writing assignment

User Generated

a_j97

Humanities

Description

Part 1:

  1. Read the assigned reviews by noted Jazz critics found in: Week 7 Introduction to Jazz Reviews
  2. Pay attention to how the reviewers describe:
    1. musical elements of the recordings
    2. specific performance aspects
    3. musical events they are talking about (often using personal reactions to the music)

Part 2: Choose a selection from Approved Jazz Recordings for the Jazz Review Assignment (below)

  1. Pick a track you enjoy, that moves you emotionally and that you can hear and understand what is going on musically (from what you have learned in this class).
  1. Listen to the recording a number of times so you can really know the music and things that happen within the performance.
  2. Write your own review of the performance you choose.
    1. musical elements you hear, and how they indicate the style of jazz being performed.
    2. commentary about specific musical events heard in the recording you are reviewing.
    3. descriptions of the musical events that move you, referring to common human experiences that can relate the musical performance to a reader that is not a music expert.
    4. descriptions of musicians performing and the musical elements and events heard on the recording. Use the professional reviews you read as models for your review
    1. Be familiar with important aspects of the recording such as instrumentation, names and instruments of artists (you need to look up the album that the track comes from), who plays solos, aspects of the arrangement, etc....
    2. Find creative ways to describe HOW the musical affects you emotionally or inspires a reaction or comparison to another human experience is an important component of this style of writing. This type of writing can use words which could also describe “taste”, “feel”, or emotional reactions which compare to other types of human experiences. For example: “The saxophone sound is full bodied” (like a wine.) ”His solo explorations have a searching quality” (like an explorer) ..”Her singing style is relaxed and confident, even as she engages in fast, athletic runs of notes..” (like a highly trained athlete)
    3. Include personal observations and descriptions of the musical activity and the musician’s performances.
    4. Make sure the following elements are included in your review:
  1. Format
    1. As you saw in the example reviews: list the album information: – title, artist, record label (company) and album #, and a listing of musicians performing including their instruments (look up the album that the track comes from.)
    2. First paragraph: Describe the artist/group and the project in the first paragraph, with any important information that is related to the whole project.
    3. Middle Paragraphs (2 or 3): Should include the descriptions of the individual track and musical events that move the writer (solos, group interactions, etc
    4. Final Paragraph: Your conclusion and reaction.

Grading:

Reviews need to be written in a professional style, following basic standards for grammar, sentence structure, citations (if used), and other considerations for a Research Paper style assignment. Your review should follow the format listed above (#4) and include the musical elements and personal observations and reactions listed in #3 above.

Approved Jazz Recordings for the Jazz Review Assignment

  • Black Bottom Stomp – Jelly Roll Morton
  • Struttin w some BBQ – Louis Armstrong
  • Singin the Blues - Frankie Trumbauer with Bix Beiderbecke
  • Stampede – Fletcher Henderson
  • Wrappin it Up - Fletcher Henderson
  • Body and Soul – Coleman Hawkins
  • Taxi War Dance- Count Basie
  • Lester Leaps In – Count Basie
  • Strange Fruit - Billie Holiday
  • Willow Weep for Me – Art Tatum
  • Seven come Eleven - 2:44 - Charlie Christian w Benny Goodman
  • Shaw ‘Nuff – Charlie Parker/Dizzy Gillespie Misterioso – THELONIUS MONK
  • Line for Lyons – Chet Baker/ Gerry Mulligan
  • Django – Modern Jazz Quartet
  • Artistry in Rhythm – Kenton
  • Moanin’ - Art Blakey
  • Song for My Father – Horace Silver
  • Pent Up House - Clifford Brown, Sonny Rollins, Max Roach
  • Four on Six – Wes Montgomery
  • Giant Steps- John Coltrane
  • Blue in Green – Bill Evans Trio
  • Fables of Faubus – Charles Mingus
  • Red Clay – Freddie Hubbard 12:09– from CTI album
  • Lonely Woman – Ornette Coleman
  • Air - Cecil Taylor
  • So What (live) Miles Davis 1964
  • Black Market (live) - Weather Report
  • Spain – Chick Corea
  • Tumbleweed – Michael Brecker
  • Black Codes– Wynton Marsalis

Unformatted Attachment Preview

This page is an introduction to how jazz reviews are written, to prepare you for the Jazz Review Draft and Final Paper assignments. Music reviews are designed to inform readers about a new recording that they may not have heard, and give them insight into the music. Historically reviews like these were found in newspapers or magazines. Today these sort of reviews might be found on a music website or blog. These type of reviews are concise, generally under 1000 words, and are usually 3-4 paragraphs. Professional reviewers are “experts” in the field of music they are reviewing, and so they often rate the recordings and sometimes make evaluations about whether a recording is “good” or “bad”. You will not be doing this as part of your review. The list of recordings you choose from are all considered great works of art and jazz masterpieces, so there is no need for you to rate or evaluate the recording you choose to review. Here are 2 historical reviews of classic recordings, plus a more modern review of a contemporary work. As is the case for most jazz reviews, the entire album (or CD) is reviewed, with different tracks receiving attention in the review. Two of the reviews below are about albums (CD's) that include tracks that you have heard as part of your class audio materials. These are provided to give you a sense of the length, content and style used for this type of writing. You should use various aspects of these reviews as models for the ways you describe music when writing your review. Kind of Blue From Downbeat Magazine Oct 1, 1959 Miles Davis “Kind Of Blue” Columbia CL 1355: So What, Freddie Freeloader, Blue In Green, Flamenco Sketches, All Blues Personnel: Davis, Trumpet : Julian Adderley, Alto : Bill Evans, Piano (all tracks except Freeloader) : Wynton Kelly, Piano (Track 2) : Paul Chambers, Bass : James Cobb, Drums. Rating: 5 Stars out of 5 This is a remarkable album. Using very simple but effective devices. Miles has constructed an album of extreme beauty and sensitivity. This is not to say that this LP is a simple one - far from it. What is remarkable is the the men have done so much with the stark, skeletal material. All the compositions bear the mark of the Impressionism and touches of Bela Barktok. For example , "So What?" Is built on two scales which sound somewhat like the Hungarian minor giving the performance a Middle Eastern flavor: Flamenco and All Blues reflect a strong Ravel influence. Flamenco and Freeloader are both blues, but each is of a different mood and conception: Sketches is in 6/8, which achieves a rolling, highly charged effect, while Freeloader is more in the conventional blues vein. The presence of Kelly in Freeloader may account partly for the difference between the two. Miles’ playing throughout the album is poignant, sensitive, and, at time, almost morose, his linear concept never falters. Coltrane has some interesting solos; his angry solo on Freeloader is in marked contrast to his lyrical romanticism on All Blues. Cannonball seems to be under wraps on all tracks except Freeloader when his irrepressible joie de vivre bibles forth. Chambers, Evans and Cobb provide a solid sympathy backdrop for the horns. This is the soul of Miles Davis and its a beautiful soul. - This is a good example of a magazine review, from the time the album was released (1959). You have heard the song "So What?" from this album as part of a historical video performance in your text software. The review starts with a description/reaction to the overall album, and the second paragraph includes a reference to a particular track which explains the reviewers point about the music and influences (Impressionists, Middle Eastern sounds) The next paragraph identifies and discusses 2 tracks that are related (both are Blues) and describes each, including a mention of one of the musicians (Kelly) in order to make his point. The following paragraph discusses Miles Davis’ performances overall and also mentions the performances of other musicians on the record, referring to specific tracks. The final conclusion “paragraph” is short and to the point, only one sentence, but it conveys a full thought and, in this case, more is not needed. A Love Supreme Record Review John Coltrane A Love Supreme- Impulse 77 - Part I - Acknowledgement; Part II - Resolution; Part III - Pursuance; Part IV - Psalm Personnel: Coltrane, tenor saxophone; McCoy Tyner; piano, Jimmy Garrison, bass, Elvin Jones, drums Rating 5 stars out of 5 During most of Coltrane’s career, he has been admired and damned for various things - this technical facility and his ability to run chord changes with lightning speed, his sometimes seething emotionality that found expression through wildly cascading solos, his physical prowess to play seemingly for hours without letup......and so forth. Even his most ardent critics seldom denied he was an outstanding musician. His supporters called him an artist and he was to a certain extent. But In truth, the admiration was based more on his musicianship then his artistry, for art involves more then an ability to play a jazz solo that moves a certain number of listeners, mostly to excitement. Artistry simultaneously involves structure, forethought, revelation of self- essence, as well as a wide emotional range. These elements were not always present in Coltrane’s work in the past, as excellent as it was. This record, however, is throughly a work of art. It is, according to Coltrane, a statement of his rediscovery of God - the supreme love and is meant as praise of the Almighty. I do not know how Coltrane’s rediscovery has changed him as a man, but there is a change in his music - not a radical change, but one that has produced a peace not often heard in his playing previously, and Coltrane’s peace induces reflection in the listener. It takes the form of startlingly beautiful lyricism that sometimes hovers over his accompaniment, as on Psalm, a most moving performance. It is evident in the deemphasis of the fury and frustration that had become such a part of Coltrane’s work during the last three years. Musically, Coltrane is very much together on this record. The excesses of the past are conquered. Everything counts, nothing sprawls. His use of thematically developed motifs is excellent, particularly on Acknowledgement (a four note, chantlike theme which Coltrane also sings - “a love supreme” - after his solo.) The melodicism that is such a striking characteristic of his playing on this album is more often chromatic than diatonic and, consequently, sometimes creates a bitonality that sets up a wonderful tension with Tyner’s chords and Garrison’s bass lines. Coltrane’s artistry is evident in his never permitting tension to overcome its counterpoise, release. His solo on Pursuance contrasts with his other solos because it is more in the rampaging devil-dance style he has used in the recent years; but within that soaring complexity he inserts touchstones of simplicity, which of course, is the same tension-release device he uses in a different way in the other solos. Tyner and Jones are their usual excellent selves, and their work, both in solo and support, is of the nature and quality one expects from them. Garrison deserves special commendation for his playing on the record. His solo that bridges Pursuance and Psalm is a masterly piece of work. In it he makes subtle use of the four-note Acknowledgement theme (which I assume is the four part work’s main theme), uses tempo for effect rather then point of reference, and brings off beautifully a series of structured chords and single-note lines thats eventually leads into Psalm. This is a significant album, because Coltrane has brought together the promising but underdeveloped aspects of his previous work; has shorn, compressed, extended, and tamed them; and has emerged a greater artist for it. (D.DeM.) -You have heard the track "Resolution" from this album in your audio tracks. This review is also written at the time of the albums release (1965), and is a little more lengthy than the Kind of Blue review. It also contains more commentary about the reviewers “professional” opinions on Coltrane’s past music, his reputation and spends time rating/judging the “worthiness” of the music. Most of this is in the first few paragraphs, you can read it and take it in, but because you are not rating or judging the worthiness of the music, it will not really apply to your review. What you SHOULD use as a examples of music review style writing are the descriptions of the music and performance found in the final 3 paragraphs of this review. The reviewer may have a more in depth understanding of musical events and terms than you at this point, but this is a good example of using musical descriptions to describe the music. Phrases such as ”uses tempo for effect”, and “ a series of strummed chords and singlenote lines” help the reader to “hear” the music. This review is also a good example of the use of descriptive terms which help bring the music to life on paper, such as: ”chantlike”, or “rampaging devil-dance”. Review: Jack Wilkins: The Blue & Green Project, Summitt Records – DCD 572 Personnel: Wilkins-tenor saxophone, Sara Caswell-violin, LaRue Nickelson-guitar, Corey Christiansen-guitar, Keith Oshiro-trombone, Tom Brantlye-trombone, Per Danielsson-piano, Jeff Pinkham-banjo, and others In JazzTimes Published 01/06/2012 By Thomas Conrad Jack Wilkins’ project is a unique attempt to combine jazz with Appalachian mountain music. The two genres prove to be surprisingly complementary. The inspiration for the opening track, “Song of the Anvil,” is a field recording of two master blacksmiths in Spruce Pine, N.C., communicating in the “language of the anvil,” hammering together in tempo. The ringing syncopations become an authentic, commanding hard-bop anthem, with strong, clear solo stories from tenor saxophonist Wilkins, trombonist Keith Oshiro and guitarist Corey Christiansen. Wilkins is the director of the jazz studies program at the University of South Florida in Tampa. His compositions and arrangements for up to 18 musicians reflect an academic’s meticulousness and thoroughness. The intricate 14-minute suite “Mountain Watercolors,” inspired by the paintings of North Carolina artist Elizabeth Ellison, contains three movements, each connected to an element of Ellison’s art, each fully explained in Wilkins’ liner notes. But Wilkins’ conscientious craftsmanship is neither tame nor dry. “Mountain Watercolors” includes a wild, whining guitar solo by LaRue Nickelson and a careening fiddle workout by Sara Caswell. Bluegrass grooves and wailing hoedowns keep popping up in Wilkins’ through-composed designs. The most memorable piece is the short, harrowing “Death Rattle,” based on “death ballads” found in mountain cultures. Christiansen, Nickelson, Wilkins and trombonist Tom Brantley all testify, darkly. Life in Appalachia was not always a party. -This review is a modern review of a CD by your Professor. You have one of the tracks (Mountain Watercolors) from this CD as part of your music tracks. This is a good example of the reviewer using descriptive terms to bring the music to life for the reader. Such phrases as : "wild, whining guitar solo" , "wailing hoedowns" and "short, harrowing “Death Rattle,” help describe the music and his conclusion: "Life in Appalachia was not always a party." is a creative way to end his review, bringing the music and concept of the project together. You should refer to these reviews when writing your own review for the Jazz Review Assignments. Be sure you read the assignments carefully and include the required elements in your review. You will submit a first draft and then have the opportunity to rewrite the final paper after the draft has been reviewed and returned to you. These are 2 separate assignments/submissions in your Weekly Modules, each with a due date that must be met.
Purchase answer to see full attachment
User generated content is uploaded by users for the purposes of learning and should be used following Studypool's honor code & terms of service.

Explanation & Answer

Here you go! Let me know if you need anything else.

“Strange Fruit” by Billie Holiday
Voie by Billy Holiday, Piano by Mal Waldron, Trumpet by Roy Elridge, Songwriting by Abel Meeropol
Published in “Fine and Mellow” on 1939 by Commodore Records.
Minutes Filled with Power: A Review of “Strange Fruit”
“Strange Fruit” by Billie Holiday was first performed publicly in 1939, in a progressive café in New
York City. The song was the last one played that evening, as the power that was contained within its short,
twelve stanzas needed to remain with the audience, even after the performance. Considered by some the
first protest song to be made, the “Strange Fruit” combines the poetic imagery that was infused into the
text by a socially motivated teacher and the musical genius of Holiday’s artistic...


Anonymous
Really helped me to better understand my coursework. Super recommended.

Studypool
4.7
Trustpilot
4.5
Sitejabber
4.4

Related Tags