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Others in accompaniment of the musicians were: conductor: Paul Schwartz; arrangers: Kendall Moore and Paul Equihia; saxophoners: Derrick Dymalski, Derrek Smith and Joey Rosin; trumpeters: Derek Ganong, Jesus Malto and John Britton; pianists: John Britton and Tyler Giroux; tromboner: Eric Bowman; basser: Tim Smith; drummer: Jonathan Hullet and percussionist: Ryan Hecker.
The Paul Equihia jazz trumpet performance transformed the Brian Lynch studio into an intimate set for jazz music. The concert was entitled Paul Equihia jazz trumpet performance, explored the rearrangement of already existing pieces by musicians causing their transformation into original pieces. To fully appreciate the concert, there was a need for inputting of a well-tuned ear for jazz (Franz and Smulyan19). This is in order to pinpoint the similarities and differences of the pieces played and their transformation. Music director Paul Equihia provided the history of the pieces as well as instructions on how to carefully listen to them.
Entirely throughout the show, the musicians did give an outstanding performance. Each of the soloists captured perfectly the emotion of the music. Every one of the musicians played with a tangible energy even when there was no solo. The first half of the performance was full of noteworthy pieces. The ensemble got the audience warmed up with “Daahoud”. The original composition by Clifford Brown was slow and flat, however, the re-arrangement by Kendall Moore literally did breathe life into the piece, with a great solo by Derrick Dymalski (Howland 10). The next piece, “Delilah” was played at a slower tempo other than the normal vocal version by Victor Young. But the solo of the tenor saxophone by Derek Smith almost rivaled Young’s. Delilah ended in a smooth transition into “a trumpet and piano nocturne”, which
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was to show case a performance by Paul Equihua, a reputable band that has been credited for revolutionizing trumpet jazz with their electrifying and entertaining performances (Szwed 99). The concert was free of charge because no one was told to buy a ticket or pay any entrance
The author states that the fact that jazz was mostly heard in the red light district of New Orleans and in that in other cities often confined to the tenderloin area led to a shady reputation of jazz as being associated with the illicit side of city life. Notably, this made many Americans consider jazz as having poor reputation.
ed elegantly turned out musicians in sophisticated surroundings.” (The University of Chicago Library) Therefore, “The Great Migration” helps us to understand that Jazz is a sort of music that is thought to have originated in black American communities in the late 19th and