Elvis explained “Much of my music comes from the heart. I want to share with the world the beauty of heart felt music.” “That was deep man.” Harvey said. Elvis played some tunes for Harvey and he was shocked at how well Elvis played. Harvey told Elvis “You are one talented pig, yah know that? I’m going to help you make a record for everyone to hear!” said Harvey.
The dialogue and lyrics are straightforward and full of ironic elements, which bring a lot of fun to enjoy. The transition from lines into a song is pretty smooth. For example, when Shrek is “hurt” by what Fiona says and his anger reaches a climax, he naturally starts to sing to express his emotion. In addition, the music, which embraces several styles such as pop, rock and jazz, also add dynamics into the show. So in sum, the writing of the show is appealing.
We are able to see this when Whitman says “The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck, The shoemaker singing as he sits on his bench, the hatter singing as he stands”(Whitman, 5-7). That quote shows how the people like doing there job. But in the poem “I, Too” it talks about racism and how he is going to overcome it, we can see this when Hughes states “Besides, They’ll see how beautiful I am And be ashamed(15-17)” this shows that he doesn 't care about what they think about him because he know that he is beautiful. This shows how the two poems are different by how they both have different stories and meanings behind the writing. They are different stories because the two talk about two different things like in “I Hear America Singing,” Whitman talks about how everyone loves what they do and want to sing because of it while in the poem “I, Too,” Hughes writes about racism and how he can overcome it, which shows how different the two poems
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.
We’re true band geeks who love what we do We love our instruments, and band, too. For fall is marching band season, a time for woodwinds and brass to reign, For drummers to master the elusive beat, for the conductor to stand on the bandstand again The band and I — we live for our show, each other and for the show. We giggle and gripe and gossip together, we march in heat, rain, and snow. We pull all kinds of crazy stunts, try anything that sounds fun; But our spines are straight and heads erect when we march to the sound of the drum. Snapping reeds and clamming notes, Stealing all the trumpet quotes.
The lighting design undoubtedly had a significant impact on this piece. The theme of hope was repeatedly expressed throughout the two hours and twenty-two minutes by the interactions made with windows, shadows, and high exposure or lack thereof which genuinely delivered a lighting designers input into the contribution of the piece. Morgan Freeman’s character provides the theme of hope with a simple quote. As Andy plays classical music over the speaker system, we hear Red say, “I tell you those voices soared higher and farther than anybody in a gray place dares to dream. It was like some beautiful bird flapped into our drag cage and made those walls dissolve away.
Trumpeters Louis Armstrong and Miles Davis became two of the most inspiring American jazz musicians of all time by accessing very differently to their art. In the analysis an album from each artist, I choose “What A Wonderful World” of Louis Armstrong and “Kind of Blue” of Miles Davis. Louis Armstrong (August 4, 1901 – July 6, 1971) was the most influential performer to affect a lot of Jazz musicians. He influenced the whole jazz population with his amazing voice and energetic trumpet. And he played a great role in the modernization of jazz.
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.
His instincts, like any child in Romantic writing, are positively driven even though, unlike the boys in the Innocence poem, he understands his oppression.” Norton and I had the same ideas about why the parents sold him, and thought that he was happy. Norton said, “It also serves to absolve them from feelings of guilt as ‘They think they have done me no injury’. Having forced their son into enslavement, teaching him to sing ‘the notes of woe’, the parents then head to church to praise ‘God and his priest and king’, who, the boy tells us, ‘make up a heaven of our misery’. Interestingly, in an earlier draft, Blake wrote that this grim trio ‘wrap themselves up in our misery’, suggesting that they take comfort from the misery of others. The final version is far more powerful; the speaker’s parents collude with Church and State, actively constructing a heaven out of the misery of others, or, as Nicholas Marsh argues, ‘they “make up” a heaven where, in fact, there is “misery”’.
While in New York, Armstrong made dozens of records as a sideman, creating inspirational jazz and backup singing for many blues singers. Moreover, he had records as a soloist including "Cornet Chop Suey" and "Potato Head Blues." These solos changed jazz history, by incorporating daring rhythm choices, swing and high notes on cornet(Source B). Furthermore, in 1926, Armstrong finally switched from the cornet to the trumpet. After 1926, Louis became more and more famous and broke more and more barriers through his music.
The concert was held at Jazz at the Bistro. It was a tribute to the great trumpet player and St. Louis native Clark Terry. The concert was performed by contemporary trumpet virtuoso Byron Stripling and the Jazz St. Louis Big Band. Clark Terry was a well-known and highly respected trumpeter and flugelhorn player who has had a tremendous influence on jazz and jazz culture in the music’s rich history. Clark Terry’s music deeply moved numerous jazz legends like Byron Stripling, who once said, “You don’t have to be a jazz fan.
The band program is so much fun because I love to play my instrument, we get to travel, and I am In the Tri-M Honors Society. The first reason that I enjoy band is that I get to play an instrument. I play the Trombone. Trombones are different from most other brass instruments because it has a slide instead of a valve, which most other brass instruments have valves like the trumpet.
He is a two time Grammy Award winning performer with Bela Fleck and the Fleckstones. He was born in October 13,1957. Jeff Coffin is a member of Dave Matthews Band. Jeff Coffin and the Mu 'tet, founded the Nashville Jazz Composers Collective. Performing Artist, Coffin has presented over 300 solo and Mu 'tet to Perth, Australia to Johannesburg, South Africa to students of all ages to rave reviews.