Experimental Improvisation With Kjell Nordeson And Peter Kuhn

1638 Words 7 Pages
Jazz History Concert Report

The date of the concert was October 5, 2016 and the title of the concert is “Experimental Improvisation with: Kjell Nordeson & Peter Kuhn”. The concert was performed in Mesa College Music building. Peter Kuhn had three instruments with him a bass clarinet, saxophone, and a Bb Clarinet. He used the bass clarinet and the saxophone during his first piece, and the clarinet on the second piece. Kjell Nordeson was on the drum but had a lot of instruments with him. Sometimes he would play the drums as a drums set but sometimes he would put some sort of objects on top of the drum to create different sound effects. He also had a small glockenspiel and a flexatone. The concert hall was very simple, had a sound-reflecting
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The hall is a music school orchestra playing room and the chairs are movable. Most of the audiences were students from the music departments and some of their friends. However, few of the audience were from other departments. The style of jazz was experimental fusion jazz, but focused much more on the experimental side of the music. Because the concert was about improvisation, the two performers played two different “jams” (around 20 minutes each), so there are no titles or composers for the music. If I had to say composers the two performers are the composer, and they are composing the music as they are playing it. It is the first time the players are playing their improvisation with each other so they must hear carefully to each other’s sound to create music. Also, because this is improvisation only concert, there is no “form”, but I did hear a form being made, which I will point out during my analysis. Only two music jams were played so I shall be explaining in detail of each …show more content…
It brings out the blue note melody that we are more accustomed to. As the two performers gets to know each other playing style better, the interconnection between their improvisations has improved to a greater degree in this new jam. The form of the music tends to be tonal atonal and tonal again. The music starts in a very tonal way. Kuhn now plays Bb clarinet, and plays a typical blues melody. There were lots of blue notes and sliding into one note to each other, similar to how the blues singer would sing. He continues to play this style alone for few minutes but slowly morphs into more atonal style of music. This change in style creates a tension in music, allowing the audience to not be bored by playing the same genre style for a long period of time. The drum slowly sneaks in during the atonal section of the clarinet and copies the atonal technique. The drum, even though it does not have a pitch, plays in a manner that sounds very similar to the style that the clarinet is playing. The disjunctive rhythm from the drum creates another layer of mood with the clarinet. Both of the performers now slowly increase their volume and intensity once again, and the clarinetist plays an atonal scale upward and downward repeatedly, breaking it up in to sections and playing in random directions of up and down. The drummer then enters a samba rhythm during the scales, then the clarinetist soon follow the drummer

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