Indiamore by Christophe Chassol is a unique combination of travelogue, music video and narrative film. Sounds and dialogue from the recorded videos become musical elements within Chassol’s sound world, which blends classical, pop, jazz, electronic and world music styles. In Indiamore, people play instruments, speak, tap rhythms or sing short songs while Chassol artfully adds harmonies and drums to create a unique musical and visual experience.
Read MoreI’m very excited to announce the release of the album “Voyage” by the ensemble Nomad Session. I had a blast playing trumpet on this recording. Nomad Session is a San Francisco, Bay Area based wind octet that combines the flexibility of a chamber ensemble with the power and color of larger wind and brass ensembles. This album features two clarinet concertos performed by the innovative and virtuosic clarinetist, Jeff Anderle.
Read MoreElements for solo trumpet is a piece inspired by the music of Claude Debussy. I think that Debussy and other impressionist artists like Monet and Manet had the extraordinary ability to be expressive through finding and sharing the elements they believed to be the most essential. The elements of nature and the elements of our perception, inspired the impressionists and this piece of music. This piece for unaccompanied solo trumpet was designed to utilize the idiomatic nature of the trumpet and to fit well with a solo trumpet recital, or other program.
Read MoreI recently recorded Fredric Rzewski’s Coming Together with the San Francisco conductorless chamber orchestra One Found Sound. Coming Together is a minimalist piece and like many of Rzewski’s works, it is political in nature. Coming Together contains narrated text, written by Samuel Melville, a leader of the Attica prison rebellion in 1971.
Read MoreJohann Sebastian Bach's Contrapunctus 9 is one of my favorite pieces to play. Recording Contrapunctus 9 with Brass Over Bridges was a lot of fun for me and the whole quintet. As a brass quintet, we love having the opportunity to play baroque music, particularly the music of Johann Sebastian Bach.
Read MoreWatch the music unfold as Timo Andres performs Philip Glass’s Evening Song No. 2, in Nonesuch Records’ latest video. Philip Glass’s Evening Song No. 2 was composed in honor of Bob Hurwitz upon his becoming Chairman Emeritus of the record label in 2017. It is part of an album Nonesuch Records will be releasing on May 22nd 2020, entitled ‘I Still Play’, featuring music by eleven great composers.
Read MoreIf you're teaching or learning music, using the right Zoom settings can help you to have the best possible experience with online music lessons. Whether you play trumpet or piano, a good microphone and the right approach can help you to get the most out of your lessons, while you enjoy learning music online.
Read MoreI’ve been getting into the of Montreal track, “Gronlandic Edit” lately. The verse is straightforward, but the hook creates some amazing rhythmic tension that doesn’t resolve for a long time, like a really, really long time. It leaves you wondering what beat is up and what beat is down until Kevin Barnes lands the high note at the end of the phrase. It’s a super satisfying and creative way to write an interesting hook for a song. The hook got under my skin and I had to figure it out. Here’s what I came up with…
For this chorus, Kevin Barnes uses a melody in 3/4 (three beats to the measure) with drums in 4/4 (four beats to the measure). 3/4 sounds like you’re dancing a waltz and 4/4 sounds like your everyday rock beat... boom, chuck, boom, chuck.
Now, “beat one” is a very important beat in all music. It gives us a sense of where things start and where we are rhythmically. Chord changes tend to happen on “beat one” and phrases tend to resolve on “beat one”. If we choose to play a melody that emphasizes the rhythm of 3/4 against the drums which are in 4/4, where “beat one” is, will become a little ambiguous. The pulse will stay the same, but the tension between three and four will make us feel a little unsettled. The music will feel more resolved when “beat one” of the 3/4 and 4/4 material lines up. See the diagram below for an example of how three measures of 4/4 and four measures of 3/4 will eventually line up over the course of twelve beats.
Of Montreal takes things a few steps further. Rather than writing four bars of 3/4 (which would have resolved very neatly over twelve beats), Kevin Barnes writes six bars (or eighteen beats), this causes the resolution of the 3/4 section to happen in the middle of the drum pattern, on beat three instead of beat one. “Beat three” is a little like “beat one’s” identical twin. They look and sound the same but when you get to know them you find out that... THEY ARE NOT THE SAME. This is uncomfortable. We don’t know who is “beat one” and who is “beat three”.
So, what do we do? Are we doomed to live the rest of our lives, or at least live the rest of the song with “beat three” as “beat one”? No! Of Montreal has the answer. They add two measures of 4/4, as a little holding pattern, then repeat the same six bar (eighteen beat) 3/4 section, which presto chango brings things back into alignment, they add four measures of 4/4 as buildup and then deliver on the awesome high note on beat one. That is the point where the chords, melody and rhythm reach a simultaneous and glorious resolution. It is awesome. Our lives are once again made whole. See the diagram…
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Turning, transforming, becoming things we don’t expect, merging worlds of indie-pop and jazz, Donny McCaslin takes us to another place on his latest single, Circling. Circling calls to mind McCaslin’s collaboration on Blackstar, David Bowie’s last album. Blackstar was created by David Bowie as a farewell of sorts, after having been made aware of his terminal illness. McCaslin’s Circling, was written in collaboration between McCaslin, Eren Cannata and singer Rachel Eckroth. Eckroth sings on the track. Eerie soundscapes, Eckroth’s voice and McCaslin’s saxophone playing establish a haunting sound world that is unfamiliar, yet accessible. The jazz lexicon is deftly woven into this dark and tuneful song.
Jazz lovers and David Bowie fans will be drawn to this track as well as any music lover who seeks to find new musical territory in the blurred space between genre, where original thought and creativity reign supreme.
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Song Credits:
Performed by: Donny McCaslin, Rachel Eckroth
Written by: Donny McCaslin, Eren Cannata, Rachel Eckroth
Produced by: Rachel Eckroth, Tim Lefebvre