p.). In fact, he readily admitted that he referred to devices as "that blue box" rather than to its technical name (Doyle, N.p.) According to Doyle, Mardin maintained that although he may not have known the technical names for devices, he certainly knew what effects they were capable of eliciting (Doyle, N.p.) by his own admission, Mardin's expertise did not lie in his ability to memorize model numbers and technical monikers (Doyle, N.p.). According to Small and Taylor, Mardin stated "At heart I'm a modernist. I may grow very old, and I still will be looking for the next new thing. I guess that keeps me alive and young" (Small and Taylor, p. 54). By understanding current trends, Mardin was able to produce music that kept the listeners alive and young as well.
Rather, his expertise was his ability to ascertain how a song ought to sound and make that sound happen. When asked by Small and Taylor if he' thought he had a personal stamp,' Mardin replied, "I'm in-between. I do have a personal style. At the same time, I try to bring out the best of the artist" (Small and Taylor, p. 53).
Bringing out the best in artists is what Mardin did on a regular basis. His name has been associated with so many Grammys it is safe to say that he is absolutely one of the top producers ever. Mardin had the extraordinary gift of shaping the sound of some of the most popular and influential music of the last forty years and he did so when other people in his age bracket were rocking on swings not in the studio (Droney, N.p.).
Surely it was this attitude which enabled Arif Mardin to move among various music genres with ease. He took his formal training at Berklee and his fortunate friendship with Quincy Jones and catapulted it into a career that is the envy of almost every record producer to come along in the last several decades. Unlike some producers who maintain a presence within a single music genre, Mardin did it all. He began by playing and arranging his beloved Jazz, then moved to pop, R&B, rock and roll, and any other form of music that struck a chord with him (Droney, N.p.). He had such an ear for music and its arrangement that genre was not a limitation but an invitation instead.
Doyle, Tom. "Arif Mardin: Producer: From Aretha Franklin to Norah Jones."
SoundonSound.com. N.p. Jul. 2004. Web. 20 Dec. 2012.
Droney, Maureen. "TEC Hall of Fame Honoree Arif Mardin: A Golden Career From Atlantic's
Heydey to Norah Jones." Mix Online. N.p. 01 Oct. 2005. Web. 20 Dec. 2012.
Small, Mark and Taylor, Andrew. Masters of music; Conversations with Berklee Greats.
Boston: berklee press, 1999.
According to Small and Taylor, Mardin stated "At heart I'm a modernist. I may grow very old, and I still will be looking for the next new thing. I guess that keeps me alive and young" (Small and Taylor, p. 54). By understanding current trends, Mardin was able to produce music that kept the listeners alive and young as well.
Jazz and Drug Use The music industry has often been associated with drug use, but most people think of rock and roll or rap when they consider musicians who use drugs. It may surprise these people to know that jazz music also has its share of drug use, and that this link has been ongoing since well before the 1960s (Aldridge, 28). This is important to consider, since there are many
Drums, piano, and bass all remain strictly rhythmic elements of this piece, though the latter two also provide melodic and harmonic support to this smooth yet snappy piece that is not quite a ballad yet is not nearly up-tempo enough to be considered be-bop. Johnson drives with his sticks on the drums with some liberal symbol use, and Brown keeps a steady bass line moving underneath the melody and
Jazz "Blues After Dark," Feat. Dizzy Gillespie (trumpet), Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958 Starting with the dueling instruments, it almost sounds like two muted trumpets, because the harmonics are intense. For a few notes, it remains that way until I see that it is not two trumpets but rather, a trumpet and a saxophone. They are playing together brilliantly. A smooth stand
Jazz Performance: "Blues After Dark," Dizzy Gillespie (trumpet), Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958 This dynamic performance starts rather tentatively with the trumpet and saxophone, before the band joins in earnestly. Piano, bass, and drums accompany the lead trumpet (Dizzy Gillespie) and tenor saxophone (Sonny Stitt). The introduction builds rather quickly after that, build around a central phrasing structure. There are deliberate
Jazz "Blues After Dark," Dizzy Gillespie (trumpet), Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958 Style = BeBop Role of Piano = Stride and Comping Role of the Bass = Walking Role of the Drums = Brushing and Riding Role of the Trumpet and Saxophone = Lead and Melody "Blues After Dark" starts off with Dizzy Gillespie and Sonny Stitt, for a few measures only the trumpet and saxophone
Incorporating African and Latin sounds into traditional jazz seems natural. Latin jazz uses familiar percussion instruments including congo and other hand drums as well as an assertive horn section. African-influenced jazz may be heavily percussion-driven or may alternatively rely strongly on choral vocals. European jazz musicians have also transformed the art of jazz by using innovative, experimental sounds and improvisational tools. Jazz is a musical genre that is ever-changing,