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For example, the song opens with the baritone saxophone alone. The riff that the sax plays is repeated at several times during the piece, including a third of the way in, then at coda of the piece, about 7:50 minutes in. In fact, the baritone riff can be heard throughout the song.
The big band nature of the music is apparent as well. Trumpet blasts, walking bass lines, high hats, and the tenor saxophone solos all point to big band sensibilities. Moreover, all the instruments reach a pleasant crescendo with climactic trumpet blasts. After the second false finish, the song ends in earnest. A lingering note on the bass resounds in the listener's ear.
Trombones feature prominently in "Moanin'." Especially at the opening, when the instruments come in one at a time, the trombones offer their characteristic moans. Then the entire big band comes in, as if each instrument plays its...
Trumpets offer generous midrange. At times a soloist will emerge on top. The drummer retains the gentle jazzy rhythm, riding the high hat until the kick is needed for reinforcement or to signal a new section of the song.
"Moanin'" offers a superlative combination of musical elements. On the one hand, the song is remarkably accessible. With repetition, predictable time signatures, and few avant garde elements, most listeners will find the song pleasing. At the same time, there is a lot going on in this tribute to Charles Mingus. Repeated listens yield nuances that were not heard on the first listen. The song is paradoxically simple and complex at the same time.
Work Cited
Mingus Big Band. "Moanin.'" Track 2 on Mingus Big Band 93: Nostalgia in Times Square. Dreyfus, 1994.
Work Cited
Mingus Big Band. "Moanin.'" Track 2 on Mingus Big Band 93: Nostalgia in Times Square. Dreyfus, 1994.
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,