Another group that I found which plays in clubs and other venues where people are dancing is Slavic Soul Party! This brass band from New York describes their style as "BalkanSoul GypsyFunk." On the Slavic Soul Party! website, a quote from the New York Times describes them:
"Fiery Balkan brass, throbbing funk grooves, Gypsy accordion wizardry, and virtuoso jazz chops: Slavic Soul Party! is just what it says. These nine musicians have created an acoustic mash-up of Balkan and Gypsy sounds with North American music, weaving the gospel, funk, dub, jazz, and Latin influences of New York's neighborhoods seamlessly into a Balkan brass setting and always "delivering a great time.""
Slavic Soul Party! has given exciting performances around the world at festivals, clubs, and even a pool at the Russian Baths. Every Tuesday, the band performs at Barbes in Brooklyn. In addition, they have made 5 cds.
Here is a video of a live performance complete with a dancing audience.
WNYC, the public radio station in New York City, interviewed the group and listened to a live performance. Here is a link to the interview:
http://www.wnyc.org/shows/soundcheck/2009/oct/02/brass-blast-from-the-boroughs/
Saturday, March 17, 2012
Wednesday, March 7, 2012
William Westney Presentations on Music and Movement
This past Saturday, I attended a day long workshop by Ida Beam guest professor, William Westney. He is a teacher and pianist with interesting ideas about music, teaching, and practicing. He is the author of a book entitled The Perfect Wrong Note - Learning to Trust Your Musical Self. During his visit, Westney gave three different sessions and each was interesting and valuable. The first event was a philosophical discussion about music, meaning, and the body in motion. During this lecture, Westney discussed the connection of music and the body. He explained how music is more than organized sound in that it has meaning; in addition, we often determine the music most meaningful to us by its effect on our body and feelings. He also discussed how our mood can be seen in the way we carry our bodies and how we move; thus, mood can affect how we make music. We ended this morning session with a preview of the afternoon session. We paired up and mirrored each other's movements in reaction to the music being played. Westney suggested that we move/dance to the music we are working on so we can actually feel where the tempo and dynamic changes should be.
In the afternoon, Westney gave his "un-masterclass." This was different than a masterclass where a professional musician listens to a student and then tells them what to do better. In the "un-masterclass," everyone participates. First, Westney's focus was on the relationship between music and movement. Everyone stood in a large circle. As music played, we had to move to the beat, style, and emotion of the piece. Westney explained how he had the music specifically composed for this presentation so we wouldn't know it. The movement was simple at first; we passed a little ball around the circle, handing it off only on a beat or cadence. Then, Westney stood in the middle of the circle and moved/danced to the music. We had to mirror his movements. Next, we each took a turn in the middle of the circle. Our movement didn't need to be spectacular, it just needed to reflect what we were hearing. Waltz-like music tended to inspire sweeping fluid movement and atonal computer music inspired jerky motions. This part of the session continued for about an hour. Not only was it fun to move to the music but it was interesting to see how other people moved to the same music. Everyone had a different interpretation and meaning for their movement.
The second part of the session included five performances by students. The audience was asked to tell what they got out of the performance; what message/meaning did they receive from the performer? Meaning and musicality were the focus rather than technical issues. Here are few ideas that were discussed which I found particularly helpful:
- Think about your audience and what you can communicate and give to them rather than how the performance benefits you individually or how the audience might be judging you.
- Pretend you are at a competition/audition and play your piece as if you were all the various contestants. Try every style and interpretation...even ones you consider "wrong."
- Memorizing your music can help make a stronger connection to the audience because you do not have the barrier of the music stand. Although the stand is not large, not having it can make a big difference.
- If you are singing, decide whether you are singing the text from your heart or that of a character you will portray. The same goes for instrumentalists. Give every line meaning and purpose just as if it had text.
- Play for people. Have them stand or sit right in front of you as you perform and communicate just as if you were in a conversation. The audience comes for this interaction so don't close them off.
Westney's evening session was titled "The Value of Juicy Mistakes in Music, Learning, and Life." The lecture was full of amusing stories. Westney explained how musicians can get into a rut by focusing on the concept of perfection. The phrases like "Practice makes perfect" and "Practice makes permanent" are poorly worded statements that instill a sense of dread in our playing. Mistakes become an opportunity for self degradation rather than learning and growth. Westney proposed revisiting the excitement and vitality of our youth. As babies we moved our bodies freely to the music we heard without concern of looking silly. When learning to walk, we didn't say all sorts of negative things to ourselves when we fell down. Just like learning to walk or ride a bike, music requires a learning process were the only way to grow is to accept the possibility of falling/crashing/mistakes. Mistakes should be observed without emotional attachment. They are something that happens which, contrary to what we might tell ourselves, reflects nothing about us. Westney suggested being like a detective and try to find out the cause for the mistakes that are happening outside yourself in your playing. His main points for the session included the following:
Remember how fun and enjoyable music can be.
Music can be an oasis for learning and self acceptance.
People who reach virtuosity are those who embrace and take risks.
Observe your mistakes rather than try to manage them.
Don't worry about playing musical at all times. There is a time to focus on technique.
One of the main questions to yourself should be, "How can I make everything I am playing feel great?"
I enjoyed the William Westney's workshop and I highly recommend you attend one if you have the chance. Here are links to his website and his book.
http://www.williamwestney.com/
http://www.amazon.com/Perfect-Wrong-Note-Learning-Softcover/dp/1574671456/ref=tmm_pap_title_0
In the afternoon, Westney gave his "un-masterclass." This was different than a masterclass where a professional musician listens to a student and then tells them what to do better. In the "un-masterclass," everyone participates. First, Westney's focus was on the relationship between music and movement. Everyone stood in a large circle. As music played, we had to move to the beat, style, and emotion of the piece. Westney explained how he had the music specifically composed for this presentation so we wouldn't know it. The movement was simple at first; we passed a little ball around the circle, handing it off only on a beat or cadence. Then, Westney stood in the middle of the circle and moved/danced to the music. We had to mirror his movements. Next, we each took a turn in the middle of the circle. Our movement didn't need to be spectacular, it just needed to reflect what we were hearing. Waltz-like music tended to inspire sweeping fluid movement and atonal computer music inspired jerky motions. This part of the session continued for about an hour. Not only was it fun to move to the music but it was interesting to see how other people moved to the same music. Everyone had a different interpretation and meaning for their movement.
The second part of the session included five performances by students. The audience was asked to tell what they got out of the performance; what message/meaning did they receive from the performer? Meaning and musicality were the focus rather than technical issues. Here are few ideas that were discussed which I found particularly helpful:
- Think about your audience and what you can communicate and give to them rather than how the performance benefits you individually or how the audience might be judging you.
- Pretend you are at a competition/audition and play your piece as if you were all the various contestants. Try every style and interpretation...even ones you consider "wrong."
- Memorizing your music can help make a stronger connection to the audience because you do not have the barrier of the music stand. Although the stand is not large, not having it can make a big difference.
- If you are singing, decide whether you are singing the text from your heart or that of a character you will portray. The same goes for instrumentalists. Give every line meaning and purpose just as if it had text.
- Play for people. Have them stand or sit right in front of you as you perform and communicate just as if you were in a conversation. The audience comes for this interaction so don't close them off.
Westney's evening session was titled "The Value of Juicy Mistakes in Music, Learning, and Life." The lecture was full of amusing stories. Westney explained how musicians can get into a rut by focusing on the concept of perfection. The phrases like "Practice makes perfect" and "Practice makes permanent" are poorly worded statements that instill a sense of dread in our playing. Mistakes become an opportunity for self degradation rather than learning and growth. Westney proposed revisiting the excitement and vitality of our youth. As babies we moved our bodies freely to the music we heard without concern of looking silly. When learning to walk, we didn't say all sorts of negative things to ourselves when we fell down. Just like learning to walk or ride a bike, music requires a learning process were the only way to grow is to accept the possibility of falling/crashing/mistakes. Mistakes should be observed without emotional attachment. They are something that happens which, contrary to what we might tell ourselves, reflects nothing about us. Westney suggested being like a detective and try to find out the cause for the mistakes that are happening outside yourself in your playing. His main points for the session included the following:
Remember how fun and enjoyable music can be.
Music can be an oasis for learning and self acceptance.
People who reach virtuosity are those who embrace and take risks.
Observe your mistakes rather than try to manage them.
Don't worry about playing musical at all times. There is a time to focus on technique.
One of the main questions to yourself should be, "How can I make everything I am playing feel great?"
I enjoyed the William Westney's workshop and I highly recommend you attend one if you have the chance. Here are links to his website and his book.
http://www.williamwestney.com/
http://www.amazon.com/Perfect-Wrong-Note-Learning-Softcover/dp/1574671456/ref=tmm_pap_title_0
Monday, March 5, 2012
Brass for a Dancing Audience - 1
In the next few posts, I would like to share a type of connection between brass and movement which I haven't discussed yet. We have already looked at brass musicians who dance and brass musicians who play for professional dancers. Today we are going to look at brass musicians who play for social dancing. This post one of three that will feature a specific group.
The first group is the Molotow Brass Orkestar. This group from Berne, Switzerland, describes their music as "Balkan Brass meets Swiss Folk music with a little bit of klezmer and ska on the side." This group has performed in a variety of settings. In addition to their recordings, they make music for public and private shows and parties. They have also participated at festivals such as the Emergenza Festival, the Buskers Festival, and the Brass Durham International Festival.
The Molotow Brass Orkestar gives lively performances which almost demand dancing. In this video, you can see people dancing in a club/bar setting.
One interesting thing, as you will see, is the instrumentation. The group includes two rotary valve trumpets, baritone, helicon, tuba, and drums. In this particular video, someone plays the alphorn as well. I personally haven't been to very many clubs/bars but it seems that here in the US, most places with dancing seem to use recorded music or a live rock band. I wish more groups like this played in the United States.
Websites to Check Out:
http://www.brassorkestar.ch/?lang=english&changelang=yes
http://www.emergenza.net/home.asp
http://www.brassfestival.co.uk/about.html
The first group is the Molotow Brass Orkestar. This group from Berne, Switzerland, describes their music as "Balkan Brass meets Swiss Folk music with a little bit of klezmer and ska on the side." This group has performed in a variety of settings. In addition to their recordings, they make music for public and private shows and parties. They have also participated at festivals such as the Emergenza Festival, the Buskers Festival, and the Brass Durham International Festival.
The Molotow Brass Orkestar gives lively performances which almost demand dancing. In this video, you can see people dancing in a club/bar setting.
One interesting thing, as you will see, is the instrumentation. The group includes two rotary valve trumpets, baritone, helicon, tuba, and drums. In this particular video, someone plays the alphorn as well. I personally haven't been to very many clubs/bars but it seems that here in the US, most places with dancing seem to use recorded music or a live rock band. I wish more groups like this played in the United States.
Websites to Check Out:
http://www.brassorkestar.ch/?lang=english&changelang=yes
http://www.emergenza.net/home.asp
http://www.brassfestival.co.uk/about.html
Sunday, March 4, 2012
Indian Wedding Barat
In the Indian culture, wedding ceremonies include a procession called the barat which includes music and dance. Outside of Indian, bands have been developed to perform at this specific ceremony.
In Europe, there are two groups that I found available for hire for Indian weddings. The Bollywood Brass Band is "the UK's pioneering Indian-style wedding band." They have played for the wedding barat in hundreds of ceremonies around the world. They also perform other gigs. Here is a video of them playing for a parade with costumed dancers.
The Bombay Baja Brass Band is another Indian Brass Band in Europe. They have performed for high profile weddings, processions for dignitaries, movies, and tv. The following video link includes clips of people dancing to the band's music, the band playing for the Queen, and the band playing for a barat (0:53).
http://youtu.be/65WdcQvYP4k
The first barat band in North America was the Band Bajha Brass. Their website includes audio samples of the music the music they play for the barat. Once you are on their site, you will have to click on where it says "Band Bajha Brass" to access the audio recordings.
In Europe, there are two groups that I found available for hire for Indian weddings. The Bollywood Brass Band is "the UK's pioneering Indian-style wedding band." They have played for the wedding barat in hundreds of ceremonies around the world. They also perform other gigs. Here is a video of them playing for a parade with costumed dancers.
The Bombay Baja Brass Band is another Indian Brass Band in Europe. They have performed for high profile weddings, processions for dignitaries, movies, and tv. The following video link includes clips of people dancing to the band's music, the band playing for the Queen, and the band playing for a barat (0:53).
http://youtu.be/65WdcQvYP4k
The first barat band in North America was the Band Bajha Brass. Their website includes audio samples of the music the music they play for the barat. Once you are on their site, you will have to click on where it says "Band Bajha Brass" to access the audio recordings.
Jericho - Trumpets on the Go
In the Bible, the story of the battle at Jericho is an example of musicians on the go. Whether or not the Bible is part of your beliefs, this passage gives us historical information about how ancient instruments were used. Here is the verse that explains the role of the instruments.
Joshua 6:3-5, 20
New International Version (NIV)
3 March around the city once with all the armed men. Do this for six days. 4 Have seven priests carry trumpets of rams’ horns in front of the ark. On the seventh day, march around the city seven times, with the priests blowing the trumpets. 5 When you hear them sound a long blast on the trumpets, have the whole army give a loud shout; then the wall of the city will collapse and the army will go up, everyone straight in.
3 March around the city once with all the armed men. Do this for six days. 4 Have seven priests carry trumpets of rams’ horns in front of the ark. On the seventh day, march around the city seven times, with the priests blowing the trumpets. 5 When you hear them sound a long blast on the trumpets, have the whole army give a loud shout; then the wall of the city will collapse and the army will go up, everyone straight in.
20 When the trumpets sounded, the army shouted, and at the sound of the trumpet, when the men gave a loud shout, the wall collapsed; so everyone charged straight in, and they took the city.
The trumpet/ram's horn that the priests were playing while marching around Jericho is also known as a shofar. This instrument is similar to our brass instruments because sound is created by buzzing the lips. The shofar, however, can only play a few notes of the harmonic series. Here is a video that shows calls on the shofar.
Since the traditions of the shofar have been preserved by the Jewish people, we can assume that the sounds in this video are very much like those made at the battle of Jericho.
The trumpet/ram's horn that the priests were playing while marching around Jericho is also known as a shofar. This instrument is similar to our brass instruments because sound is created by buzzing the lips. The shofar, however, can only play a few notes of the harmonic series. Here is a video that shows calls on the shofar.
Since the traditions of the shofar have been preserved by the Jewish people, we can assume that the sounds in this video are very much like those made at the battle of Jericho.
Thursday, February 23, 2012
Brass for a Funeral
In the United States, brass musicians are commonly associated with two types of funerals, the New Orleans jazz funeral and military funerals.
The jazz funeral is an interesting part of New Orleans culture that developed from traditions in Africa. At a funeral, all of the guests will parade with the coffin to the graveyard. On the way to the gravesite, a brass band will play somber music or a spiritual. Following the funeral, the brass band leads the parade in celebration of life. As part of the jazz funeral, brass musicians use music to mourn the dead, celebrate life, accompany the procession and parade, and guide the deceased to their eternal rest.
Here is a video from from a jazz funeral as the coffin is being transported from the church to the gravesite. The band is playing "Just a Closer Walk with Thee."
This next video is of a funeral procession that is more solemn. The video is supposedly the Tongan Brass Band who I assume are from Tonga. Thus, they obviously don't represent a New Orleans tradition. Still, the video can give us insight into cultural practices around the world and interesting uses of brass instruments.
The link below will connect you to a video of the group the Dirty Dozen Brass Band. Formed in New Orleans in 1977, this band has helped define and celebrate New Orleans culture for over 30 years. In this video, the group is leading the joyful parade after a funeral.
http://www.facebook.com/video/video.php?v=722301974188
Military funerals are very solemn ceremonies. Most often, a solo trumpet or bugle will play Taps. For funerals at the national cemeteries, an entire band will often play. The music mostly consists of hymns or sacred tunes and patriotic music. The music at a military funeral can accompany a procession or march to the gravesite but mostly serves to honor the deceased as they are being interred. Here are two videos which demonstrate the type of brass music played for military funerals.
Here is a version of Taps with two trumpets echoing each other.
Here is a full band playing for a military funeral.
On a personal note....
A few weeks ago, I played for a funeral for the first time and it was an incredibly emotional experience for me, even though I did not personally know the deceased or any of the guests. It got me thinking about how music can affect people. Funerals require music that will bring comfort and sympathy. The musician can either remain distant and disconnected or they can be emotionally involved. I personally strive for emotional connection because musicians are then capable of significantly impacting people. It is a great opportunity to go beyond bringing art and talent to the listener but to bring comfort, peace, or even just a momentary distraction from grief. Perhaps the music even serves as an outlet for the pain. Playing for a funeral really changed my perspective on how I can use music and what I want my goals to be.
The jazz funeral is an interesting part of New Orleans culture that developed from traditions in Africa. At a funeral, all of the guests will parade with the coffin to the graveyard. On the way to the gravesite, a brass band will play somber music or a spiritual. Following the funeral, the brass band leads the parade in celebration of life. As part of the jazz funeral, brass musicians use music to mourn the dead, celebrate life, accompany the procession and parade, and guide the deceased to their eternal rest.
Here is a video from from a jazz funeral as the coffin is being transported from the church to the gravesite. The band is playing "Just a Closer Walk with Thee."
This next video is of a funeral procession that is more solemn. The video is supposedly the Tongan Brass Band who I assume are from Tonga. Thus, they obviously don't represent a New Orleans tradition. Still, the video can give us insight into cultural practices around the world and interesting uses of brass instruments.
The link below will connect you to a video of the group the Dirty Dozen Brass Band. Formed in New Orleans in 1977, this band has helped define and celebrate New Orleans culture for over 30 years. In this video, the group is leading the joyful parade after a funeral.
http://www.facebook.com/video/video.php?v=722301974188
Military funerals are very solemn ceremonies. Most often, a solo trumpet or bugle will play Taps. For funerals at the national cemeteries, an entire band will often play. The music mostly consists of hymns or sacred tunes and patriotic music. The music at a military funeral can accompany a procession or march to the gravesite but mostly serves to honor the deceased as they are being interred. Here are two videos which demonstrate the type of brass music played for military funerals.
Here is a version of Taps with two trumpets echoing each other.
Here is a full band playing for a military funeral.
On a personal note....
A few weeks ago, I played for a funeral for the first time and it was an incredibly emotional experience for me, even though I did not personally know the deceased or any of the guests. It got me thinking about how music can affect people. Funerals require music that will bring comfort and sympathy. The musician can either remain distant and disconnected or they can be emotionally involved. I personally strive for emotional connection because musicians are then capable of significantly impacting people. It is a great opportunity to go beyond bringing art and talent to the listener but to bring comfort, peace, or even just a momentary distraction from grief. Perhaps the music even serves as an outlet for the pain. Playing for a funeral really changed my perspective on how I can use music and what I want my goals to be.
Sunday, February 19, 2012
Circus Brass
In America, the circus dates back to the late 18th century. Still touring today, the circus has had an interesting and important role in our history. Before modern recording technology, musicians would travel with circuses to provide live music. Bands, and especially brass instruments, were suited for this type of show because of the tone and loud volume.
Karl King, notable march composer, played the baritone in a circus band when he was young. Here is a picture of his group. He is the baritone on the left of the tuba.
These musicians were on the go as they traveled around the country. Some groups performed with other circus acts in parades. They would either march or use other means of travel. Here are some pictures of brass players on top of elephants as they traveled.
The history of circus musicians has been neglected. It would be a great topic for further research. Here is a video of a brass group playing the piece most often associated with circuses, the Thunder and Blazes March (aka Entrance of the Gladiators).
The pictures on this post were found on the following websites:
http://karlking.us/kkingbio.htm
http://thecircusblog.wordpress.com/
For more information about circuses, please see the following websites:
http://www.circusinamerica.org/public/
http://circusworld.wisconsinhistory.org/Library/AboutResearchCenter.aspx
http://www.circushistory.org/index.htm
Karl King, notable march composer, played the baritone in a circus band when he was young. Here is a picture of his group. He is the baritone on the left of the tuba.
These musicians were on the go as they traveled around the country. Some groups performed with other circus acts in parades. They would either march or use other means of travel. Here are some pictures of brass players on top of elephants as they traveled.
The history of circus musicians has been neglected. It would be a great topic for further research. Here is a video of a brass group playing the piece most often associated with circuses, the Thunder and Blazes March (aka Entrance of the Gladiators).
The pictures on this post were found on the following websites:
http://karlking.us/kkingbio.htm
http://thecircusblog.wordpress.com/
For more information about circuses, please see the following websites:
http://www.circusinamerica.org/public/
http://circusworld.wisconsinhistory.org/Library/AboutResearchCenter.aspx
http://www.circushistory.org/index.htm
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