Chris Speed: A Narrative Analysis

If you did not make it out to see The Jazz Ensemble on Tuesday, Apr. 19th, then you really missed out on a great evening of music. Family, friends, and jazz lovers nearly filled the Anne R. Belk Theater to watch and listen to the performance directed by Dr. Will Campbell, with special guest Derrick Gardner. Gardner is a highly accomplished jazz trumpet player, who has traveled the world playing jazz music.The Ensemble member are; Bryce Harris, Jonathan Carroll, Cody Belton, Garrett Brown and Bryan Patterson on the saxophone, Richard Hall, Casey Blackwelder, Wesley Taylor, Liam McMahon and Cameron Francis on the trumpet, Nathan Ricer, Patrick Foray, Virginia Crooks and Kyle Barnhardt on the trombone, Dallas Holder on the piano, Brian Gilbert on the guitar, and Colin Ray and Eric Chang on the drums. The Ensemble played seven songs, and four of those were played with Gardner. The songs were performed in this order “A Pair of Aces,” “You Must Believe in Spring,” “Count Me In,” “Big Dipper,” “Footprints,” “Just a Touch” and “Lil’ Fawdy.” All of the songs were performed exceptionally well, out of the seven these two were my favorite.

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 record ends with “Legacy”, another magnetic experimentation that will certainly be appreciated by the fans of Dave Douglas’ compositional style and powerful instrumentation.

Chris McCandless: Ignorance Is Not Bliss Judith Kleinfeld (2001) defines a dumb jerk as: ”a person who is futilely questing for something meaningless or worthless. A person who is woefully unprepared for a trip, who clings to misguided, self-righteous principles, losing friends and hurting themselves and their family in the process"”. This accurately describes Chris McCandless, a 24-year-old man who set out on a journey to find himself as he travels across the country, only to end in the complete and harsh wilderness of Alaska. Another part of the definition that McCandless fits is losing his friends and hurting himself and his family; moreover, during this hiatus in his life, he meets many people and creates strong bonds with them, only to destroy them after ignoring their advice about the Alaskan Tundra.

Armstrong’s rendition of the song is a fairly typical example of typical jazz in the 1920s both lyrically and musically. The performance futures Armstrong’s trumpet and singing front and center in the performance with a drum set, trombone, clarinet, and piano in the background. The Song has a very bluesy feel much like a lot jazz of the time. This moody feel steams from the minor cord progression that the

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

My soul was filled with its hypnotic percussive reverberations modulated with delay effect, and decisive guitar slides and harmonics. Connotations with world music and progressive jazz are easily identifiable and can be heard again in the shorter “Binding Time”.

There can be similarities among artists for certain, but there are nuances that set each apart from one another. Marsalis has mastered the art of impeccable improvisation in his style of playing. Whether it is classical or contemporary, Marsalis’ music garners respect from the listeners. It draws them in and holds their

Stephan Crump, an extraordinary bassist/composer of great sophistication, puts together a brand new quartet whose freshness, robustness, and creativity are to be praised.

Mark not only has collaborated with jazz legends such as Art Blakey, Dizzy Gillespie, Ray Brown, Stanley Turrentine, Ray Charles, and Jimmy Smith, but also with recent stars like Sting, Chris Botti, Diana Krall, and Roy Hargrove.

With an impactful dramatic punch, “New Groove” is buoyed by hi-hat cymbal and a groovy cadence of piano and bass. The tune features the singular verbalization of saxophonist Rich Perry intercalated with orchestral usurpations.

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.

Swedish pianist Bobo Stenson’s musical aesthetics is all elegance and graciousness. He earned a sterling reputation while accompanying the brilliant saxophonist Charles Lloyd, who detected the perfect touch in his pianism to better serve his musical intents. Besides the latter, the saxophonist Jan Garbarek and the trumpeter Tomasz Stanko also benefited with his lush chords and beautiful textures to enrich their albums.

On October 4th, I watched Louis Armstrong Live in Concert in Berlin in 1965. In this concert, I noticed Armstrong played a variety of songs with a variety of different tempos. The first song he played was more adagio and right after that his song picked up in tempo and changed to a more allegro with a vivace, lively feel to it. Each one of Armstrong’s songs had a different feel to it.

Throughout the story, the reader gets a close look at how the narrator’s perspective of jazz changes throughout the story. In this short