1 Kiana Soriano Professor Gallon JAZZ BLST 31177 17 May 2024 Concert Report On Thursday, May 9th, I had the pleasure of attending the CCNY Jazz Faculty Ensemble's performance in celebration of CUNY’s Jazz Festival. The faculty ensemble, consisting of a talented quartet, delivered a captivating set featuring five diverse pieces: Duke Ellington's "Isfahan," "My Shining Hour," "Embraceable You," "I Remember You," and "Straight, No Chaser." The quartet showcased Ben Kono on saxophone, Ramon Gallon on piano, Aidan O’Donnell on bass, and Carl Allen on drums. Each song told its own unique story, blending bluesy undertones with swinging rhythms, and was punctuated by unexpected solos that added delightful surprises throughout the performance. It was especially rewarding to see each musician have their moment, seamlessly listening and responding to each other, creating an engaging and cohesive musical experience. Witnessing my first live jazz performance was a remarkable experience, distinct from any other live performances I had attended. The atmosphere was both sophisticated and refreshingly simple. The musicians, dressed in casual attire, seemed relaxed yet intensely focused on their craft. Their movements were synchronized, and they played with a graceful synergy, each artist 2 in tune with the others on stage. I was particularly struck by the democratic nature of the performance, as each musician had the opportunity to shine through solos. This approach allowed the audience to appreciate the unique talents of each performer. The variety in the setlist was another highlight, with the musicians seamlessly transitioning from upbeat, swing-infused tunes to pieces with a bluesy feel, offering a dynamic and engaging experience. The stage setup was minimalistic, devoid of any extravagant elements, which shifted the focus entirely to the musicians' raw talent. The sincerity and wholeheartedness with which each song was performed resonated deeply with the audience. As we watched each solo, we listened intently, and our applause after each improvisation felt like a shared acknowledgment of the musicians' skill and dedication. The small ensemble consisted of a quartet, with Ben Kono on saxophone leading the front line, and Raymond Gallon on piano, Aidan O’Donnell on bass, and Carl Allen on drums forming the rhythm section. The musicians were listening intently and observing each other closely throughout the performance. During each solo, Ben Kono would stop playing, close his eyes, and fully immerse himself in the music, becoming part of the audience. He would occasionally nod his head in time with the music, displaying genuine appreciation for his fellow musicians' improvisations. The performers appeared relaxed and comfortable on stage, dressed in casual attire that reflected their ease. Their comfort with themselves and each other was evident, and each musician had moments to shine. The way they handled their instruments showcased their expertise and confidence, creating a cohesive and captivating performances. The first piece performed was "Isfahan," a beautiful composition by Duke Ellington. The saxophonist, Ben Kono, introduced the melody, setting a soft, serene tone that was quickly picked up by the rest of the ensemble. Raymond Gallon's piano complemented the saxophone 3 perfectly, while Carl Allen's use of wire brushes on the drums provided a gentle, sweeping sound, creating an intimate atmosphere uncommon for drum accompaniments. Aidan O’Donnell on bass completed the ensemble, contributing to the steady rhythm and melody. As the piece progressed, the music built to a climax. Carl Allen switched to drumsticks, and Ben Kono's saxophone played louder, more intricate notes, intensifying the overall sound. The first improvisation featured Raymond Gallon on piano. During his solo, Ben Kono stepped back, closed his eyes, and listened intently, demonstrating deep appreciation for Gallon's performance. The bass and drums continued to support the piano, ensuring a cohesive sound. The audience showed their admiration with enthusiastic applause when Gallon finished his solo. Unexpectedly, Aidan O’Donnell then took a bass solo, supported by the piano and drums while the saxophonist stood by. His performance was met with surprise and delight. Smoothly, the saxophonist rejoined, and the ensemble transitioned back to the main melody. The drummer returned to using wire brushes, producing the quiet 'swoosh' sound that brought the song to a gentle conclusion. The second song was called "My Shining Hour." Raymond Gallon opened with an instrumental introduction that set the mood, feel, and groove while the other musicians stood by. His piano work laid a solid foundation for what was about to unfold. After the introduction, the rest of the ensemble joined in, with Ben Kono leading on saxophone. The song had an upbeat swing feel that made you want to dance, contrasting sharply with the softer, more subdued "Isfahan." The dynamic was louder, and the theme was clear from the start. The first solo was taken by Raymond Gallon. As he began his improvisation, Ben Kono stepped aside and became part of the audience, listening intently to Gallon's new melodies. This attentive listening was a hallmark of Kono's performance style and a highlight of each piece. Throughout Gallon's solo, the rhythm section supported him, reacting to his playing and keeping the music cohesive and 4 lively. Following Gallon's solo, there was a brief interlude, serving as a palate cleanser and resetting the mood for the next soloist. Aidan O’Donnell then took a solo on the bass, accompanied quietly by the piano and drums. His rapid note-playing and unique interpretation of the song were impressive, shifting from a ‘walking bass’ line to an upbeat, innovative take while maintaining the song’s lively theme. Another interlude followed O’Donnell’s solo. Then, the ensemble executed a dynamic sequence where they all stopped playing intermittently, allowing the drummer, Carl Allen, to shine with brief solos. This pattern repeated four times, building anticipation toward the song’s conclusion. The piece ended with a return to the main theme, or head, of the song, with all players coming together for a strong, unified finish. The third song performed was called "Embraceable You." It began with pianist Raymond Gallon introducing the head of the piece, setting the theme and mood. The saxophone then followed, accompanied by the rhythm section. The song had a bluesy feel, with a quiet, soft, and slow melody. Compared to the upbeat swing of the second song, "My Shining Hour," this piece evoked a more intimate atmosphere. Carl Allen switched from drumsticks to wire brushes, similar to the first song, and Aidan O’Donnell on bass played a more subdued style, avoiding the 'walking bass' lines. Raymond Gallon took the first solo, with Ben Kono stepping back to listen closely, once again embodying the role of an appreciative audience member. After Gallon's solo, an interlude brought all the musicians back to the main melody of the song. The second improvisation featured the bass, accompanied by the piano and drums. This solo was notably quieter and more introspective compared to the energetic solos in the previous song. Following the bass solo, the ensemble returned to the main melody. The piece concluded with the rhythm section momentarily dropping out, allowing the saxophone to have the final moments before everyone joined in for the song's closing notes. 5 The fourth song performed was called "I Remember You." It began with Raymond Gallon on piano, introducing the piece and setting a dynamic range that shifted from soft to loud as the rest of the ensemble joined in. After completing the head of the piece, the front line and rhythm section played together with an upbeat swing feel. The drummer, Carl Allen, used drumsticks, Aidan O’Donnell on bass played a 'walking bass' line, the piano followed along seamlessly, and Ben Kono’s saxophone delivered the main melody. Raymond Gallon took the first solo, supported by the rhythm section's steady beat, while Ben Kono stopped playing to listen closely, once again becoming part of the audience. Uniquely, this song featured a direct transition from one solo to the next without an interlude. This unpredictability was refreshing and kept the audience engaged. Following Gallon's solo, Aidan O’Donnell began his bass solo, accompanied by the piano and drums maintaining steady beats. After the bass solo, Carl Allen took his turn with a drum solo. During this solo, Gallon and Kono stood by attentively, while O’Donnell continued to play the bass, carefully matching Allen’s rhythms. Finally, the ensemble returned to the main melody, playing together to conclude the song with a strong finish, revisiting the head of the piece. The fifth song performed was called "Straight, No Chaser." Unlike the previous pieces, this song began with all the instruments playing together, immediately jumping into a fast beat and rhythm. It was a very upbeat song, but it was not easy to follow if I tried to hum to it or even sing along. This unpredictable start, with the entire ensemble launching into the piece in perfect sync, was impressive and showcased their cohesion and timing. Raymond Gallon took the first solo on piano, accompanied by the bass and drums, while Ben Kono stood by, listening attentively. After Gallon’s solo, the ensemble returned to the main melody. Aidan O’Donnell then took the second solo on bass, with the piano and drums providing support. Following this, 6 Carl Allen performed a captivating drum solo, as the other musicians stopped playing to listen closely. Allen's solos were particularly engaging because of his unexpected switches between different drumsticks and tools to create varied sounds. Finally, the group returned to the main melody, concluding the song with another strong, unified finish. Overall, I was pleasantly surprised by each song performed, as they all showcased unique styles and sounds that set them apart. This was my first live jazz performance, and it has certainly sparked a desire to attend many more in the future to relive this experience. Even though the setup was simple, the abundance of talent in the room was overwhelming, rendering anything else unnecessary. Every musician not only harmonized impeccably with one another but also forged a profound connection with the audience. Witnessing the attentive interplay on stage, as well as the audience's quiet reverence punctuated by enthusiastic applause after each solo, underscored their deep engagement. The performance traversed a spectrum of beats, rhythms, and harmonies, with each musician imbuing the ensemble with their distinct style. Despite their individuality, they played in flawless synchrony, culminating in a seamlessly collaborative and harmonious experience. This unity testified to the meticulous attention each musician paid to their counterparts. Each piece performed narrated a unique tale, enriching the afternoon’s tapestry with depth and diversity.
