Jazz improvisation Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its key elements. These work songs were commonly structured around a repetitive call-and-response pattern, but early blues was also improvisational.
The piece is long for a blog post, but I wanted to share it with you. Yet Mingus was undertaking, like Davis and Coleman, a novel approach to jazz.
Some of it is intimidating in its complexity; some is angry and vituperative; some verges on the bleating of free jazz. Mingus the person was everything the music represents, plus a lot more.
He had his tender moments, a fine sense of humor, and a deep knowledge of how to make jazz traditions resonate in his music. Mingus Ah Um captures the full flavor of the man better than most any of his recordings. The title played with the case endings in Latin declensions—Mingus showing off a bit perhaps, and asking to be taken seriously.
It is the best musical redaction of middle-period Mingus, with his musicians playing at the top of their form in compositions that have never been equaled. Ah Um grew out of the Jazz Workshop approach that Mingus established early on in his New York career and used through much of his later years.
From the original liner notes by Diane Dorr-Dorynek quoting Mingus: My present working methods use very little written material. They are given different rows of notes to use against each chord but they choose their own notes and play them in their own style, from scales as well as chords, except where a particular mood is indicated.
In this way I can keep my own compositional flavor in the pieces and yet allow the musicians more individual freedom in the creation of their group lines and solos. This approach to playing jazz enabled singular and collective improvisation to work within a structure.
I think Mingus was the first to fully develop such a method since Jelly Roll Morton. What he accomplished in Ah Um was not only a way to give form to freedom but a means to echo and respect basic jazz traditions and styles. The album is a kind of mini-jazz history, an epitome of what jazz music can convey.
Standouts here are Knepper, Ervin and Hardy, though all give fine performances. Mingus had lately discovered and coached Dannie Richmond, and in Ah Um the two achieved amazing rhythmic unity. On Ah Um Mingus has fun with jazz styles while interpreting them in his unique way and giving them a new flavor.
There is wonderful use of repetition, pedal points a Mingus trademarkriffs, handclaps and hollers. Other highlights on the album: This is Mingus blues of the first order. Faubus, one remembers, ordered out the National Guard in to prevent black teenagers from entering Little Rock Central High School and was vocal in his opposition to integration.
In Ah Um, his first album for Columbia, the company may have suppressed the lyrics, as Mingus later charged. Without lyrics, the song loses some of its punch.So, basically, I'm listening to twice as many jazz as non-jazz records, but I'm a lot pickier about the non-jazz I play.
I figure that the jazz percentage (currently 68%) will drop a bit before the year is over, more like last year's 62%. classical lps, classical lp records, classical vinyl lps, classical cd, cds, parnassus records, mail order, rare, classical records, jazz lps, classical vinyl, lps.
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music".
Since the s Jazz Age, jazz has become recognized as a major form of musical benjaminpohle.com then emerged in the form of independent traditional. Frith's postcard dating list – Historical value of money in UK – Imperial measures – Glossary of Terms – Monarchs of England and their dates – Special days.
BC Oct The beginning of Creation, as calculated by James Ussher ( –), Archbishop of Armagh and believed until Victorian times. Stefan Aeby Trio: The London Concert ( , Intakt): Swiss pianist, trio with André Pousaz on bass and Michi Stulz on drums.
Original compositions (one by Pousaz), has a deft touch which keeps everything at a moderate distance, encouraging contemplation. This page lists solo transcriptions that are available somewhere on the Internet.
The list also includes solos for flute,clarinet and EWI. Unless otherwise noted,all transcriptions are in the original key:tenor and soprano solos are in Bb key,alto and baritone solos are in Eb key.