Stephan Crump, an extraordinary bassist/composer of great sophistication, puts together a brand new quartet whose freshness, robustness, and creativity are to be praised. Rhombal showcases a knock-down frontline composed of Ellery Eskellin on tenor saxophone and Adam O’Farrill on trumpet, and a persuasive rhythm section with Crump and the drummer Tyshawn Sorey. They blend funky grooves and avant-garde artistry in a fascinating way. “NoD for Nelson” makes a strong entrance. The initial vamp boasts a gracing urban groove that consistently supports the reedists’ work, whether playing in unison or individually. If the ingenious young O’Farrill stands out on this opening tune, the astute Eskelin is impressive in “Grovi”, which gently flows with its laid-back posture and luscious melodies. It also shows a pretty active Sorey, who …show more content…
“Loose Bay” captivates through enigmatic undertones. Crump’s occasional bowed bass intensifies the atmosphere while O’Farrill and Eskelin deliver beseeching and steadfast solos, respectively. A danceable funk-rock returns with “Eskima Dream”, vigorously delineated by the obliging rhythm section and adorned with terrific horn unisons and counterpoints. “How Close Are You”, a dainty ballad of complacent melody, opposes to the confidently swinging “Tschi”, just before we get to “Birdwhistle”, the only tune exceeding ten minutes long, which levitates with a sort of hiccupped melodic phrases. Crump’s fluidity and tempo, together with Sorey’s combustible drumming, weave an exciting foundation for the improvisers. Throughout Eskelin’s raucous solo, the tune plunges into avant-garde territory before returning to the groovy head. The enchanting “Pulling Pillars-Outro for Patty” closes the cycle in a well-marked 6/8 time
The beginning sounded similar to a salsa type of music due to the drum’s rhythm on the crash cymbal. Each musician had a solo within each piece. The rhythm section (double bass and drums) did a phenomenal job at maintaining as well as driving the tempo when it felt dragging. Moreover, they displayed great control and maturity of their sound throughout their solos. The dexterity and mastery within their instrument of some of the soloist in this group is inspiring because it truly shows their years and years of practice and
The jazz is a musical expression that was created it in Africa America and also it is Americas classical music, but first it started 20th century in Africa America. When the Jazz started in the United States, it started first New Orleans, so the Jazz in that time started to become American’s popular music. According to the article Jazz, “The 1950s saw the emergence of free jazz, which explored playing without regular meter, beat and formal structures”, so the free jazz was changing during that time because it was played different (Jazz). In the jazz has faster tempos and it is playing without formal and beat. The elements of the jazz have a steady beat, fast tempo, and polyphonic texture. In addition, the part of rhythm of the jazz is that
The intro of the piece ‘Festival Overture on Australian Themes’ is uncertain in tonality, starting with a flourish of notes for six bars, using woodwinds and strings, over bass tritones that go lower, coming to a rest on B, the dominant of E.
In this paper, I am going to discuss my experiences playing in the WNE, the bass guitar, and the one and only Willie Nelson. In the legendary WNE, I am the bass player. For this project, it took hours on end of studying the bass inside and out to become this legendary player that I dreamt of before this project. The electric bass, a mystical object that is the foundation of every song, was invented by Paul Tutmarc. Since the 1960s the bass guitar has replaced other instruments
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.
Performing his songs was Jason Michael Webb (piano), Bobby Scharmann (Bass), Mike Roe (Drums), and a mixture of independent singers and a large company that included UNL, UNO, Creighton and guest students and artists.
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.
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
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.
Berkeley’s 7th Street Band has made its name backing some of the greats and new voices of reggae and running its own studio. While 7th Street Band has been hitting the West Coast stages for a decade, drummer Edi Arnold and keyboardist Benjamin Goff, friends since high school, have played together since 1992. The duo is the production team for its Berkeley studio, and on stage the group expands with other musicians, including bassist Mony Lujan (of Dubwize), who has worked with 7th Street since 2010. 7th
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.
Son Lux, a.k.a. Denver-based Ryan Lott, makes the type of music that has graced many a teen dystopian film - songs like “Easy (Switch Screens)” and “Lost It To Trying” have a stark, apocalpytic feel to them. Music like this is all too common nowadays, but on Bones, Lott manages to present his normal sound in a way that still seems novel. It’s a record that is heavily limited from being exceptional, but Lott does the best with what he has, and comes out with a pleasing and surprisingly adventurous record.
Trumpeter Marquis Hill shows an inclination for groundbreaking sounds, feeling comfortable in playing over inventive rhythms as he explores fresh musical concepts. In his latest works as a leader, Hill has been teaming up with altoist Christopher McBride and the quirky drummer Makaya McCraven, both longtime collaborators.
Acoustic guitar by Jerry, vocal & piano by Zino Park, bass guitar by Clay Luna, vocal & guitar by Zen, guitar & saxophone by Dan Stark, drum by Skip Mccain, and harp by Monica.
Never could I have thought that my first concert experience was going to be in a college class, performed by various composers of classical music. During the concert, I got to listen to four performances. First, the Oxycotton was played by Tim Sanchez. Second, Samantha Post played Acht Stucke on flute, followed by Nicholas Gledhill, playing Blues and Variations for Monk on horn. Finally, the CSU Graduate Brass Quintet performed a piece named Misty. In this essay, I will share my personal experience of the concert and discuss the different elements of music seen in the different performances.