"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 up bass kicks in, with background elements that respond to the lead instruments. The bass is not playing a melody like the trumpet and saxophone are; and the bass is also not playing in unison with the tenor saxophone or the trumpet. However, the bass is working in the spot it should be working in, offering a continual walking bass line that keeps the structure of the song together throughout. Sometimes, the bass does play the same notes as the trumpet and saxophone.
The timing is brilliant, as there are many moments of silence that say just as much as the notes. There are some riffs that are repeated, but also some improvised sections. A piano provides some counterpart of melody to the lead instruments of trumpet and saxophone.
The saxophone provides a few notes that suddenly stand apart. Something is about to take place,...
His cheeks are alive, and it is a long extended solo. However, the solo that I am focusing on is the piano.
In fact, there is a piano solo toward the end of the piece. Although by no means the central solo of the song, this piano solo works well and is worth mentioning. It is accomplished only with the bass as its accompaniment. The piano solo follows the trumpet and saxophone solo. The piano follows the general principle of an improvisational solo, allowing for an absolute beginning and end so that the rest of the instruments can play again. Notes are played with heavy and intense style, and there are chords as well as single notes. The piano, as a percussive instrument, is able to punctuate in the same places the bass and drums do. This creates a solid, well-constructed, and highly successful piano solo. In addition to the other solos, this features the unique roles each instrument plays.
The drummer uses brushes so softly, that it seems barely there. I can see this happening in the video. I note that the drumming brushes add more texture than they add rhythm or beats. The drummer also uses very soft cymbals in a riding pattern, but this is completely obscured by the lead instruments.
"Sunny Side of the Street," Feat. 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
"Sunny Side of the Street" has a saxophone solo. It begins…
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 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,
This is not really a typical swing rhythm, however. Jazz musicians almost always play eighth notes straighter than that, except perhaps in the style known as the shuffle. A correct ratio for swing cannot be given precisely. Different musicians tend to interpret swing in different ways. Earlier jazz musicians tended to play with a more exaggerated swing. Some styles of jazz - especially hybrids of jazz with other forms