The Baked Potato

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

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.

The song starts off from 0:00 to 0:12 with a melody begun by the saxophones, and there are riffs apparent played by the brass section behind this melody, followed by a repeating of this section until 0:22 when the brass section of instruments climbs up the scale to a higher key. This section, from 0:22 to 0:29,

The instruments in the first gathering included bass, drums, conga, trumpet, alto saxophone, shaker and vibraslap. They performed two quick tempo melodies for drums and percussion, and every instrumentalist was given the chance to hold a performance. All through the execution of the first gathering, the bass player was absence of innovativeness and specialized abilities that should have been be cleaned; his spontaneous creation was a progression of specific scales that were dull and basic. Then again, he was extremely rhythmical and had decent state of mind toward the group of onlookers, coordinating great with drums and knew how to connect with the gathering of people. Particularly, the alto saxophone player was not the same as different instrumentalists, since his tones were more vividly communicated than some other payers. His act of spontaneity was confounded and inventive too. His pitch and rhythms were exact. Notwithstanding that, he executed as harmony with trumpet player in a brief moment performing melody, where he demonstrated a decent feeling of flow. In general, despite the fact that every part of the orchestra possessed the differential musical skill, but they coordinated with each other quite

The date of the concert was October 5, 2016 and the title of the concert is “Experimental Improvisation with: Kjell Nordeson & Peter Kuhn”. The concert was performed in Mesa College Music building. Peter Kuhn had three instruments with him a bass clarinet, saxophone, and a Bb Clarinet. He used the bass clarinet and the saxophone during his first piece, and the clarinet on the second piece. Kjell Nordeson was on the drum but had a lot of instruments with him. Sometimes he would play the drums as a drums set but sometimes he would put some sort of objects on top of the drum to create different sound effects. He also had a small glockenspiel and a flexatone. The concert hall was very simple, had a

At the beginning of the piece, the trumpets had a established a good melody and were clearly louder than the rest of the band. At measure 9, the band did a good job of getting quiet and the trombones were able to carry the melody through measure 17. At measure 17, the trumpets regained control of the melody and there was a good balance between the trumpets and the winds. At measures 25 through 43, it was a little difficult to tell who had the melody as many instruments were playing at a mezzo forte dynamic marking. At measure 46, we had a nice chord that was led by the Euphoniums and trombones. At measure 47, the clarinets did a good job of regaining the melody. The band started to cover the melody at measures 55 through 63 as more and more instruments were being added. At measure 71, the band found the melody in the trumpets and the winds and sustained it until measure 103. At measure 103, we went right back into the flute melody which was played until measure 120. At measure 120, we had a good transition and then the trumpets gained the melody and played it well above the band. The trombones also did a good job of filling in with a melody of their own at measures 120 through 135. At measures 135 through 143, the trombone melody was completely lost and the backgrounds were way too loud. At measure 143, the trumpets regained the melody and played well over the band and the trombones also played their counter

The first song that the band played was very soft and relaxing. The string bass was the lead of the first song and played a flat four rhythm, and the rest of the band

The first song played was “Hope Street” written by Tom Harrell. The piece was started off with Jerald snapping his fingers to a quick beat and then the Trumpet (Lynn) starts with a loud entrance. The other musicians join in and copy his notes as he plays. When the trumpet hits the high notes he trills the note as he holds it before dropping back down in PITCH to match the rest of the instruments. The bass, drums, and guitar carry the beat and the trumpet and trombone take turns playing in a sort of solo. As the trumpet and trombone fall back into rhythm with the other instruments the tempo becomes quick and the guitar take the lead in the piece. All three “solos” mirror each other in notes and TEMPO as the rest of the instruments keep the rhythm and beat. All instruments join in at the same note and continue playing together now in a

On December 3, 2015 the University of Florida’s School of Music hosted a concert at the University Auditorium where the Jazz band performed. The band consisted of four sections: saxophones, trumpets, trombone, and rhythm. The Saxophone section performers included Greg Snider (Alto), Dustin Fergerson (Alto), Ben Grier (Tenor), John Peasant (tenor), Tony Laracuente (tenor), and Ryan Colon (Baritone). The Trumpet section performers included Sean Bocinsky, Ben Rochford, Lucas Owen, and Brantley Daniel. The trombone section performers included Stephen Anderson, Jacob Armstrong, Joshua Jenkins, Like Blackman, and Andrew Bajorek. The Rhystem section performers included Zac Chester (piano), Sean Fournier (piano), Erik Abernathy (Guitar), Delorean Fullington (bass), Calvin Bond (bass), Clyde Conner (Drums), Tom Hurst (drums), and Andrew Mankin (drums). The performance consisted of four pieces, which depicted different styles of jazz music. The styles of songs ranging from Afro-Cuban to swing allowing for the crowd to enjoy the wide variety of music.

The first song was “Bring Em All In” by Scott and Whickhan, which was a style mixed with rock and country, even though Scott and Whickham fall under the genre of rock. The song’s theme was consistent throughout the performance, and the only instrumentation was a guitar and violin. There were not any huge instances of changes of loudness, yet the song seemed to be played at forte. The tonal color of the violin was at times smooth, but most of the time was harsh while the guitar had a slight harshness to it. I know Levitin made mention that music brings cohesion within groups, and “Bring Em All In” would be a song to bring people together due to its message of love (Levitin 56). That message was constant throughout the lyrics which did not vary,

The concert I decided to go to was held in Valley Brewing Company. The event was called “Take 5, Jazz at the Brew”. I went to the show July 11, 2013. The group I saw didn’t have a name. It was just a group of people performing together. The concert hall was a very nice venue. It was on an extended closed off area past the common area at the bar. The area was very dim lit and was decorated very fancy and elaborate. The music that was played that night was Jazz.

six minutes in length and a couple songs were a little over ten minutes. The

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.

The rhythm section (piano, guitar, bass, and drums) maintained a steady, even beat; the saxophone and brass sections countered each other with harmonized riffs and repeated figures, with section leaders improvising over this background (Stewart, 1979).

The second vocal ensemble of the night started out with a song which included a twelve bar blues, called “ I use to know you”. This performance consisted of the most combinations of solos of the night as well as using an improvising style. The entire band started all together which led to a Trumpet solo. Then Jose on the Sax did his solo followed by the pianist comping. Then the choir along with the band joined together to lead to a female solo which was particularly interesting since she was scatting. The second performance of this ensemble was “Spring can really hang you up the most” which consisted of 3/4 time and 4/4 time. This started with a female solo vocalist then a male one. The band as a whole played together and ended with a male solo scatting. The third and shortest performance of the night was a vocal acapella piece, “Love walked in” which was short and sweet. The fourth performance of the night was a Richmond Rogers piece. This had a rhythmic swing/salsa feel from the “Lady is a tramp”. This started with the rhythm section, with the male vocalist and horns. Then the female vocalist from the choir joined and concluded this piece. The fifth performance for the group was a sequel to voice stand an acapella piece by Greg Jaspers. This song started with the choir using their voices as the instruments altogether. The final performance of the night was one of