Juilliard's Paul Recital Hall

The instruments in the first gathering included bass, drums, conga, trumpet, alto saxophone, shaker and vibraslap. They performed two quick tempo melodies for drums and percussion, and every instrumentalist was given the chance to hold a performance. All through the execution of the first gathering, the bass player was absence of innovativeness and specialized abilities that should have been be cleaned; his spontaneous creation was a progression of specific scales that were dull and basic. Then again, he was extremely rhythmical and had decent state of mind toward the group of onlookers, coordinating great with drums and knew how to connect with the gathering of people. Particularly, the alto saxophone player was not the same as different instrumentalists, since his tones were more vividly communicated than some other payers. His act of spontaneity was confounded and inventive too. His pitch and rhythms were exact. Notwithstanding that, he executed as harmony with trumpet player in a brief moment performing melody, where he demonstrated a decent feeling of flow. In general, despite the fact that every part of the orchestra possessed the differential musical skill, but they coordinated with each other quite

The rhythm section consists of the piano by Paul Mertz, drums by Tommy Gargano, and banjo by Howdy Quicksell. Throughout the piece, the cornet, which is accompanied by the clarinet, plays the main tune as the trombone and piano keep the tempo like a bass. The piano plays the chords as the trombone plays consistent quarter notes which helps the whole ensemble keep time.

As with many Thad Jones arrangements, a number of key stylistic elements are not printed on the original chart. The rehearsal comments below are taken from recorded performances of the original recording by the Thad Jones-Mel Lewis Orchestra, and from more recent Vanguard Jazz Orchestra recordings. This arrangement can be performed at the deepest level when band members are hearing these great recordings in their minds as they play.

Performing his songs was Jason Michael Webb (piano), Bobby Scharmann (Bass), Mike Roe (Drums), and a mixture of independent singers and a large company that included UNL, UNO, Creighton and guest students and artists.

Comic books have been around since the early 1930’s and has since become a huge cultural impact, bringing young and old audiences all sorts of great stories, and imaginative concepts. But ever since The Dark Knight Returns made it’s way onto the pages and into people’s homes, the comic book scene has never quite been the same, with stories getting darker, and more bold, featuring grotesque moments, and more intense storylines. Then the 70s came around and everybody was talking about mental illnesses and whether or not it’s real, and a little old company called Marvel comics capitalized on this, with a brand new character. First appearing in WereWolf by Night #32 in August of 1975, Moon Knight was introduced as a former boxer, turned globetrotting

American drummer Brian Blade has conquered many jazz fans with his sophisticated technique, open nature, and instinctual rhythm. His unique touch, never too loud and never too soft, has played a crucial role in projects of likes such as Kenny Garrett, Joshua Redman, Mark Turner, David Binney, and Wayne Shorter. He also built an amazing reputation as a leader of the Fellowship Band, a 20-year endeavor that normally comprises two saxophones, one or two guitars, piano/keyboards, and bass.

The album title is also the name of the eight-piece jazz ensemble she leads, which comprises multifaceted musicians such as trumpeter Jack Walrath, saxophonists Lily White (who also produces) and Lisa Parrott, trombonist Deborah Weisz, cellist Marika Hughes, bassist Ratzo Harris, and drummer Scott Neumann.

After “Indiana” was performed, the chamber orchestra transitioned to a more dolce and pesante “Black and Blue.” Throughout this song, each performer played softly, keeping the dynamic at a piano level until Armstrong’s trumpet began to raise the dynamic to a more mezzo piano level. The song’s

When the concert first began, the three instrumentalists walked with energy despite their age. The first song, “Sonata I in G-Major Op. 2, Nr. 1” by Michel Blavet, was a Baroque Sonata. There were five movements and was played by the harpsichord, flute, and cello. All movements of the song were polyphonic because of the three instruments that had different parts and equal importance. In the first movement, I noticed that the flute tended to rise in pitch. In the second movement, I noticed that the melodies often repeated. Throughout the rest of the song the tempo changed from fast to slow and the flute would usually take the lead. On the last movement, the cello and the harpsichord

With Tag Book, American drummer-composer Charles Rumback, a mainstay of the Chicago jazz scene, has his second release of the year on ears&eyes label with only nearly six months separating it from the previous release, Three. If the latter was a collection of three original compositions plus a rendition of Andrew Hill’s “Erato”, all of them complying with a 3/4 time signature, the newest album comprises five homogeneous pieces executed by the same trio with Jim Baker on piano and John Tate on acoustic bass.

Next up was the John Shaughnessy Trio. They have managed to find a very pleasant balance between a fretless piccolo bass, synthesizers and drums. The combination of the sound produced by these different instruments is lively and

The University of Alabama Faculty Jazz Band along with guest player, Bill Peterson the jazz pianist, made up a chamber ensemble and performed beautiful and upbeat jazz music. The faculty members include Tom Wolfe, the guitarist, Chris Kozak, the bass player, and Mark Lanter, the drummer. The entire concert was played in a major key and had nothing but positive energy. The pieces and players were extremely creative and they managed to tell a story and create beautiful imageries through the changing sounds, rhythms, melodies, keys and texture.

Wes Montgomery’s groovy “Full House” starts by packaging all the original guitaristic steam in Jones’ well-measured solo, passing by Carl Maraghi’s magnetic baritone before the epic finale. The vivacity felt here opposes to the more tranquil vibes of the jazz standards “I Thought About You” and “ In the Wee Small Hours of the Morning”.

In between major pieces, they had a trio of musicians that play pop culture tunes. The Violin, guitar, and sax were the prominent instruments for the interlude. They use instruments like the tuba to play the lower tones in the songs. Some were syncopated, especially the song The Entertainer which falls under the Ragtime genre.

The sixth song was in blues style. The Name of the Song was, “I’ll see you in my dreams”. Just bass guitar, saxophone, drum, and keyboard were playing. It was short piece song but just enough time to feel blues. This piece was one of few slow tempo songs in this concert. The mix of bass guitar, saxophone, drum, and keyboard articulated