The Performance of Jazz Compositions - Essay Example

?Long Listening Assignment Blues after Dark This musical piece was performed live by the following artistes: Dizzy Gillespie, Sonny Stitt, Lou Levy, Ray Brown, and Gus Johnson. Following were the instruments played by the following performers: Dizzy Gillespie on the trumpet, Sonny Stitt on the Saxophone, Lou Levy on the piano, Ray Brown on the double-bass and Gus Johnson on the drums. This jazz piece was performed live in Belgium in the year 1958. (Unterhose123 2012) Brief Report on the Performance of “Blues after Dark” This composition is based on a minor scale. The root or anchor note of this composition is F. the starting chord of this composition is F minor. The signature line of this song involved the simultaneous playing of the tenor trumpet (Dizzy) and the alto Saxophone (Sonny) at a difference of an octave. The octave effect is pronounced all throughout the songs whenever the noted of the opening line notation is played. The opening line is played twice in the beginning of the piece and is used as a closing stanza in the performance. Another noteworthy feature of the opening lines is that when the trumpet-saxophone combination plays the notes the drums, bass and piano remain on mute, and when the trumpet-saxophone goes on mute, the drum, bass and piano repeat the same rhythm. This gives the jazz rendition a question-answer feel, as if the trumpet-saxophone combination was engaged in a conversation with the rhythm section of the jazz band. The opening line also known as the signature phrase or signature line of the jazz composition starts at 0:09 seconds of the video documentary. Dizzy Gillespie and Sonny Stitt are seen taking the centre front of the stage, leading the Jazz Quintet. The audience is quiet and well settled and seen enjoying the dextrous rendition of classical jazz of this Quintet. At the back row are the following artistes: pianist Lou, bassist Ray and drummer Gus lined up left to right. The composition is based on medium tempo on duple (4/4 rhythm). The first line is rendered from 0:09 to 0:35 seconds of the video. The signature line is repeated again from 0:35 to 1:05. The rhythm accompaniment begins at 1:00 on the completion of the first stanza or the opening stanza (consisting of 2 repetitions of the signature line). The first solo commences from 1:32. Dizzy Gillespie plays the first solo that sets the expectations from this musical piece. Once Dizzy starts playing the timbre, texture and original tonal quality of the trumpet can be identified. He starts playing from the higher octave. The notes played by Dizzy are clear, bold and distinct from one another. His style represents clarity and confidence. He does well in varying the amplitude and therefore the emphasis on certain notes by controlling the air pressure through light whistles and hard blows into the trumpet pipe. Dizzy remain calm, composed and relaxed throughout the performance. He takes time from until 2:02 seconds playing with the tempo and at a slow pace. He is seen smiling at the audience and his fellow-performers, turning left to Sonny and saying something to him between 2:00 and 2:03 seconds of the video. He demonstrates stunning control over his instrument at 2:16 playing an impromptu solo, manoeuvring the trumpet keys and weaving a fantastic note progression involving chromatic note progression (i.e., playing consecutive notes to create a dissonance). From 2:35 to 2:45 Dizzy moves along with the rhythm and creates beautiful composition and at 2:46 he plays a dissonant pattern. Once again at 3:16 Dizzy pulls off an incredibly fast and tough solo putting the audience at awe. From 3:35 till 3:40 amplitude modulation is brought out in its best form by regulating the air pressure. Dizzy modulates the pitch and frequency with ease. At 3:46 he gracefully pulls of another sweep of note progression. A gradual descent in the form 4 repetitions down the higher and middle conclude his solo exactly at 4:00 of the video. At this point in time Sonny Stitt takes the centre stage with his solo on the saxophone. The audience now has high expectations from the musical piece and Sonny doest perfect justice to it through his individual style and mastery on the instrument. The part played from 4:10 to 4:25 has a lot of chromatic notes and awkward note patterns/ progressions woven together into the solo. It incorporates jumping notes and a staccato style of playing with intermediate legato to connect the phrases and introduce musicality in it. Sonny walks a thin rope between complexity and musicality. From 4:26 he demonstrates his power of breath by blowing long and deep gusts of air into the saxophone mouthpiece. He shows his ability to produce vibrato at 4:37 and 4:38 where a beautiful resonant sound of the saxophone is produced. From 4:40 onwards and at several places he plays in the triple meter i.e., three note played for each stroke of the beat. At 4:58 Dizzy joins Sonny in playing phrases in the triple meter at twice the tempo. At 5:00, 5:05, 5:06 and 5:07 simultaneous “bangs” are heard produced by the bass drum, trumpet, piano and the double bass stroke. At 5:15 Sonny hits the lowest note in the lower octave followed by ascent to the higher octave. The audience is seen listening quietly and absorbing the waves of creativity and musical ability released by the talented musicians on the stage. At this stage the drummer Gus Johnson is seen playing the drums with sticks. Sonny’s solo piece ends at 7:24. It is now quite clear that sonny’s solo was longer and involved many phrases. At this point the pianist takes turn in playing his solo. He demonstrates skilful rendition of impromptu solos. Chords and individual notes are played with equal clarity. The piano solo ends at 8:50 followed by the repetition of the opening line. The jazz piece comes to a close with the rendering of the opening line used as a fitting conclusion. On the Sunny Side of the Street This musical piece was performed live by the following artistes: Dizzy Gillespie, Sonny Stitt, Lou Levy, Ray Brown, and Gus Johnson. Following were the instruments played by the following performers: Dizzy Gillespie on the trumpet, Sonny Stitt on the Saxophone, Lou Levy on the piano, Ray Brown on the double-bass and Gus Johnson on the drums. This jazz piece was performed live in Belgium in the year 1958. (Saxdad59 2008) The style of this composition is bebop. The drums’ role is ride, the jazz bass’s role is that of walking bass and the pianist’s role is that of walking piano. This Jazz piece is at slightly higher a tempo than the earlier piece “Blues after Dark”. It is based on C major scale. The composition begins with the characteristic playing of Sonny and Dizzy giving the octave effects and their impeccable timing making it sound as one single punched sound. Sonny’s solo begins early on at 1:23. Sonny picks up the composition and lifts the mood early on playing at 4 fold tempo. He displays his speed, accuracy and instant phrase framing ability by playing complex phrases in quick succession. From 2:09 to 2:11 Sonny plays a fast solo piece and immediately transitions into the slow mode by playing long dragging notes. From 3:03 till 3:07 Sonny is heard playing a pattern on alternate chords but matching harmoniously with the root note and main chord of the composition. The drummer at this point is seen playing with sticks, striking the ride cymbal and the crash cymbal once a while. He plays the role of ride pattern in this song. The second solo begins at 3:36 played by Dizzy. A loud high pitched screech is produced by Dizzy by hitting a higher octave note at 3:53 of the video. Dizzy does what he is famous for: amplitude modulation. He modulates the amplitude of his trumpet from 4:10 making it sound soft, mellow and feeble. Through controlled air released into the trumpet pipe he skillfully alters the pressure and produced a wave like melody. From 4:35 to 4:41 Dizzy renders high frequency vibrato by partially tapping onto one of the keys. I enjoyed this effect the most in this entire performance. From 4:42 till 4:55 a complex phrase is played comprised of chromatic notes. Again at 5:00 a high pitched shrill screeching sound is produced by playing higher octave notes. At this point the drummer is seen playing with a pair of brushes, lightly grazing the snare, hi-hat and the ride cymbal. Dizzy seemed to be having difficulty playing due to the height of the microphone. Sonny helps adjust the height of the microphone by adjusting the stand. This appears as a good gesture in front of the audience. At 5:30 Dizzy plays a fast solo phrase which is enjoyed and appreciated by Sonny standing in the background nodding and acknowledging the musical thought and effort put in by Dizzy. Dizzy and Sonny sing the song from 5:48 onwards. At 6:48 Sonny goes back to playing the saxophone while Dizzy keeps singing the words of the song with the trumpet in his hand. The piece concludes at 7:16 with Dizzy singing and Sonny playing the saxophone. “On The Sunny Side Of The Street” was a staple composition in Gillespie’s small band repertoire, being played at most composition and accounting for most of the accolades and appreciation from the global audience. It bounces lightly characteristic of the Swing Era, along with bebop-style rephrasing of the melody in places, and a call and response (question-answer or conversational style or interactive style) between the two horns on the bridge. In the vocal arrangement that Gillespie initiates, with Stitt quickly joining in, liberties are taken with the lyric, altering both content and delivery or rendition-style. (Jazz Icons 2006) Brief Report on the Performance of “On the Sunny Side of the Street” Lover Man This musical piece was performed live by the following artistes: Sonny Stitt, Lou Levy, Ray Brown, and Gus Johnson. Following were the instruments played by the following performers: Sonny Stitt on the Saxophone, Lou Levy on the piano, Ray Brown on the double-bass and Gus Johnson on the drums. This jazz piece was performed live in Belgium in the year 1958. (Jazzical28 2011) Brief Report on the Performance of “Lover Man” This song is different from the first two in terms of the romance, melody, timbre, tone and texture of the song. It is slower in tempo compared to “Sunny Side of the Street” and “Blues after Dark”. It is set to B flat major. Being a major scale composition the rendition was made bright and cheerful by Sonny. Dizzy doesn’t play the trumpet in this composition and entire piece is lead by Sonny alone. Gus is seen playing the drums with brushes. Sonny is heard taking liberties with the composition and going against the convention of sticking to the cards and to the original. He strikes unusual notes and eaves unconventional note progressions. Sonny’s capability of fast and accurate playing is brought out in front of the audience from 1:00 to 1:30 where he plays several meandering phrases with ease and relaxed control on his instrument. Blues Walk This musical piece was performed live by the following artistes: Dizzy Gillespie, Sonny Stitt, Lou Levy, Ray Brown, and Gus Johnson. Following were the instruments played by the following performers: Dizzy Gillespie on the trumpet, Sonny Stitt on the Saxophone, Lou Levy on the piano, Ray Brown on the double-bass and Gus Johnson on the drums. This jazz piece was performed live in Belgium in the year 1958. (kent0819onlylove3 2012) Brief Report on the Performance of “Blues Walk ” Blues walk was played at a fast tempo. It clearly bore much dissimilarity compared to the first 3 jazz compositions discussed in this paper. Gus played the drums with sticks. The performance of “Blues Walk” started with a high directly. Dizzy and Sonny started the piece playing in the higher octave. The drummer’s rendition has a heavy influence of the ride cymbal giving the composition a fast paced high spirited and jolly nature. The first solo is played by Sonny. As is his characteristic style of playing, he displays his understanding of notes, chords and phrases by playing the usual as well as the unconventional routines and phrases. He does exceptionally well in playing to a fast paced tempo in this composition. The quintet goes all out with fast paced and high spirited composition: “Blues Walk”. It was powered by the “puissant pulse” of bass guitarist Ray Brown and time-master drummer Gus Johnson.(Jazz Icons 2006) Stitt, on tenor saxophone, “swings hard, fast and long”. Lou Levy cuts in loose in a highly musically-articulate flight, showing his Bud Powell learning and playing style. Characteristic playing is hear by Dizzy at the end of his solo.(JazzIcons 2006) Emotion Response to the overall performance: We are talking about the quintessential period of Jazz and blues. The 1950s and the 60’s saw Jazz gaining popularity worldwide. Spearheaded by musicians like Dizzy, Stitt, Jimmy Hendrix etc Jazz music and Jazz songs spread like wild fire in the latter half of the 20th century shooting it to the top of all the globally appreciated genres of music apart from Classical and Opera. I enjoyed all the four pieces researched and analysed as part of this assignment. It was a pleasant experience going back into the formative years of early jazz, swing and bebop. What intrigued me the most was, the roots of the musicians and their rendition style. Most of modern jazz and playing techniques are based on the early jazz revolution in the world music arena. I enjoyed the coordination shared by the member of the Jazz Quintet and witnessing the art of accompaniments by Lou, Ray and Gus on piano, bass and drums respectively. I thoroughly absorbed and cherished the techniques and phrases applied by Dizzy and Stitt in their solos. Works Cited: 1. Unterhose123, Dizzy Gillespie, Sonny Stitt, Lou Levy, Ray Brown, Gus Johnson.”Blues after Dark”. 17 Feb. 2012. Web. 15 Nov. 2012. Retrieved From: http://www.youtube.com/watch?v=f3jPpYFc4Yo 2. Saxdad59, Dizzy Gillespie, Sonny Stitt, Lou Levy, Ray Brown, Gus Johnson. “On the Sunny Side of the Street”.16 Aug. 2008. Web. 15 Nov. 2012. Retrieved From: http://www.youtube.com/watch?v=s8UEGmAvWfM 3. Jazzical28, Sonny Stitt, Lou Levy, Ray Brown, Gus Johnson.”Lover Man”. 15 Jan 2011. Web. 15 Nov. 2012. Retrieved From: http://www.youtube.com/watch?v=VY9ywcx7-bA 4. kent0819onlylove3, Gillespie, Sonny Stitt, Lou Levy, Ray Brown, Gus Johnson.” Dizzy Gillespie Quintet: Blues Walk”. 8 May. 2012. Web 15 Nov. 2012. Retrieved From: http://www.youtube.com/watch?v=ondhKp0dde8 5. Jazz Icons. “Dizzy Gillespie – Live in ’58 and ‘70”.2006. Web 15 Nov. 2012. Retrieved From: http://www.jazzicons.com/ji_gillespie.html Read More