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Jazz Performance Report




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Jazz Performance Report
April 14:7.00 P.M to 10.30. P.M
Clarion Hotel
Fredrick Aturo Group
Jazz Performance Report
On February fourteenth, I went to the Jazz Wednesday with the Fredrick Aturo Group,
which plays at the Clarion hotel each Wednesday from 7:00 PM to 10:30 PM. His trio, which
comprised of him on alto sax and flute, Brian Gonzales on electric guitar, and peter Miles on
string bass, played in the hotel lobby by the Clande Bar. The chamber was exceptionally
vaporous; a round, open section something like eight stories high. The changed block jail to-
upscale hotel permitted the music to resound, and the trio filled the space well. The vibe was
reasonably relaxed with decently dressed, loquacious benefactors talking over libations. The trio
started the set with a standard called "Have you met Ms. Jones?” accompanied by a moderated
The real tonality provided for it a light and cheerful feel. In the sax solo, Aturo two
folded notes now and again while the strolling bass kept time. The guitar and bass performances

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displayed short runs all over their separate extents, hops, polyrhythm, and syncopated eighth
notes. At the point when the trio retreated to the head, there were a few groupings down the
scale, and also call and reaction between the sax and electric guitar. In "Satisfaction Spring," the
fiery and up-beat song was played in parallel by the sax and guitar, normal for the bebop style.
The sax solo adorned over the song with runs over the reach of the instrument. The sax and
guitar exchanged fours after the performances, with the sax multiplying the notes played by the
guitar now and again, making an exceedingly thick tune or displaying a cross-beat at different
times. Key adjustment at the extension gave consonant unpredictability. The tag at the end of the
piece was a riff played three times, or as one of my colleagues brought up, a turnaround.
The trio in general played with extraordinary parity. I anticipated that the saxophone will
overwhelm the electric guitar and string bass, yet they all played with equivalent quality. The
flute was an intriguing complexity from the strums of the electric guitar and the low tones of a
mobile bass riff (Vladimir, Woodstra, and Erlewine, 2002). Aturo commented after the first set
that since the trio fail to offer a drummer, they all must be flawless with timing to keep up the
cadenced structure of the execution. The trio played strongly and the absence of drums did not
detract from the general impact of the gathering.
Aturo utilized a few fascinating systems in his playing style, including snarls on the alto
sax for moderate songs, for example, "How Obtuse" and trills and scalar tears or glissandos on
the flute, as heard in "Wave." In "Affirmation," Aturo might intermittently spread the end of an
eight bar section. Additionally in this piece, the sax exchanged fours with the guitar, which
frequently played soul scales straightly in bebop manner (Kirchner, 2005). A hefty portion of the
pieces the trio played were models with an interesting turn, for example, a hip (accentuated and
delayed two and four beats) feel, for example, in "Blue Friar" or a Latin combination feel, for
example, in "Wave." The flute additionally gave a pleasant complexity in sound from the

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resonant alto sax from piece to piece. One trap Aturo utilized was a flute design that copied a
singing fledgling, evident in "Yard bird Exceptional."
After the first set, which comprised of twelve pieces, Fredrick Aturo approached our table
and conversed with us for quite a while. He has played the saxophone since he was 12 years of
age and moved to the Boston territory in 2003. His trios collection comprises of the True Book,
Patrick Solez, Jose Hernandez, kanzu Banda, Dimitry Bens, Brian Gonzales, peter Miles, and
Henry Mutuku, playing jazz going from the 50s to 70s. He keeps the music "light and splendid"
for gigs at spots like the Clarion hotel, since he gives vibe to the well-to-do supporters at the bar.
He likewise forms unique organizations, and plays four to five nights a week in New England,
Johannesburg, Boston and New York City. Aturo is affected by funk and world music, enhances
that I perceived in the first set. The Fredrick Aturo Bunch has been playing at the Clarion hotel
each Wednesday for as long as three months, reverberating the pattern talked about in class of a
band playing at a particular venue , creating an in-profundity relationship between the band and
venue (the band was served a nice looking supper in the hall after the first set). All things
considered, the element execution, alongside the club vibe, made for an incredible night for jazz
Despite my poor musical learning, I had an incredible time at the Jazz concert. This
statement abridges the abilities and nature of the music and specialists that performed in the
show. On an individual level, this show offered me a revitalizing observation into jazz and the
boundless potential for the congruity it can make. This was one of the greatest profits of going to
this jazz show. I had the best event to listen to numerous assorted craftsmanship gatherings
perform with distinctive levels of aptitudes. One can listen to distinctive sorts of jazz gatherings,
diverse jazz music and settle on the best sort of music and band. Some individuals appear to lean
toward moderate jazz, other crazy but then other quick paced. Generally, there was sufficient

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