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Live jazz concert report essay for music 121
Jazz concert review
Live jazz concert report essay for music 121
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On October 23, 2017, I attended a jazz concert at the Christel DeHaan Fine Arts Center. This concert was a celebration of the music of Freddie Hubbard. Freddie Hubbard was an Indianapolis native and a jazz legend. According to the program I received before the performance, Freddie Hubbard had a unique trumpeting style that characterized him as being one of “the most influential [trumpet players] to come out of the 1960s”. The band that played was a quartet composed of a saxophonist, a bassist, a drummer, and a pianist (a guitarist was originally scheduled to perform, but he did not show up). Before attending the concert, I read that the band was heavily influenced by the work of Miles Davis. This led me to surmise that I would be listening to cool jazz since Miles Davis is credited with …show more content…
According to the concert program, Freddie Hubbard wrote this piece to memorialize Booker Little, a fledgling trumpet player who died at the tender age of 23. Obviously, given the background information provided by the program, one would expect this song to sound especially sad. The piano started off the piece playing in a minor key, and the saxophone played in a somber tone. The drummer used brushes and utilized his cymbals. The bassist played long, drawn-out notes. All of these style choices contributed to the overall gloom and wistfulness of the piece. “Little Sunflower” could not have come at a better time. “Little Sunflower” was upbeat and hopeful, effectively lifting the spirits of the audience. The bass played a riff, or repeated melodic phrase, at the beginning of the piece. The sax made that swirling sound again, lending to the overall cheerful and optimistic tone of the song. It makes sense that this style would be used again because, according to the concert program, both “Up Jumped Spring” and “Little Sunflower” are featured on the same album, Backlash. This song was groovy and highly
In the 1930s, Goodman gradually gained recognition at recording sessions and radio shows in New York City, where he later formed his first band and began performing weekly on NBC’s radio show Let’s Dance (Collier 89). Around this time, Goodman had his first number one hit “Moonglow,” clearly marking his progression as a bandleader (Collier 96). This exposure allowed Goodman to achieve greater national fame that provided the foundation for the beginning of the Swing Era. With a national audience building from his radio performances, Goodman’s upbeat, hot jazz swing style was gaining traction, leading up to a pivotal performance on his band’s tour in Los Angeles that marked the transition to a new era in jazz. At Palomar Ballroom, Goodman and his band performed their new swing music, which combined elements of jazz and popular American dance music (Firestone 204). The gig is generally accepted as the start of the Swing Era, as Goodman’s style of swing music gained overwhelming positive feedback from the audience. Since the performance was broadcasted on national radio, Goodman’s jazz music dominated headlines and catapulted jazz into the forefront of American popular music. As dancers craved the upbeat swing music, bands copied Goodman’s style, which led to the proliferation of swing music and the birth of the Swing Era (“Benny Goodman:
With his new big band, Gillespie attempted to popularize bebop and make himself the signature figure of the style. Dizzy was the soloist and showman of his own big band which performed from 1946 to 1950. In 1953, someone accidently sat on his trumpet. Due to this, the bell on the instrument now titled upward at a 45-degree angle. Dizzy discovered that this new shape to his beloved instrument created an improved sound quality. From then on, he always incorporated this shape into his new trumpets. With his own big band, Gillespie was best known for his songs “Oop Bob Sh’Bam” and “Leap Frog.” In 1956, Gillespie traveled to the Middle East on a cultural mission sponsored by the United States State Department. While there he wrote and recorded his famous piece titled “Tunisia.” In 1959 Dizzy Gillespie released an album titled A portrait of Duke Ellington dedicated to the famous musician. In 1964 Dizzy Gillespie ran for the U.S.
The performance demonstrates the variety of the flexible-but-not-quite-free post-bop genre with an intensity on modal jazz- something that had pioneered by Miles and was a staple of the 50s and 60s. Each player displays strong influences of modal jazz, avant-garde, and free jazz without completely submitting to any solid genre. The forms and tempos are much more free and open than more common jazz
In the development of jazz, Miles Dewey Davis III is considered one of the most influential and commended figures from his era. As an American jazz trumpeter, bandleader, and composer, he was renowned as a master of musical self-restraint, just like Count Basie and Lester Young, and also as a musical genius who effectively evolved jazz through the many stylistic changes he made during his career. In this paper, we plan to observe how his musical styles have changed over time from 1940s to 1980s and compare his musics and musicians along with the backgrounds for each music and its group.
The process of establishing Miles Davis in the field of the jazz music has many different aspects. The story of his professional development is very interesting and unstable as it has its breakthroughs and setbacks, and indeed, all turning points in his life has made a significant impact on the evolution of the jazz music sound. In this essay, I am going to discuss how Miles Davis affected every stream of jazz and how jazz affected him during his all life.
Louis “Satchmo” Armstrong will always be known as one of the greatest jazz musicians in the history of music. Although he is mostly known for his exceptional trumpet playing, Armstrong was a surprisingly well-rounded musician. That is something you just do not see with most of today’s musicians. He plays with passion and put everything he got into creating great pieces of music. “What he does is real, and true, and honest, and simple, and even noble. Every time this man puts his trumpet to his lips, even if only to practice three notes, he does it with his whole soul” (Satchmo). This was a quote said by Leonard Bernstein, one of the greatest conductors of the 20th century, in 1956. To have a fellow musician give such praise to him, you know
The jazz community and the music we know today would not be the same without the contributions of Louis Armstrong, who is widely considered to be a founding father of Jazz. The works of Louis Armstrong who was a trumpet and cornet player, composer, actor, and singer have profoundly shaped and impacted all American music. His ingenuity and his musically inventive mind have given us a style that dominates the Jazz community. Armstrong’s innovations and progressions single handedly changed the face of Jazz, his innovations are still effecting music today. Many musicians today work in the shadow of Louis towering figure and bask in his legacy he left behind. His style of trumpet playing revolutionized the world of Jazz, and he became one of
According to Don Heckman, "Individually and collectively, (the Gerald Clayton Trio's) performance was at a stunningly high professional level-enhanced by the enthusiastic feeling of exhilaration in everything they played." (2002). On March 22, I attended a live, acoustic world music concert during this semester. Concert performed by Gerald Clayton and played in the Capitol Theatre at 7:30 p.m. with Joe Sanders on bass and drum player Pete Van Nostran. Gerald Clayton played six songs to the audience from the "Life Forum" album that is new sounds he recently released and his previous works "Bond" and "Two Shade." It is very surprising Gerald Clayton became a world famous jazz musician. He has well connected background of jazz musicians in his family. His father is ‘bassist John Clayton’, and his uncle is alto sax musician ‘Jeff Clayton’. According to his interview, “It was a blessing to be exposed to good music my entire life," he said. "There was a lot of love in the community and my dad played with and it was great to see them joking with each other and playing together and I was always welcome. And the best thing about wanting to play jazz for a living is that my parents didn’t suggest I come up with plan B if it didn’t work out.” Clearly, he is one of the most successful and famous jazz musicians al over the world with his honest parents.
This tune became a jazz standard due to its slow harmonic progression that sounds like blues, and Billie’s recording in 1936 is a true example of just that. The low, crawling music begins and drags on, while Billie begins to croon in a completely soulful way. What we see come from Billie in this is complete sincerity in the form of music, and she popularized this song and led it to become number twelve in the U.S. pop charts, further cementing her stardom. Ella recorded her version some time later in 1958, on her and Louis Armstrong’s Porgy and Bess. Again, Ella sings with clear dictation and is able to express her three octave vocal range freely. Her version does not invoke as much gut-wrenching emotion as Billie’s does, nor does it explicitly stick to the pure blues style, but it conveys the story and message as the lullaby that it is. With both Ella and Billie recording their renditions of this opera piece, interest in the opera and with jazz music has continued on.
All types of music require musicians. In the H.R. (Harlem Renaissance), there were many who contributed to this new style of music known as jazz. These musicians all have their own style and form. Each of these styles has in some way influenced the evolution of jazz. Louis “Sachmo” Armstrong is recognized as the most famous trumpet player of all time.
Music can affect people in strange, entrancing, ways but Jazz has managed to move America to the place it is today. In the 1920s in New Orleans, jazz experienced a rise in popularity when the music began to spread. Soon the new style of music spread all around America. Jazz managed to change the social standings so that African-American people were treated with more respect (however there was no more equality). Improvisation and Free Jazz both became extremely and important to jazz in the mid 1950’s. They both helped shape jazz to what is today which is to be investigated in this essay.
As soon as I walked in, I realized that it has totally different atmosphere from what my expectations were for the music concerts. Unlike all the other concerts I attended, this concert intended for small audience, probably around a hundred people. Also, this jazz concert seemed very relaxed and comfortable. Most of people were dressed very casual, wearing jeans and shirts. But the musicians were dressed in suit, which seemed quite awkward to me. There was a good diverse group of people, from young children to senior citizens. There was also a pretty even mix of different cultures, too.
The jazz band I observed played a series of six different songs. Although all the songs were categorized as jazz, each song had its own special style and sound to it. The band consisted of three different players. Paul Meyers, the guitarist and composer, Andy Eulau, the bassist, and Dave Rataczak, on drums. The songs performed were entitled “Love for Sale” by Cole Porter, “Once I Loved” by Antonio Carlos Jobim, “Stars” by Paul Meyers, “Blues for Mel” also by Paul Meyers, “Last Night When We Were Young” by Harold Arlen, and “Samba Novo” by Luis Eca.
Specifically, Chet Baker recorded “My Funny Valentine” in 1955. The song lacks melodic ornamentation and variation. The tempo of the song is slow and has a long sustained tone. In fact, jazz artists often performed “My Funny Valentine” in C minor. The dynamics of the song restraint to a constant low volume and use a limit range of two octaves. There is the use of a trumpet throughout the song that plays at a high pitch. Musical instruments that are string bass, baritone saxophone, and a drum are accompaniments in the song. The use of these instruments has enabled bringing out the tone color in the song. There is involvement of other people that is; it is not a solo recording. Chet Baker sings the majority of the melody. The song also has rhythmic variation and a lower and upper ornamentation. The tones of the song start with a strong beat that keeps changing throughout the song. The octave in the song allows wider application of the notes. It gives Chet an athletic performance that associates with his
In the 1950s, the growth of cool jazz stemmed a blend of white musicians, such as Chet baker and Gerry Mulligan, but major African-American groups, such as the Modern Jazz Quartet, were also expressing this style. However, it would take until the late-1950s for “cool jazz” masterpieces, such as Mile Davis’ The Birth of Cool, to become a dominant mainstream style of jazz. These musical trends define the origins of “cool jazz” within the context of the etymological use of cool as a musical style in the early 1950s. Certainly, the merger of “cool pose” culture in African-American culture had crossed over in white jazz music as a way to merge these two cultural phenomenon into a single musical