The Santa Fe Evening of Jazz was a great concert featuring the Rhythm and Blues, Jazz Combo, and Big Band from Santa Fe College with special guest Professor Scott Wilson from the University of Florida Jazz Studies. This Evening of Jazz was the ninth one to be held and was superbly done; getting a ticket was quick and simple, finding a seat was as easy, and leaving was not hard. The whole performance was led by Doctor Steven Lee Bingham who also played with all the bands on the alto saxophone along with giving information about each band, song, scholarship players, and on Mr. Wilson and his unique instrument called a E.V.I.. The audience had a pleasant feel, everyone was talking and laughing before and after the performance, they also were …show more content…
The stage was set up with five saxophones, two altos, two tenors, and one baritone, stage front left with four trombones directly behind them, and three trumpets at the back, the electric guitar was in center stage with drums and bass located behind, the piano was stage right with Professor Scott Wilson, the guest artist, in front of the piano. The songs the Big Band played were fantastically preformed balanced with no parts sounding to loud or soft, the trumpets were the major surprise there, but the highlight was Professor Scott Wilson E.V.I., or Electronic Valve Instrument. The E.V.I. sounded like a trumpet and an electric piano in one instrument, the notes were controlled by three buttons imitating valves on brass instrument and a knob at the bottom to control the pitch of the note, a unique instrument for Jazz. Over all, the Evening of Jazz was good example of Blues and Jazz music genre, from the clothes to the style of songs chosen, without the clothes the Blues would not have felt Blues. The E.V.I., from the Big Band, was an unique instrument with a strangely pleasant sound for Jazz much like the Vibraphone, from the Jazz Combo, and this brought a different feel yet was able to keep the authentic tone to the genre by adding a
Both players in tandem break away from the repeated strains to riff a short, yet complex, blues melody, before incorporating it into the undertones of the continuing song. Both players were able to command the band in a few measures, showing the trumpets true dominance over the band in that brief moment. Louis Armstrong later became one of the biggest names is jazz. He played with such virtuosity, and had the ability to span a wide range of notes. In addition, he also played in a smooth legato style, and was able to improvise flawlessly.
Have you ever imagined being on the best jazz music concert, being surrounded by the best jazz musicians of the world? Have you ever seen a trompetist playing so passionately? During the crazy 1920s you are going to see the emerge of one of the greatest jazz soloist, who changed the history of jazz and African American culture. Back then jazz was just an African American music that you can dance, but Louis Armstrong transformed it making it a popular art. Jazz is a music genre that originated in the late XIX century and expanded globally in the XX century.
The History of Jazz. San Diego: Lucent, 2003. Print. "Music and Dance: Early Jazz." PBS.
Beginning in the early twentieth century, jazz spread quickly amongst clubs and bars across the poorer urban areas such as cities like New Orleans. Due to jazz artist’s unique musical swing, jazz quickly became recognized all around the world. Throughout history, many jazz artists have made their unique sound known. Three artists, in particular, that enlightened others by their outstanding talent include Louis Armstrong, Thelonious Monk, and Billie Holiday. Each of these artists have their own method of performing jazz in an inimitable manner which no one can deny.
In this paper, I plan to examine the influences that Miles Davis had on jazz. Starting with the bebop era, when his career first began, to his final collaboration released following his death. While in school Davis had learned how to play the trumpet, and following graduation he attended Julliard in New York. However, he dropped out of Julliard in 1945 in order join one of bebop’s pioneers, Charlie Parker. It was
In 1920, famous jazz singer Mamie Smith was in town for a performance and Hawkins was asked to sit in with the band; undoubtedly, his performance shocked the singer, as well as the audience and he became the newest member of Smith’s band, “Jazz Hounds” [2]. It was at this moment that Hawkins did not look back. As a teen, Hawkins was now considered a professional jazz musician, and joining this band gave him opportunities to take his fame and playing to the next level. In 1923, Hawkins’ artistically developed ability to improv only heightened his name within the jazz world, and it opened a door for an opportunity he could not take down: a spot in Fletcher Henderson’s band
The introduction is about Duke Ellington’s role in his musical career: composer, bandleader, and pianist. However, due to massive works that Ellington was involving such as compose music for orchestra, ballet, film, radio,
Jazz is most often thought to have been started in the 1920s as this explosive movement, but that is in fact not the case. Starting in the late nineteenth and early twentieth century many African American musicians have started to explore their taste in improvising, and where better to do that than New Orleans (Anderson). Before the 1920s these jazz musicians have already been going around sharing the unique sound, but up until then, jazz had remained majorly in New Orleans. Interestingly during this period, a common jazz band would consist of a cornet, a clarinet, a trombone, and a rhythm section when at this period of time the clarinet is not commonly associated with being a jazz instrument, it moved into being the saxophone rather. A big
Louis Armstrong had a variety of impacts on not only the jazz scene but social and cultural evolution of jazz at the time. He not only revolutionized the genre with his innovative trumpet playing and distinct vocal style but also had a profound impact on the ethnomusical social and political responses to jazz. Exploring Armstrong's influence on the perception and acceptance of jazz within these contexts. He essentially was a cultural ambassador as he contributed to breaking racial barriers and his ability to bring people together through the love of his music and his ability to evoke such strong emotional and intellectual responses through his music.
At this time, his music “was a fine, swinging unit” but there was “a conventional hard bop approach” and was deemed as “old fashioned” (Martin & Waters 182). To make the music fresh again, Davis “hired the best young players” that would “challenge him” (Martin & Waters 159). The music was influenced by avant-garde due to some members’ interest in the genre. Avant-garde jazz eliminated aspects of jazz that were thought to be fundamental. Thus, there was no predetermined harmonic structure, no steady pulse, a change in the rhythm section role, extended techniques, and a relaxed formal structure.
John Opstad’s The Harmonic and Rhythmic Language of Herbie Hancock’s 1970s Fender Rhodes Solos (2009) examines Hancock’s Fender Rhodes solos to figure out how he used electric keyboard as a main instrument. Kevin Fellezs’s Between Rock and A Jazz Place: Intercultural Interchange
In Jazz, the instruments used to fulfill this is called the ‘rhythm section’ which normally includes a drum kit, a stringed bass of some kind (often a guitar), and a piano. This can be equated to the continuo section in Baroque music which normally consisted of a string (normally a cello or bass), and a chordal instrument of some kind like a harpsichord or
The instruments used in the jazz concert were primarily those from the brass and woodwind family—4 trumpets (brass), 5 trombones (brass), and 5 saxophones (woodwind)—along with members from the string family (Double Bass and Electric Guitar) and percussion family (Piano and 7-piece Drums). The conductor only walked into the center of the stage to signal the major changes in the movement, i.e. the crescendos and decrescendos, when to abruptly cut off, etc. From offstage, I could see that the main form of communication between the conductor and the performers were the conductor’s nods (for soloists) and hand gestures for volume, speed, and pauses. The conductor would also
to good advantage. One of Jerome’s pictures sold prompting his friend Louis Mason to write and congratulate him on April third. “We visited the exhibit this afternoon,” he noted, “and what pleased us most in the whole collection was a little piece-not at all artistic-though practical-I refer to the little card bearing the word SOLD-placed on a picture by Jerome Myers. And this, permit me to say is an illustration of my arguments and a demonstration of my thoughts though you need not quake as I shall not ask a commission-but I knew you were to sell one.” Myers also received a favorable review on April sixth in the New York American.
1. Disclaimer Although the Montreux jazz festival is a world renowned event it is still located in Switzerland, in the French speaking part. Thus some of the information of this report are just translated version of different sources 2. Introduction “Jazz does not belong to one race or culture, but it’s a gift that America has given to the world- Ahmad Alaadeen”