At the Rex Jazz and Blues Bar on 194 Queen Street West, The Sinners Choir performed in the genre of Americana, Free Jazz to an audience of around twenty-five people. Free Jazz was first introduced in the summer of 1960 when Saxophonist Ornette Coleman and his band recorded This is Our Music for Atlantic records. In the album, “Coleman reordered structural principles to offer the members of his group maximum melodic and rhythmic freedom,” (Anderson 2007, 1). He accomplished an improvised approach to the Jazz genre by providing the opportunity for each musician to play inside or outside conventional cords. In the same sense, The Sinners Choir continues to celebrate the Americana/ Free Jazz genre that was developed by Coleman, but with a fresh sound heavily influenced by New Orleans and Chicago style Jazz. This is recognized significantly when The Sinners Choir trio consisting of; Terry Wilkins playing bass, Adam Beer-Colacino playing guitar/scratchboard and Adam Warner playing drums, begin their performance at Rex Jazz and Blues venue by taking requests from the audience. Similar to The New Orleans and Chicago Styles of Jazz, the banjo is replaced by the guitar, and several of their songs incorporate elaborate introductions and endings. Throughout the
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Meanwhile, the bass performed by Terry Wilkins has a regular meter, but with a mixture of consonant and dissonant sounds. At the end of each phrase one brief dissonant chord acts as a separation between two phrases; ultimately providing a “brief pause to allow the singers or players a moment to breathe,” (KayKaufman 2006,
Meanwhile, the bass performed by Terry Wilkins has a regular meter, but with a mixture of consonant and dissonant sounds. At the end of each phrase one brief dissonant chord acts as a separation between two phrases; ultimately providing a “brief pause to allow the singers or players a moment to breathe,” (KayKaufman 2006,