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The Revive Big Band Resource Guide

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The Revive Big Band Resource Guide THE REVIVE BIG BAND RESOURCE GUIDE ABOUT REVIVE MUSIC GROUP Revive Music launched in 2006 as a boutique live music agency that specializes in producing genre-bending, creative-concept live music shows that tour worldwide with the purpose of educating and inspiring audiences about artistic and authentic forms of music. In effort further provide an advocacy platform for musicians, Revive launched the leading online journal, www.revive-music.com, for the burgeoning jazz community dedicated to their musicianship, artistry and creative expression as a part of www.okayplayer.com and a label imprint with the legendary Blue Note Records. ABOUT THE REVIVE BIG BAND “We’re carrying on within the tradition of big bands, what would be relevant today – modifying the message and making it translatable and accessible to the people, so that they have something to connect to. We represent that bridge” -Igmar Thomas Heralded by the Village Voice for having New York City’s “most electrifying young lions in jazz, Revive Big Band has a finger on the pulse of today’s emerging progressive sound while pointing to things yet to come for a new era of music. Formed in 2010 by trumpeter, composer and arranger Igmar Thomas, this multi-generational ensemble knows no limits while seeking to advance, celebrate and re-imagine sonic freedom in big band form. The Revive Big Band’s well-honed musical sensibilities powerfully synthesize the art of the beat, treatment of melody, reverence of the standard, and nuances of time. Expanding the contemporary canon of composition as it dwells at the intersection of jazz, hip hop, soul and beyond, the band's repertoire features original compositions and inventive orchestrations of jazz standards and contemporary classics by artists ranging from Oliver Nelson, Wayne Shorter and Freddie Hubbard to A Tribe Called Quest, J Dilla, Gangstarr, Bilal and more, in rare live performances. Featuring a multigenerational cadre of artists who have consistently blurred the lines between forms such as trombonist Ku- umba Frank Lacy, critically acclaimed pianist Marc Cary, Thelonious Monk Competition winner Ben Williams, Revive/Blue Note recording artist drummer Otis Brown III and saxophonist Marcus Strickland, the Revive Big Band is more than just a big band. It’s a movement. It symbolizes the voice of a new generation of musicians and audiences that hunger for a more expansive notion of jazz- one that exists in real time, reflecting a dynamic synthesis of their influences and experiences all while leaning towards the future. Making it’s debut in 2010 at George Wein’s CareFusion Jazz Festival, the Big Band has gone on to perform at The Kennedy Center, Central Park SummerStage, Harlem Stage, BRIC, Highline Ballroom, Blue Note Jazz Club, Winter JazzFest and the Art of Cool Festival. In addition, it has had a series of extraordinary collaborations with artists including Gregory Porter, Bilal, Terence Blanchard, Sean Jones, Oliver Lake, Dr. Lonnie Smith, Pharoahe Monch, Talib Kweli, Nicholas Payton, Savion Glover, Robert Glasper and Jean Baylor. "I heard the future here and now -- in the form of trumpeter Igmar Thomas." -Arts Journal ABOUT IGMAR THOMAS Igmar Thomas is one of New York’s most celebrated musicians, bandleaders, composers and arrangers. He attended Berklee College of Music in Boston, which led to the formation of his group, Igmar Thomas & The Cypher, as well as musical connections to peers and legends alike, such as Esperanza Spalding (Thomas served as lead trumpeter on Spalding's Radio Music Society International Tour), Terri Lyne Carrington, Lionel Hampton, Wyclef Jean, Mos Def, Robert Glasper and countless others. In addition to his work with The Cypher, Thomas is the conductor of the Revive Big Band, which Complex Magazine refers to as "a 19-piece jazz army." Both The Cypher and the Revive Big Band play music that is deeply rooted in the present. With jazz as its foundation and springboard, The Revive Big Band has featured a range of artists including Gregory Porter, Bilal, Terence Blanchard, Savion Glover, Oliver Lake, Sean Jones, Nicholas Payton, Roy Hargrove, Pharoahe Monch, Robert Glasper, Jean Baylor, Chris Turner and DJ Premier. From naming his band “The Cypher," orchestrating classic songs & samples for live instrumentation, to performing with emcees, whom he calls the “mainstream hornmen of today,” it’s clear that contemporary music, for him, is not separate from jazz, but the vibrant result of the natural evolution of improvised American music. It is no surprise, then, that Thomas’ gift has taken him to hallowed musical venues like Carnegie Hall, the Kennedy Center, Central Park SummerStage, Harlem Stage, the Apollo Theater and The House of Blues. Thomas has created big band arrangements for Bilal, Gregory Porter, Pharoahe Monch and Dr. Lonnie Smith. He has also created horn arrangements forTalib Kweli and appeared as a guest with performers including J. Cole, The Roy Hargrove Big Band, The Roots', and a host of other celebrated artists and groups. He has also worked and/or recorded with Mos Def, Wyclef Jean, John Legend, actor/singer Terrence Howard, Raekwon of Wu-Tang, Pete Rock, Macy Gray and many more. Thomas was the inaugural recipient of the annual Roy Campbell Jr. Commission, awarded to an up and coming trumpeter/composer/bandleader as part of the 2014 Festival of New Trumpet (FONT). ABOUT THE PRESENTATION For grades 3-12 In this interactive presentation, complete with a 15 piece big band, DJ and emcee, students will learn about the connections between jazz and hip hop, the history of classic and contemporary compositions, the difference between improvised and written music as well as live versus electronically produced music. Students will leave with exciting new connections to jazz and its relevance to their lives. YOU ARE A PART OF A COMMUNITY: HINTS FOR ENJOYING A JAZZ PERFORMANCE When you are part of the audience at a jazz performance, you become part of that performance. Jazz performers want you to respond to their music as they rely on your positive reactions to maintain their intensity level. Remember that jazz improvisation is the spontaneous creation of ideas. The performer wants to share himself or herself through music and evoke an emotion. For this reason a verbal response such as “yeah” or “all right” during the performance is perfectly acceptable. Applauding at the end of a solo even though the piece has not ended is also acceptable. However, loud conversations or disruptive noises are not acceptable and are distracting to the performers as well as other audience members. Of course, applause after a piece has finished is appreciated by the performers. When you attend a jazz concert, listen closely to the music, watch the performer, and let your mind and emotions wander. See if you can truly experience and understand what the performer is trying to say to you through his or her instrument and music performance. It’s not about the artist’s name or skill required. Not even about the art itself. All that matters is HOW DOES IT MAKE YOU FEEL? VOCABULARY WORDS Arrangement: A new version of a previously written piece. Jazz arrangements often include new chords for the piece as well as new material to be played during and between solos. Arranger: A person who creates an arrangement. Jazz arrangers usually create so much new material for their arrangements that there is really no difference between arranging and composing. However, the word arranger is often used to refer to somebody who only reworks previously written pieces, while composer is used for someone who creates pieces from scratch. Beat: The regular pulse in music. Music moves to a steady beat. The division of pulse is called meter. In a waltz or “3/4 meter,” music is divided into groups of three. In a rock or jazz of “2/4 or 4/4 meter,” music is divided into groups of two or four. Chords: Two or more notes played at the same time. Color: The unique quality of sound created by an instrument or voice; tone. Often referred to as “dark” or “bright.” Digital Sampling: The electronic borrowing and manipulation of recorded sound. Harmony: A combination of notes sounding together to create a chord. Harmonic foundation: The relationship between a series of chords within a musical composition. Half step: The smallest interval or distance between two notes in American and European music. Improvisation: The spontaneous creation of an original piece of music. It requires a great deal of practice and an intimate knowledge of the style of music in one desires to create. Instrumental: Music performed on instruments rather than sung. Melody: A succession of notes of varying pitch and duration in an organized pattern to form a tune or theme. Melodic structure: The relationship between a series of melodies to create a musical composition. Phrasing: A musical thought with a beginning, middle, and end. Similar to a sentence, a phrase is a complete musical idea. Register: The different levels of range (high and low) of instruments and voices. Riffing: A jazz term meaning a short, repetitive passage. Riffs are used as signposts or checkpoints for musicians. Rhythm foundation: The underlying combination of beat and accompanying rhythms that lay the foundation for the rhythm of melody and improvisation. Scat-singing (scatting): Improvising by a vocalist, using nonsense syllables instead of words. Song form: Form is the way that musical ideas are organized. One form, the 32 bar popular song form known as AABA, states an opening section which is called the “A” section. The “A” section is repeated and then followed by a contrasting new section called the “B” section. The “B” section is followed by a final repeat of the first “A” section.
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