In Sensation Of Tone: Music Analysis

Jazz Critique Video #1 The YouTube channel Jazz at Lincoln Center posted a video of an Untamed Elegance concert. According to their description of the video, it was composed by Victor Goines and performed October 28, 2016 at the Rose Theater. The video is approximately fifty three minutes long and includes key jazz instruments that were played by extremely talented musicians.

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.

Following up the 2014 album Exploding Syndrome, Seattle-based trumpeter Samantha Boshnak reunites her stalwart quintet: Beth Fleenor on clarinets, Alex Chadsey on piano and keyboards (replacing Dawn Clement), Isaac Castillo on acoustic and electric basses, Max Wood on drums - and delivers Nellie Bly Project, a 4-track album that navigates on explorative waters of the avant-garde genre while portraying the 19th-century American journalist and feminist known for her record-breaking trip around the world in 72 days.

The band gathered together to play funk music. At the same time, they were open to musical experiments and finally, their original sounding was expended with jazz music. Mwandishi influenced the band’s sounding. Past experience and music preferences had an impact on the new album, but the old experience was expanded with sound experiments.

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.

Moments of poignant abstractionism are delivered in the electronic-tinged “Time Takes Its Return” while “Where Worlds Collide”, a typical Binney creation well structured from root to branches, rejoices with plenty of life. Weiss enchants with his percussive clear-sightedness, and after the torrential bursts from guest saxophonist Shai Golan, Sacks shows why he’s one of the most rhythmically daring pianists in

On November 18, 2015, I attended a UAB concert involving jazz combos and a guitar ensemble. This concert was filled with amazing musicians, intricate solos, and thick harmonies. There were three jazz combos and one guitar ensemble; the first set was the guitar ensemble, which contained four guitarists and one bass player. The ensemble consisted of four songs: “Swing It,” a swing-style song; “Samba #1”; “A Child is Born,” a waltz; and “Bill’s Bay.” The main theme of “Bill’s Bay” was very catchy and memorable, and the ensemble’s most impressive player to me was Michael Galanti on the bass guitar. His solos involved precise pizzicato and quick movement that I have never witnessed in a bass player.

Head pianist of Brophy's jazz band, I've studied and played piano for 11 years. And jazz band became a double-edged sword: it not only exposed a new musical realm to me, but it also paved a new avenue for my expression––listening, reacting, jamming.

The album title is also the name of the eight-piece jazz ensemble she leads, which comprises multifaceted musicians such as trumpeter Jack Walrath, saxophonists Lily White (who also produces) and Lisa Parrott, trombonist Deborah Weisz, cellist Marika Hughes, bassist Ratzo Harris, and drummer Scott Neumann.

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.

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.

When listening to “The Santé Fe Jazz Combo,” you get a mellow feeling that courses through your body. Their opener “Recorda-Me,” which was my favorite piece, featured solos from Dr. Hamilton on Piano, Spencer Hoefert on Guitar, Ben Salhanick on Bass, Doc B on Alto Sax, Wyatt Thomas on Trombone, and Noah Woolard on Drum Set. The song had a moderate swing tempo that kept your feet tapping up until the solo. First, the brass rang through their part, then the electric instruments. Next came the bass; he was strumming so fast but he was barely audible. The pianist busting through with a tricky piano rift and the drummer finished it off with an intense solo. Every rim-shot sent a jolt into the air like lightning and the buzz rolls sounded like thunder. Noah’s part reminded me why I love playing the drums.

As I observed the stage I noticed that there were a variety of instruments played in the jazz ensemble. The instruments that were played included string (grand piano, electric guitar, electric bass, bass), brass (trumpet, trombone, French horn), woodwind (tenor sax, alto sax, baritone sax) and percussion instruments (six piece drum set, bongos). On the drum set was, special guest, Steve Houghton from the music school of Iowa.

In Hiromi’s career, Hiromi has a lot of inspiration from all jazz musicians, such as Chick Corea and Oscar Peterson. Here is a recording of Hiromi Uehara and Chick Corea duet on Hiromi’s piece “ Old Castle, by the river, in the middle of a forest” (2007). In comparison of these two great jazz musicians, Corea insists on his lyrical jazz style while Hiromi is punchier and more rhythmic. (Chick & Hiromi, 2008). This combination allows Hiromi and Corea to present their strengths, surprise audiences with their delicate musical ideas.

In Steven Connor’s ‘Ears Have Walls: On Hearing Art’ (2005) Connor presents us with the idea that sound art has either gone outside or has the capacity to bring the outside inside. Sound work makes us aware of the continuing emphasis upon division and partition that continues to exist even in the most radically revisable or polymorphous gallery space, because sound spreads and leaks, like odour. Unlike music, Sound Art usually does not require silence for its proper presentation. Containers of silence called music rooms resonate with the aesthetics and affects on the body of a gallery space; white walls, floorboards to create optimum acoustics, and an ethereal sense of time and space. When presented in a gallery space, sound art’s