Ivo Perelman Living Jelly Analysis

The night had some very special moments when Eric Bazalian joined the group to a rousing ovation for “Time After Time,” “Yeah Yeah,” and “ True Colors.” His exuberance accompanied by a infectious smile captured the fans and he blew us away on the sax, guitar and his signature melodica. We also were treated to a full night of Bob Hyman (Hooters) on guitar along with Bette Sussman on keyboards, William Whitman on bass, Scooter Warer on drums and Keith Mak on guitar. A fine band who Cindy conducted like a symphony orchestra while dancing strutting, jumping and

Gerry Mulligan (1927-1996) was a preeminent figure in “cool jazz” and had a long and illustrious career in jazz. He was a baritone saxophonist, clarinetist, arranger and composer. He began arranging music in his teen years. At 19, he moved to New York (1946) and was hired as an arranger for Gene Krupa’s band. Mulligan ended up living with Gil Evans at the location where musicians would hang out and work on music. He met Miles Davis through this venue.

The music event took place at the Harvey Theater in the Brooklyn Academy of Music (BAM). The venue looked like it has risen from the dead; the architecture shakes at its bare brick walls and ghosts of decades carved out of the walls, columns, and ceiling. To the right of the entrance, past the box office, is a spacious waiting area where

in Kansas City and became one of the most famous jazz musicians of all time. He led us

Incursions on soul-jazz, hard-bop, and fusion can be easily spotted in Mark’s style. However, he doesn’t stick to a particular style, also venturing himself in the rock music territory with sporadic performances with Dave Matthews Band.

On his newest release, Platinum on Tap, the charming, wispy tone of his saxophone spearheads an enthusiastic trio that includes bassist Chris Tordini, and drummer Dave King. Offering up eight originals and two covers, this impressive work clearly surpasses the trio’s previous release, Really OK (Skirl Records, 2014).

Mac Miller drops his fourth album, only a year after he dropped probably his best work yet GO:OD AM. Mac has always been known to be a creative mind and changing up his mixtapes and albums. From starting with his frat-boy college kid phase (K.I.D.S. and Blue Slide Park), to his psychedelic drugged-out phase (Macadelic, Watching Movies With The Sound Off and Faces), to his most mature album (GO:OD AM) to now his jazz music side of him on this latest album. Realizing that this album would be a love/jazz album, I can only look back to the last time he put together a jazz project with the You EP and all I can say to myself was "ugh." However, when he made that EP, he was a bit too young to really make that kind of music (singing voice wasn't there).

To play this set of 11 original compositions, he convened a robust four-horn frontline that includes Tony Malaby on saxophones, Oscar Noriega on clarinets, Dave Ballou on trumpet, and Peter McEachern on trombone. Teaming up with him in the rhythm section is the drummer Michael Sarin, a longtime collaborator, who earned the drummer's chair once again.

On his new work, Sing House, he establishes immersive sonic architectures with the help of a brand new quintet whose musicians have been accompanying him throughout the years, whether in personal projects like EDGE and Burning Bridge or other formations that some of them might put together. They are Steve Swell on trombone, Chris Forbes on piano, Ken Filiano on bass, and Andrew Drury on drums.

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.

He was playing a set at Neutrino, in the Avantil district, where they still appreciate his music.

I have never been in a jazz club before. I always wanted to attend a live performance of American jazz musicians and learn more about the history of jazz. It was one of the reasons I chose this class in the first place. From my perspective, I view jazz together with classical instrumental music as elegant and exclusive. I associate it with luxurious restaurants, theaters, places like Carnegie Hall and Lincoln Center, where people with great taste and deep understanding of music come to enjoy performances and celebrate important moments in their life. For my final paper I had an opportunity to visit the famous Village Vanguard jazz club on January 12th, 2014.

As I observed the stage I noticed that there were a variety of instruments played in the jazz ensemble. The instruments that were played included string (grand piano, electric guitar, electric bass, bass), brass (trumpet, trombone, French horn), woodwind (tenor sax, alto sax, baritone sax) and percussion instruments (six piece drum set, bongos). On the drum set was, special guest, Steve Houghton from the music school of Iowa.

Miles Davis loved the "new" Coltrane, and hired him back into his band for a third time. Davis came up with a new jazz concept, modal improvisation.

Here is when have Miles Davis, for the third time setting the stage for style of jazz with two back to back albums In a Silent Way and Bitches Brew (Scaruffi). One might have assumed that fusion was a grasp towards commercialism, with rock music being the leading sound at this period, but these releases of Miles’s still have the experimental heart of jazz. In a Silent Way boasts a regular jazz quintet, but with two pianists, an organist, and a guitarist (Scaruffi). The result was a hushed, curious ambient sound that was the quiet of the storm to Miles’s more ambitious Bitches Brew. Bitches Brew was the true kick-start to fusion: the ambitious double LP blurred rock and jazz together into a torrential, impressionistic landscape that inspired many musicians, and pushed the agenda that the combination of jazz and rock could have artistic integrity (Scaruffi). Multiple fusion bands formed as a result of Bitches Brew alumni. Electric pianist Joe Zawinul joined forces with Wayne Shorter to start the fusion band The Weather Report, gaining a diverse group of players such as the talented electric bassist Jaco Pastorius (Blumenthal 147). John McLaughlin, another Bitches Brew alumni formed the band Mahavishnu Orchestra which has recorded notable albums such as The Inner Mounting Flame (Scaruffi). An analysis of In a Silent Way states that “...wasn’t exactly jazz, [but] it certainly wasn’t rock” (Freeman 26), and this genre ambiguity of the album held a precedent for fusion jazz becoming a whole new entity rather than jazz or rock