Song Title: My favorite Things Artist: John Coltrane The song starts with drums and piano in background and the saxophone enters with happening melody like something interesting is being told in the form of story. As the favorite things continue it takes exciting twists and until climax is reached. The continuation of only drum and piano gives a consistent feel at the end. It is as if music is narrating some story. Song Title: Bird Land Artist: weather report The start is
Louis Armstrong shaping scat singing to make it achieve posterity Louis Armstrong (1901-1971) is surely one of the most famous and incredible jazz singer and trumpet player. He influenced widely, and still does, jazz music. But there is something that only jazz specialists or some aficionados know: he actually reinvented a brand new genre of vocal jazz, the scat singing. And I said “reinvented” on purpose. Indeed, though Louis Armstrong 's recording Heebie Jeebies in 1926 is often cited as the first song to use scatting, there are some earlier examples of artists ' pieces of work that could be considered as premises of scat singing.
Langston Hughes employs many poetic devices throughout his poem. He uses imagery when he says “from the trumpet at his lips/is ecstasy” (22-23) which is visually descriptive when he describes the beautiful music that his trumpet creates. When he wrote “mixed with liquid fire” (20) he used an oxymoron because fire is not liquid. He compared his hair to black and used a simile when he said “patent - leathered now/until it gleams/like jet” (13-16). Throughout his poem he uses the word “negro” several times as an assonance because he wanted to emphasize the point that it is not any man playing the trumpet it is a “negro” playing the trumpet.
Evocative of much of the work he composed during his younger years Wolfgang Amadeus Mozart’s Symphony No. 29 is a testament to his genius and mastery of classical musical forms. Written when he was just eighteen years old the composition is a concise and peculiar example of classical Sonata form. Instead of having an introduction before the exposition Mozart ops to present the primary theme of the piece’s Allegro movement at the start of the first downbeat. Exceptionally melodic the primary theme of the movement start with an authoritative leap of an octave in the violins.
After 1926, Louis became more and more famous and broke more and more barriers through his music. In 1936, Armstrong became the first African American to be featured in a Hollywood movie and to write an autobiography. Also, in 1937 he was the first African American to be on a sponsored radio broadcast. Moreover, he performed at hotels that didn't allow African Americans to stay, and he had contracts that no other African American had in the 1930s (Source A). Armstrong brought together scat singing, blues, and his trumpet and cornet to make a modern jazz.
The organization of the New Orleans jazz was a small brass band. Trumpet or cornet, trombone, clarinet, two drums (snare drum and bass drum) were used as the primary instruments and marching band music, ragtime, blues had been played a lot. Armstrong improvised jazz solo almost single-handed. Armstrong became well known as a singer than a player in later his career. He demonstrated great skills as an improviser, bending the melodies and tunes of songs for expression.
Inspired by the emerging musical genre of jazz in the 1920s, “Jazz Fantasia” by Carl Sandburg is an organic, lyric poem that describes the two opposing views of the transpiring genre. One side is boisterous and optimistic, while the other is somber and slow. Sandburg utilizes elements such as shifting tones, various forms of figurative language, and vivid auditory devices to display the differences between these two opposing sides and ultimately show that both sides are necessary to balance each other to create the final product of jazz. In “Jazz Fantasia,” Sandburg expresses his thoughts and feelings about jazz as the speaker of the poem by using highly impassioned tones. He begins with an urgent tone, telling the jazzmen to, “Drum on your drums, batter on your banjoes, / ...Go to it, O jazzmen” , and immediately shifts to using more relaxed and luxurious wording by saying, “Sling your knuckles on the bottoms of the happy tin pans, let your / trombones ooze…” This instant shift in tone intimates toward the clear
The length of this movement itself (691 measures) is as long as a whole symphony in the previous generation and it is what made this movement ‘heroic’. Beethoven treated the main melody in this movement like a character in a drama. Beethoven started an unusual trend in the exposition by letting the cello play the pastoral theme which outlines an E-flat major triad. The triple meter is another bizarre trait, yet when it’s combined with the tempo of this movement; it reminds the listener of Deutsche peasant dance. The primary theme (see fig.
Armstrong, himself, was a comedian, and would push the boundaries of the accepted forms of jazz and pop music. At one time, he invented “scat” while singing in the song “Heebie Jeebies”; Armstrong claimed that he dropped the lyric sheet, and when the time came for him to sing, he sang horn-like nonsense syllables instead. Armstrong was also a deft interpreter of lyrics and was a masterful singer, and always wanted to his entertain his audience; in the end, he found great success with his pop hits despite the opinions of critics who at that time believed that he should play music with a more serious
Dizzy Gillespie’s tendency towards desceding whole or halfstep patterns such as in “Con Alma” and “A Night in Tunisia”, Charlie Parker’s favoured ii-V substitutions in the famous bridge to “Ko Ko” and “Confirmation” and the mastery of dissonance by Thelonious Monk shows the boppers preoccupation with developing their sound, making statements through their music. (Gioia
Reinforcing his credentials as a bandleader, Nasheet Waits, an impressive drummer from New York, releases a stimulating album on the French label Laborie Jazz. The percussionist has a flair for straight-ahead jazz and avant-garde categories but moves with equal confidence in post and neo-bop styles. His father, Freddie Waits, was also a respected percussionist who played with jazz giants such as McCoy Tyner, Pharoah Sanders, Lee Morgan, Kenny Barron, and Andrew Hill. However, he never officially recorded as a leader. Nasheet, commonly called “Heavy” Waits, collaborated with Antonio Hart, Mark Turner, Andrew Hill, Fred Hersch, David Murray, Jason Moran, and Steve Lehman, while more recently, his groundbreaking drumming techniques were put at the service of Logan Richardson, Miroslav Vitous, Avishai Cohen, Tony Malaby, and Ralph Alessi.
The purpose of this post is to discuss an aspect of jazz that was charged or influenced by race, gender, religion, or another social aspect. I chose to write about a Duke Ellington album, Black, Brown and Beige. Duke Ellington was known for expressing the feelings of African Americans without being angry. However, you could still feel the pain, sadness and angst, and it was always done through a filter, with a feeling of triumph at the end. The album debuted at Carnegie Hall in 1943 with mixed reviews.