato phrase of what seems to be eighth note, dotted quarter, eighth note, eighth note, eighth note then a whole note. Each time this was played by the brass instrument, it ascended by a half step. I personally liked this rhythm because it felt slower and more relaxed than the previous marches. Shortly after, the clarinets join in and layered the trumpet and snare. These woodwinds added a airy timbre to the slower piece and therefore, the dynamics changed from lento to vivace. Soon, all woodwinds, brass and percussion joined into the repeating melody adding a fuller feeling to the march. Shortly, the band crescendoed into a short rest. Then, the french horns to play piano, giving a darker tone and a brassy timbre. During this, a trumpet played a short fanfare that was very well played with use of quieter, legato dynamics to resemble the rest of the brass but still be more prominent with an unequal balance. The trumpet also had a pattern of an ascending then descending scale. Together the brass reminded me of the fullness and darkness of a serene forest or peaceful voyage. Perhaps resembling a sail through a fjord due to the march being Norwegian. A clarinet follows the trumpet’s solo in the same rhythmic fashion and then the band plays tutti. The piece then repeats back to the very beginning at mezzo piano with the trumpets. The piece then closes as it did before the break into a different

After a few second, bass and two percussions joined them and then two woodwinds, three brass and violin began to play in a calm rhythm. In the middle of the composition, when the brasses and the woodwinds accompanied, the rhythm changed, it became faster and that part was so wonderful and energetic of this composition. The ensemble did an excellent job of keeping with the beat.

I attended the concert of “Xavier University Jazz Ensemble” which was held on Wednesday, December 10 and took place in Gallagher Theater. Instrumentation was the style of ensemble and the instruments used at the band were saxophone, trombone, trumpet, piano, guitar, drum, and saxophone. Personnel were the students of Xavier University, community members, and Xavier Faculty/staffs.

The first piece played titled “Two of One” was dominated mainly by trumpet and tenor sax. It has a constant bass line, and it’s accompanied by piano. The overall feeling was swing, which was emphasized by the drum set playing swing notes. It was set up as a big band, and the only electronic

The next song on the playlist was called “Everything Happens To Me”. The texture to this was very soft as well. The instruments were playing off each other but it was still a freestyle type of song. I think jazz is generally played like freestyle. There was no melody to this song. The rhythm was not existent as well. It was more of a free flowing song. This song had a very quiet dynamic. It sounded very romantic like something out of a movie. The tempo of the song was very slow and mild but the trumpet was going very fast. The cello and the drums had a portion of the song where they fed off each other’s energy and the trumpet was doing its own thing.

The first piece was Black Nile, it was composed by tenor saxophonist Wayne Shorter born in 1933. it was a very upbeat song and beautifully mixed the elements of a jazz band to produce a song that makes a listener want to dance. It has an AABA form, the A section was in the key of D and the B section was in the key of Eb. Long Yellow Road was composed by Toshiko Akiyoshi born in 1929, this performance had an emphasis on a string instrument, the piano. The piano solo carried the melody and it was supported mainly by a

The musical was written in 1986, the postmodern period for music. The musical was originally performed by a 29 piece pit orchestra. This included: reed I (flute/piccolo), reed II (flute/clarinet). Reed III (oboe/english horn), Reed IV (B-flat clarinet/bass clarinet/E-flat clarinet), reed V (bassoon), french horn I-III, trumpets I-II, trombone, percussion I-II (included 2 Timpani, Suspended cymbals, Crash Cymbals, Snare drum, Triangle, Tambourine, Bass Drum, Glockenspiel, Xylophone, Vibes, Marimba, Tubular Bells, Bell Tree, Woodblock, Gong, Guiro, Finger Cymbals), keyboards I-II (piano, synthesizer), violins I-VII, violas I-II, cellos I-II, string bass, and harp.