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To be honest, I would have preferred to stay at home and perhaps sleep instead. But, I did have the ticket and a classmate of mine insisted, so off we went. I was expecting one of those obligatory events where we go through the motions and become glad when they are over. But I was pleasantly surprised when the curtain fell - so to speak - I found I quite enjoyed the affair and was delighted and inspired to some extent. I was particularly impressed with the Bird Count, the piece composed and arranged by Maria Schneider.
I have watched this played once by a high school ensemble and I was mortified with the cacophony of sounds that came out of the performance. The thing is that this particular number includes numerous musical components. Besides the rhythm, saxophone, and horn sections, it included several sets of drums. So an inexperienced or less talented jazz group could ruin the music. This is the case especially when jazz allows for improvisation among the musicians and the music could be difficult to control.
I was taken aback by the manner that the performance was executed. It was seamless, harmonious, and, well. upbeat! For me, it set the tone for the performances throughout the night. It captured the very essence of American Jazz, carefree and engaging, to the point that the spectator is exhorted to stand and go swinging as well. Another memorable music was, of course, Con Alma. It is a crowd-pleaser, judging from the reaction of the audience. This is partly because it is a bit melodramatic and showcased the skills not just of the soloist but the rhythm section, most particularly, the pianist.
This version was executed excellently and it was a fitting culmination to the mood set by (Key) Largo, which preceded it. Both these numbers depict a more formal form of jazz with the effect of grandeur and awe that one would usually find in operatic performances. In this concert, this effect was achieved and for several moments, I was spellbound. The Summer Knows is a piece I am familiar with. To some extent, I can even call it a favorite. So, needless to say (and perhaps regardless of how it was played), I would say it was one of the highlights.
It is, for me, one of the Jazz songs that one could be delightfully lost in. This is where Tony Wilson would have been correct in a strange way. The reason is that if I will be the musician playing, I would probably drift with the music, unaware of my surrounding. Indeed, it was one of the most engrossing and highly applauded numbers of performances. As expected, Ira Sullivan was magnificent throughout the performance. He strolled on the stage as if he owned it but yielded it and the limelight to the other musicians often making the entire ensemble whole and the rapport was, simply, great.
It is safe to claim that the success of the concert is attributed to his performance. But credit should also be given to the conductor, Dante Luciani, who did a marvelous job in keeping the performances cohesive, passionate, and successful. Without him, it is difficult to imagine how Mr. Sullivan or the band could have infused tremendous soul into the affair. All in all, I came to the concert, expecting less. And, as has been pointed out earlier, I would not enthusiastically go to a jazz concert, especially during a really bad day.
I was ready to squirm in my seat. I was prepared to be bored. But, instead, I was delighted. When the encore was finished, I found myself at my feet, joining the appreciative crowd in clapping enthusiastically. Afterward, as the performances buzz through my head, I started picturing concepts like “sexy” and “soul”, images like black and white and Hollywood, as well as emotion entailed with seduction and adventure usually found in Bond films. The concert was short but well performed and I will not hesitate going back should they stage a repeat.
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