With Tag Book, American drummer-composer Charles Rumback, a mainstay of the Chicago jazz scene, has his second release of the year on ears&eyes label with only nearly six months separating it from the previous release, Three. If the latter was a collection of three original compositions plus a rendition of Andrew Hill’s “Erato”, all of them complying with a 3/4 time signature, the newest album comprises five homogeneous pieces executed by the same trio with Jim Baker on piano and John Tate on acoustic bass.
Jazz is a very unique style of music. It originated in the united states of America and it shows of the American style and culture. People play and listen to jazz to express their emotions. You can play jazz anyway you want. In this essay, I will be reviewing a jazz video of Louis Armstrong (https://www.youtube.com/watch?v=kmfeKUNDDYs). In this review, I will review how this video relates to the jazz era that we have studied, the musicians in this videos and my opinion on this video.
“Jazz has been a part of a proud African American tradition for over 100 years. A robust, rhythmic under-structure, blue notes, solos, “call-and response” patterns, and improvisation of melody all characterize jazz music.” In Jürgen Grandt’s analysis, he states that in order to use jazz to look at African American literature, the critical model must “avail itself not only of the structural characteristics of the music, but also of the history of the African American musicians who invented, shaped, and innovated it.” (Grandt, P. 14) In other words, “jazz critique” of African
On the opposite end of the spectrum within modern jazz critiques falls Everett R. Davis’s(an African American) review of Eddie Allen: Push. This critique uses metaphors as well as adjectives and verbs to best describe the journey Allen’s music whisks the listener away on. Davis describes fewer technicalities and provides more feeling in his critique. By describing the physical and emotional terms of jazz a reader is as close to the experience of the music as they can get without experiencing it first hand. Davis describes sounds in a trade off solo section; the scream of Allen’s trumpet shouting at the keyboard, the “lightly taunting” elements, and a bass solo that feels like a workout where all instruments “break loose.” Davis uses sensory images; “Sacred Ground" follows, beginning with flowing rhythms and a light swing tempo followed with smoothly galloping solos which complement each other. "Caress," "Who Can I Turn To" and "With Open Arms" are smoother, easily evoking images of easily slipping away and relaxing under a favorite tree on a quiet afternoon.”
Born near the beachy shores of South Carolina, Trevor Hall grew up listening to the melodious tunes of his father’s harmonica and drum set (Rosenfield, 2012). Throughout his young life, inspired by his father, Hall would constantly be glued to a notepad writing music; following his dreams, at 16, Hall recorded and released his very first record. With all of the joy found in writing and releasing
“Walkin”, was a swaggering blues piece informed by the extended harmonies of bebop was a shift from cool jazz and announced the arrival of hard bop (Sales, 1992:171). Hard bop was the evolvement and development from bop during the 1950s and 1960s, often regarded as a reaction to the restraint and intellectualism of cool jazz (Kingman, 1990:389).
The music is rebellious and its uncompromising intensity is uncatagorizable for its urgent flooding past genre definitions. Miles’ music of the five-year period is unlike any music that preceded it, and still, 30 years later, so original, so Progressive, and so inadequately described.
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
Throughout a career than spans for 20 years, Roebke has recorded with drummer Mike Reid, trumpeter Nate Wooley, cellist Tomeka Reid, cellist Fred Lonberg-Holm, and the Chicago quartet Klang. The recordings under his own name are established with a variety of formations – solo, typical guitar and clarinet trios, and bigger ensembles.
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.
In my career at Swatrecordz, I have never felt the level of team spirit that I felt this past few years. I have spent my professional career listening carefully to music providing each with the finest level of musical talent. Industry trend setting and innovative performances that are always produced with complete integrity and an unsurpassed level for each musical style. Entertainment buyers should have a reliable and uncomplicated relationship with their music services firm.
The mystery of Jazz and its powerful impact on the music community can be explained largely by the context of it’s creation. Jazz was born in the United States, and because of this, many have referred to Jazz as “America’s music.” Like America, Jazz has a balance between structure and spontaneity. It capitalizes on the fluidity of the musicians, having several different instruments with independent spirits, coming together as one to form a great piece of music. Unlike other styles of music, Jazz has a certain way about it that makes it stand-alone in the world of genres. It improvises, moves, and transforms itself in a moment’s notice based on the musician’s intuition. Just as America harbors democracy, so too does a jazz ensemble, showing both the responsibility to a larger group, yet still allowing room for individual freedom. It all comes down to how well others can respect the overall framework and structure of the jingle.