Millennium Jazz Music Analysis

One main difference I noticed between “Josie” and “Dr. Jazz” was that “Josie” is much more mellow in tone, though both have laid back vibes because one one instrument is used, compared to “Dr. Jazz” which is very much a big band song. Tempo wise, both songs are pretty similar though not exactly the same, but both genres can vary just as much tempo wise between songs. The texture in “Dr. Jazz” is much thicker, but with a smooth feel of the instruments because of all the instruments making the song that much more intricate in general. In “Josie”, the texture is very much one layer and thin in general because it is only the one instrument and the artist singing.

Their first release is a “self-titled” EP with five songs on it–with all them being sort of different, but cohesive; and so there might be something for every indie-lover. My personal favorite is track 3 “Fishes”. Something about that opening guitar line takes me back to the days when I would pull obscure albums

Sonny Rollins was one of the composers that MDC jazz faculty and students utilized for their songs. He is a jazz tenor/soprano saxophonist, as well as a composer and bandleader. Rollins is an influential jazz musician. He was born in New York City, and made his first recordings in 1949. His real name is Theodore Walter Rollins. He is still active and alive at an age of 85. His main genres are jazz and hard bop. Sonny Rollins joined Miles Davis Quintet and the Max Roach, Clifford Brown quintet. He had many awards such as Grammy award for best improvised jazz solo in

The issue on every project that Mac Miller does is the lyricism isn't always up to par. He does tend to have some corny lines throughout this album. And even though there isn't any horrible lines on this album, there isn't any standout lyrics either. That is where he seems to have issues as to separating the Blue Side Park side of him to now. But just about every-other category of Mac Miller has matured

There are many kinds of people, artists and music genres. Everyday, we try to discover something or someone new, especially when it comes to music. For a new vibe, look no further then Taz Da Realist.

“The Absolute Outmost (No. 52)” features Susan Alcorn playing her pedal guitar steel in a meditative way. Halvorson, opting for unusual sounds, and John Hébért, who bows the bass accordingly, join her until the fourth minute, time when the reeds erupt and a flamboyant rhythm is installed. Ingrid Laubrock excels with a portentous solo that encompasses melodious lines, hints of bop phrasing, and explosive temper.

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.

This combination of music types creates a different atmosphere within the music that your average hip-hop artists doesn’t. In there are a couple of songs that carry an emotional tone in both the lyrics and beats, this shows that Earl really knows how to add variety to his music, this shift the mood to keep the listener intrigued, because with enough repetitiveness anything can become bland and boring. In this album Earl also uses his ability as an excellent lyricist to get some of point across in a very discreet way for example in his song “Grief” he says “I don’t act hard, I’m a hard act to follow.” Here he his talking to all the people who said that in his last album he was trying to act

It’s been surprisingly hard starting a review for A$AP Rocky’s newest work, and I’ve been trying out figure out why. AT.LONG.LAST.A$AP isn’t a classic by any means, but it’s still captivating at times, and it’s been a hell of a time trying to capture its essence in a few elementary paragraphs. It’s the very definition of an album greater than its parts, which are diverse and textured. On this album, Rocky moves away from the poppier territory he explored on LONG.LIVE.A$AP and goes after a more definitive mood, and it permeates the whole album. It results in a stunningly individual work from someone who has long been accused by critics of not having that much of a personality. With the glossy, nocturnal beats on AT.LONG.LAST.A$AP, A$AP Rocky tugs hip hop in his own individual direction, and with his emphatic lyrical work and infectious flow, he’s silenced those critics. This is a confident and

It’s really in a genre of its own. I’m thoroughly impressed with their talent – which really shines through this album.

Specifically, “Free Smoke”, “No Long Talk”, and “Passion Fruit” draw listeners into the album right away. In fact, the beat of

My Beautiful Dark Twisted Fantasy boasted an amazing maximalist approach that boarded on a hip hop opera symphony with lyrics that were memorable and verses that can rank as the best hip hop verses of all time. It was an album filled with legendary moments that music fans will remember for ages, and moments Kanye fan boys will yell at his concerts. This reaction by hip hop fans for My Beautiful Dark Twisted Fantasy was immediate. For Yeezus, it was different. Yeezus’ minimalistic approach threw fans and critics off due to the very left field and experimental approach he took for this album, both sonically and thematically. In spite of this, Yeezus still manages to hold up it’s quality, value, and impact in comparison to his preceding albums while becoming one of the most important hip hop albums of all time.

Soul has a very peculiar way of getting his ideas out to the public. The is a genius when it comes to being a lyricist. The man knows how to keep you listening and for each time you give one song a listen you uncover more and more hidden messages. He uses many different types of styles in rapping to fluctuate his listeners moods throughout the album. For instance, he uses “gangster rap” to give an older 90’s feel while using conscious rap to get his logical approach out in the open. Following his use of “trill rap” to get a live feel to pump up the audience while at the same time using a more relaxed “stoner rap” to slow down the mood. However, he maintains a central beat throughout the album, a space-age, slow beat. In doing this, Soul proves he is able to rap a wide set variety of thoughts under the same umbrella of central beats which tie the whole album together. The album is like a radioactive heartbeat, it fluctuates with each song some being more upbeat than

Lastly on this album is the song to Jelly Roll Morton “Jelly Roll”. I really like the speed of the song; it stays around not to fast and not to slow. It changes speed but returns back to the base speed. I think the song is a good tribute to Morton. Throughout the song there are many really good beats and tunes that are fun to listen

On The Direction of Last Things, Intronaut have once more combined brutal, dissonant riffs backed up by growls with clean, blissful melodies. Habitual Levitations focused more on the latter, so there's an audible upgrade in the intricate interplay between the guitars, leading to some of the most gorgeous results in the band's career as of yet. Also, Devin Townsend's crystal clear mixing pushed the riffs up front where needed and let the moody segments bloom too. 'Digital Gerrymandering' is the centerpiece that benefitted most, starting as a jarring epic with dual guitar tapping and stop-start rhythms, before shattering into several progressive passages each more interesting and complex than the other. Also,