This music is not useful as background music. It cannot be used in the same way the 30 years worth of Miles’ previous music can be used. It demands attentiveness. It is militant and arrogant. It is sometimes more a display of audacity and an assertion of absolute independence then a lovely palette to summon dreams. The dream is over. All the romantic ballads and pleasurable entertainment is history. With this sound he describes a new reality for which he invents a
On Friday the 13th, indie art-rock singer-songwriter St. Vincent, aka Annie Clark, released her fifth album Masseduction -- despite the unlucky date, Clark’s album is anything but inauspicious. With a new level of intimacy in both her music and lyrics, combinations of funk-tinged guitar and harmonically-rich cinematic crescendos, Masseduction is a cerebral “pop” album full of anthemic personal revelations. From start to finish of Masseduction’s thirteen tracks, Clark traverses through kinky sex games, leaving and being left behind, and speaks to all-things-greater -- by singing about herself.
Long-revered altoist phenomenon David Binney is certainly proud of having created a very personal style within the modern jazz, mirrored along the nearly 30 years of his notable career. He has played with other ingenious artists such as Chris Potter, Bill Frisell, Donny McCaslin, Craig Taborn, Scott Colley, Edward Simon, Brian Blade and Kenny Wollesen. Those collaborations spawned truly exhilarating albums – Free to Dream (Mythology, 1998), Welcome to Life (Mythology, 2004), Out of Airplanes (Mythology, 2006), Cities and Desire (Criss Cross, 2006), Graylen Epicenter (Mythology, 2011) – that should be on the shelves of any jazz lover. In addition to his own projects, Binney has always a very busy schedule as a sideperson. The immensity of his
In this scene, the author describes how people turn from scared to peaceful because of Coss’s melodious voice. Even the terrorists, who are heavily burdened from the stress of the impossible mission, find the singing comforting. The mood transfers from intense to relaxing as music sheds some bright colors into the people’s lives.
Two women from two different backgrounds have so much in common yet they are so different. One grew up in Houston, Texas while the other grew up in Saint Michael, Barbados. Even though these two women have had very different up bringing the one thing they have in common is their great voices. These two women’s background, musical style, and other career ventures make them both two of the best female artist in their field.
Next, the chamber orchestra quickly transitioned to a vivace song that was performed con fuoco and was named “Indiana.” In this song, every instrument was given an uptempo solo to showcase the performer’s immense talent. The dynamic throughout was forte in fashion and did not vary from beginning to end.
On March 30th, 2017 I attended a wonderful jazz concert at Prince George’s Community College. The concert was performed by a group titled The Reginald Cyntje Group. The Reginald Cyntje Group was comprised of five talented musicians: Herman Burney, Reginald Cyntje, Lenny Robinson, Brian Settles, and Hope Udobi. The group performed a song cycle of seven songs: “The Rise of the Protester,” “Ballad for the Masses,” “Chant of the Revolt,” “Descension and Ascension,” “No Justice No Peace,” “The Piece of Resistance,” and “Blues People vs the Deplorables.” The piece titled “The Piece of Resistance,” my favorite song from the recital, and will be the focus of my concert report.
Women’s music came from radical, grassroots origins in the 1970s thanks to contributions by brave women, mostly lesbians (Mosbacher, 2002). These women used non-violent, peaceful force to forge their own way into the music industry. It was a peaceful yet political revolution of togetherness and liberation. It brought together women of different backgrounds who produced easy-listening, mellow harmonies played with lyrics filled with tumultuous
Throughout the film Amandla! A Revolution in Four-Part Harmony, black South Africans began converting their historical roots in music into a fight for freedom. As these oppressed individuals struggled for racial equality during the twentieth century, music classified as freedom songs emerged as the fight against the inhumane Apartheid intensified. These freedom songs, which are performed and played throughout the film, protest white supremacy and segregation using a combination of inspiring and punishing lyrics to ignite a flame in the hearts of the persecuted. Black South Africans found a way to rally together, fight, and survive the National Party’s attempt at complete segregation through music.
The sextet he summoned to join him on the bandstand had a three-horn frontline composed of David Neves on trumpet, Sam Dillon on tenor saxophone, and Kalia Vandeaver on trombone, and was rounded out with his mates from the rhythm section, David Meder on piano and Marty Jaffe on bass.
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.
Protest poems and songs are, and have been throughout history, an effective medium of expressing their composer’s concerns or protests to a wide audience. The main themes behind each of these creative media are influenced heavily by the context in which they were created and focus on the composer’s opinions about controversial issues of that time. Poet Bruce Dawe, through his poem ‘homecoming’ and singer-songwriter Barry Maguire, through his song ‘Eve of destruction’ were able to explore and express their similar concerns about the harsh and dehumanising aspects of war and the effects on society, with Maguire focussing on the ignorance of society toward the detrimental effects of war and Dawe reflecting on emotional trauma experienced by those who lost love ones to the brutality of war.
During one of the final scenes where the Afrikaner officers were searching for P.K. and slaughtering many of the innocent people in their way, flames were shown all throughout the village. The ruthless murders were being compared to the evilness of hell. The African’s voices were once again singing in the background of this scene, conveying their innocence and strong united front. Throughout the movie, they sang in times of crisis, tragedy, and celebration.
As to dealing with repetition, The two lines “The Negro / With the trumpet at his lips” are repeated (1-2, 9-10, 33-34). The repetition of this picture fills in as both a steady indication of the difficult memories that inconvenienced the trumpet player and an approach to fortify his enthusiasm for music to facilitate that pain. Additionally, the repetition of these two lines implies that the trumpet player has in some ways end up plainly reliant on music. This idea is affirmed by the third stanza, in which the speaker states, "the rhythm/from the trumpet at his lips/is ecstasy/distilled from old desires—," alluding to his waiting desire "that is longing for the sea/where the sea's a bar-glass/sucker size" (21-24, 29-32). This shows he utilized alcohol in the past to overwhelm his agony, before supplanting it with music for the help. Additionally, the last stanza portrays music just like a "hypodermic needle/to his soul," alluding that he has an addiction to music (39-40). Without the music