The University of Florida Jazz Band Concert was a fantastic, uplifting, and entertaining performance. The concert was held in the University Auditorium, which created an excellent atmosphere and energy. From the start of the show, it was clear how devoted all of the musicians and director were to their tasks. There were five saxophone players (John Milado, Dustin Ferguson, Ben Greer, Monica Bello), four trumpet players (Samir Ganiehfarwari), five trombone players (Derek Gee), and a rhythm section with guitar, piano , drums, and bassists (Brett Crouch).
On the trumpets were Sean Bokinsky, Mark Kindy, Anthony Bobo, and Bobby Polidan. Kevin Hicks, Nick Arnheim, Brandon Allen, Adren Hance, Corbin Robeck, and Mark Doerffel played trombones. Harrison Barron on guitar was the lone accompanist in the rhythm section. Benny Cannon, Ethan Harman, and Jonathan Foster performed drums. Keegan Musser and Nate Garland played bass while Ryan Wiginton handled percussion. The show included more than just a jazz band; the University of Florida Jazz Choir sang two songs during the jazz band intermission.
Prices start at $12
Prices start at $11
Prices start at $12
The choir was directed by Mr. John Hickman, who had eight singers in his ensemble. Lincoln Antonio started the jazz performance with a piano solo. It was an excellent method to get the audience in the mood for a jazz concert. The piano solo was incredibly relaxing and well played. Lincoln Antonio did not play the piano throughout the entire concert, as he alternated in and out with two other pianists: Mitchell Morlock and Jason Bontrager. “Needing You” was the first song that the jazz band performed together.
This song was written and composed by the director, Mr. Wilson. This ballad chronicles his journey to his wife and all they have been through together. He said that because he worked in another country, their relationship wasn’t an easy one to navigate. The song itself was a beautiful piece with softer sections and rapid-paced parts. Kevin Hicks played the trombone in this song, which was the second of the jazz band’s two songs.
Ben Greer had an amazing saxophone solo in this song. The song’s title is completely accurate, as it starts out quite melancholy and slow. This was a really personal song that I thought was one of the best performed during the concert. I liked how the song got started, then the saxophone took over and carried us through to its conclusion. “Just Friends” by Rob McConnell was next.
The song “Softly as in a Morning Sunrise” by Sigmund Romberg was a very charming and enjoyable song that went well with “Just Friends.” It was a smooth jazz work. “Without a Song” by Youmans is an upbeat, sad song. It had an even tone throughout all of the instruments, which added to its beauty. The soft humming of the saxophone blended nicely with this piece. With this composition, the beat of the piano kept the piece moving and made it a really cheerful tune.
The University of Florida Jazz Choir sang “The Look of Love” and “It Don’t Mean a Thing If It Ain’t Got That Swing.” There was a lot of scatting in “It Don’t Mean a Thing if it Doesn’t Have That Swing,” which was quite quick. The jazz choir did an amazing job combining each other to produce a great tone throughout both songs, with the first song performed entirely a cappella and the second song accompanied by a little piano in the background.
The jazz ensemble kicked off the evening with “Magic Flea” by Sammy Nestico and “Sing Sing Sing” by Louis Prima. The song started out at a high tempo, with all of the instruments played simultaneously. “Sing Sing Sing” was the finale, which is a fantastic jazz standard.
The audience was captivated at the end of the performance when a professional jazz band lit up their instruments with a fire-truck theme. As they played, the members of the jazz band were completely engrossed in their music and instruments. Their enthusiasm was incredible. College jazz bands appeared to be operating at a much higher level than most people would believe. Overall, it was an fantastic experience that I was honored to be a part of.
The first thing I wondered when the quarter began was, “How much do I actually know about jazz?” Jazz music has always been defined to me as a rhythmic and instrumental form of music. My preconceptions regarding jazz were formed in part by the African-American race. This was most likely established during the rhythm ‘n’ blues period, when definitions (“a musical style that originated among African American musicians in the early part of the twentieth century and is characterized by strong rhythms and frequently includes improvisation”) were used.
“If you have to ask, you’ll never understand,” Louis Armstrong is reported to have said. Whatever else he meant, he was at least implying that jazz is obvious but not necessarily understandable through language. (I’m not sure where I first heard this quote).
For my concert review, I went to Jazz Alley on Jan. 12th 2015 to see Maynard Ferguson and his big band perform. I asked several of my friends if they wanted to join me, and they happily accepted. Because two of my pals were musicians themselves and loved seeing live music whenever possible. They even reserved a table for us ahead of time. The area was packed with people eating, drinking, and chatting when we arrived. Our table was in an excellent location, and I had no trouble seeing the stage. We ordered some cocktails as a group, and everyone appeared to be enjoying their evening.
On November 17th, I went to a jazz show and had a fantastic time. The experience was fascinating, and it made me feel warm inside. There were three distinct bands that performed in the hour slot, but “The Santé Fe Jazz Combo” and “Santa Fe Big Band” stood out the most. The only thing these two bands have in common is that some of the musicians play in both groups. Otherwise, they are polar opposites when it comes to jazz music appreciation.
You’ll get a relaxing sensation while listening to “The Santé Fe Jazz Combo.” Their opening number, “Recorda-Me,” which was my favorite piece, included solos from Dr. Hamilton on Piano, Spencer Hoefert on Guitar, Ben Salhanick on Bass, Doc B on Alto Sax, Wyatt Thomas on Trombone, and Noah Woolard on Drum Set.
The song’s swing tempo kept your toes tapping until the solo began. First, the brass section reverberated through their portion, then the electric instruments. The bass soon arrived; he was strumming so rapidly but was almost inaudible. The pianist breaking through with a difficult piano rift and ending it with an outstanding solo. Every rim-shot sent a shockwave into the air like lightning, and the buzz rolls sounded like thunder.
Lawrence is a large band that has become quite popular in recent years. When the tempo was quickened, the big band spiced it up. “Santé Fe Big Band” is a crowd favorite, and I can see why. In contrast to “The Santé Fe Jazz Combo,” which plays quickly, “Santé Fe Big Band” plays slowly. Gerald Bigas sang smooth vocals that blended wonderfully with the hefty brass section when the whole ensemble worked together. The whole ensemble’s collaboration was simple. Michael Gray emerges with a Soprano Saxophone and plays a relaxing solo that transports you back to watching “Finding Nemo.”
On February 9, 2013, a few well-known African jazz musicians held a concert at the National Museum courtyard in Nairobi. The event was dubbed “All That Jazz” and hosted by one of Africa’s finest pianists, Aaron “crucial” Rimbui. It was attended by Maurice Kirya, who is undoubtedly Uganda’s finest jazz musician, Erick Wainaina, and Atemik. “All that Jazz” has been regularly scheduled in Kenya to connect with the country’s growing jazz music scene.
Various guest artists from Africa are invited to perform at each concert. I couldn’t afford to miss the concert after seeing this line-up of performers who were supposed to appear. Jazz has always been defined to me as an instrumental and rhythmic form of music that stimulates my senses. To avoid the last-minute rush, I secured a ticket in advance.
The night’s program included Thirteen jazz songs, which were all performed by Aaron Rimbui on the Piano. Aaron Rimbui was clearly on the Piano, his favorite instrument, blending grooves from other musicians and instrumentalists. The majority of the performances drew inspiration from African classic fusion groups such as Kalamashaka and Kayamba Africa. There was a lot of variation in the acts.
A number of artists and musicians combined jazz fusion with music from other genres. The concept was well-received by the crowd since they could hear some of the top songs from various genres. As usual, the stage was brightly lit, and the actors had confidence as they entertained the crowd. Adults ranging in age from teenagers to retirees were in attendance at the event. The number of men and women present was nearly equal. Because it was a jazz music performance, I assumed the audience would be predominantly male. Some individuals in the crowd decided to remain quiet and still throughout the entire performance, up until the end.
Others, on the other hand, merely made their way to the dance hall with a slow gait as they listened to the rhythm. As a relaxing music, it’s only natural that jazz be danced to. When couples in the audience rose to dance in pairs during one of his hit singles “Malaika,” a Ugandan guest artiste sang one of his most popular songs “Malaika.” The song is a well-known love ballad translated into many languages and played at global concerts.
A particular section of the audience in the auditorium was rather conservative. Because this is not the first time that classical dance music has been performed at National Museum courtyard in Nairobi, the crowd’s response was quite typical. It was a re-staging of an earlier work previously presented in several theatres across the world. In jazz music, audiences generally come anticipating something similar to what they are already accustomed to. This is why spectators are so guarded.
The audience continued to applaud after each piece, demonstrating their approval for the artists and dancers. Everyone had to remain still while listening to the performers before the dance was added to the music. The music itself was pleasant, with well-structured sections. The melodies were lovely, and so was the audience’s reaction.
With regard to the conventional viewpoint of classical music, these pieces are solely meant to be presented in such a manner. There is no requirement for oral presentations or recording. Traditional classical music has attempted to incorporate various elements, such as filming of the events for commercial purposes. Cameramen may be seen operating cameras throughout the auditorium during dance performances.
The performance was unlike any other musical event I’d been to. It’s what sets it apart and distinguishes it. In contrast to rock concerts, where fans must really be active in order for the connection between the artist and audience to form, this concert was more passive. Classical dance music audiences show respect for artists by remaining quiet and applauding at the end of a performance in this manner. The connection is thus established.
The Nairobi national museum court yard’s “All that Jazz” concert was a fantastic night. It was jam-packed with great music, which stimulated my intellect and musical knowledge. The performance was named “All That Jazz,” and it was put on by Aaron Rimbui, one of Africa’s best pianists. Maurice Kirya, who is undoubtedly Uganda’s greatest jazz musician, joined the party as well as Erick Wainaina and Atemi. It was fascinating to observe the range of songs performed in the concert.
This is the one thing I remember most about the performance. The majority of jazz music shows are based on pieces from other genres. It’s conceivable to turn a piece of blues into jazz, for example. Classical African cues were played during the majority of the performances at the event. Appreciating the many facets of jazz music encourages individuals to have a diverse way of thinking and dealing with difficulties in life.
On January 12, 2018, The Royal Room was delighted to host a one-of-a-kind and spectacular concert on the outskirts of Seattle. Until this day, I had never gone to a jazz or ensemble performance. Their performance was simply a display of varied harmonies. It’s lovely to observe different people coming together and forming a music group. The wonder of it is that everyone brings something unique to the table, whether it be dynamics, harmonies, or texture for example.
I was not a fan of jazz before going into there, but after listening to the group’s amazing musical mix, I may reconsider my opinion on this style of music. The lounge design complemented the band’s style as well; the room was dimly lit with roses at each table, giving it a romantic air. The ambiance was relaxing/soothing.
The harmony displays were a fascinating element for me. I loved their performance because the music was so simple to understand. When the first song started, everyone in the room was completely enraptured. It is, after all, the first song, so we were all at pains to figure out what the band had in store for us that evening. Initially, I had no idea what was going on musically. It took me a while to figure out what each noise meant.
After a while, I realized they were singing songs that I was already familiar with. As a result, I grabbed hold of the melody being played and felt instantly entertained. One of my favorite parts about the entire event was a quartet performance with a tenor sax and a trombone. The music had a really strong and fascinating rhythm to it, in my opinion. The antiphony was also quite powerful at the start of the music. What was competing was the use of minor notes and keys, which produced strange noises. I couldn’t take my eyes off the saxophone player. He knew what he was doing, and he conveyed a lot of feeling through it.
It gave me a great deal of pleasure and respect to watch him perform. It was quite apparent how much the musicians loved performing. Pressing the Skins had a lot of saxophone playing in between, which made it very lively and soothing. The song gets quicker towards the end with a minor shift in dynamics throughout.
On December 7th, 2012, I watched the Kurt Elling jazz concert with the WDR Big Band at the Philharmonic in Koln, Germany, which began at 9:00 p.m. John McLean played guitar; Laurence Hobgood played piano; Clark Sommers played bass; and Kendrick Scott performed drums and congas. To be honest, I’m a more traditional music kind of guy.
As a result, I am not an expert on jazz music; nevertheless, it was an excellent chance to pick up some knowledge and spend quality time. The performance was dedicated to Kurt Elling’s newest album 1619 Broadway, which you can hear in the video below. Following pieces were performed: “Broadway,” “Come Fly With Me,” “You Send Me,” “I Only Have Eyes For You,” “I’m Satisfied,” and so forth. All musicians put out their best effort for this show.
The public was enthralled by musical compositions. Jazz and Blues are the most significant cultural triumphs of the United States, and millions of people continue to be amused by witty variations on jazz pieces. I believe that what draws people to it is that jazz is a truly global phenomenon. Because jazz is a result of the mixing of numerous races, nationalities, and cultures, it can now bring people from diverse backgrounds together.
When I was listening to Kurt Elling, who performed jazz compositions extremely well, I realized that the real melody of jazz isn’t in the song (as I had previously assumed). They are all inspired by the concept of outwardly controlled passion and freedom. As a result, an excellent jazz musician can interpret a tune in very unique ways while escaping from performing the same composition twice. Jazz performance is highly dependent on mood and performer’s personal experience.
Kurt Elling is a Grammy-winning vocalist who is very talented. Furthermore, he has a lot of expertise and isn’t afraid to try anything. As a result, he has much to say about how he makes his music distinct and unforgettable. He modifies “You Send Me,” the 1955 Sam Cooke hit, into a wine-dark and simmering prayer example.
In 1934, Irving Berlin’s “I Only Have Eyes for You” was the most popular song. It now sounds darker and slower, and it almost seems like a prayer. In his performance of “A House Is Not a Home,” Kurt Elling included a contemplative reading, while Carole King’s swinging “So Far Away” has a shattered hearted majesty in its sound.
These songs were completely different when they originally came out in 1970, thanks to the contributions of Camille. Camille’s additions changed them drastically. Perhaps he altered them because times, people, and principles have changed. Perhaps he has this ability to combine creativity, interaction, and independent expression in the Jazz music.
Elling’s jazz music is becoming increasingly dark, ironic, and perplexing with time. For this performance, Elling chose his songs from throughout the history of jazz fusion. His band frequently uses amplified keyboards, bass, and guitars in place of their acoustic counterparts, and this was no exception. As a result, Elling’s personal vocal interpretations are fascinating. Electric instruments compete side by side with acoustic siblings to produce some fantastic mixing possibilities. A melancholy funk atmosphere reigns in “You Send Me.” Watts played saxophone tenor on “I’m Satisfied.” In some cases, Ellings mixes light with sad music.