Carlo Gesualdo was a prince and landholder in Venosa in southeastern Italy. Around 1588 his wife began an affair with a gentleman in the vicinity. In 1590 Gesualdo, found the pair in bed together, stabbed them both, and hung their corpses in front of his castle for all to see. The story was retold repeatedly by poets of the day in a sixteenth-century equivalent of headline news. Was Gesualdo really a renegade as well as a murderer? Was he even a “modernist” of his time?
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Categories: Jazz Music, Music, People Are Talking!
Carlo Gesualdo was a prince and landholder in Venosa in southeastern Italy. Around 1588 his wife began an affair with a gentleman in the vicinity. In 1590 Gesualdo, found the pair in bed together, stabbed them both, and hung their corpses in front of his castle for all to see. The story was retold repeatedly by poets of the day in a sixteenth-century equivalent of headline news. Was Gesualdo really a renegade as well as a murderer? Was he even a “modernist” of his time?
Leslie Stainton covers the first night of UMS Night School, where she learned the meaning of “maverick.” VIDEO interview with UMS Head Usher Dennis Carter as he prepares to usher at the Einstein on the Beach preview performances.
Editor’s Note: UMS will present “A Night in Treme:The Musical Majesty of New Orleans,” a night of New Orleans jazz featuring the Rebirth Brass Band, this Friday, November 11 at Hill Auditorium. The following note …
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My nine year old daughter danced to Wynton and company at the top of Hill Auditorium. Everyone in the family enjoyed the variety of peices and the opportunity to hear individuals perform.
One last note, Us fans know that Wynton is a busy 24/7 transcient, yet please bring him back next year!
Very enjoyable. I loved how they came out at the end and jammed.
The Portrait in Seven Shades pieces were so creative and you could really tell that the performers were having a good time up there–which makes it even more fun for the audience!
Absolutely stellar! Loved Mr. Wynton and thee JLCO gents – they are first-class musicians with so much skill, skill, and more magnificent skill!
During the intermission, everyone was talking about the odd meter of the last tune the played. I had my own way of counting it, but Ali Jackson the drummer of the group gave me some cool insight on it backstage between sets. Before I give it away, I'll ask: How were you counting the 13/8 meter for Ted Nash's composition "Dali?"
I was disappointed by the selection of pieces; they were far-out and very esoteric in my opinion. The first 3 selections were very enjoyable, but after that it sounded like dissonance to me. My wife and I left at intermission, since we were not looking forward to more of the same type of compositions that were played leading up to the break. I guess I was expecting more selections from artists like Brubeck, Basie, Ellington, and Herbie Hancock. The real jazz aficionado probably enjoyed the performance very much, but not I.
I see your point and can respect that. I would have personally liked to have heard more of the swing too.
We enjoyed the Portrait in Seven Shades pieces – I thought they connected very well with the artists's paintings. The Lincoln Center Jazz Orchestra works wonderfuly together.
(I never quite figured out the odd 13 count meter but it was interesting.)
My only fault, audiences at U of M are at times waaaay tooo tight and conservative. This concert was more tight than when Corea/McGlauglin/McBride/Blade came last April. Guess I'm used to the energy and response passion of jazz fans during concerts in Detroit and in other states. Like the very last composition was so full of gospel blues, that I feel like dancin, yet the people around me were sooo zombie-eyed, no movement… it JLCO were in Detroit downtown playin that composition, the audience would have been swingin blues and groovin'. Sorry just my take on some Ann Arbor folk. Loosen up – stop being so starchy!!!!
The orchestra is superb, however I would have liked to hear more Duke Ellington. There are very few trancendental experiences in life, but hearing Duke Ellington played by the Lincoln Center Jazz Orchestra is one of them. He is so brillant that his music sounds as if it was written yesterday. It takes me to another place. Next time, more Ellington please.
After the first set, I over heard drummer Ali Jackson talking about the 13/8 meter of "Dali." Apparently is was written as 4+4+5. But as Ali said if you have to count it you'll get lost. Vincent Gardner confirmed that you needed to internalize the rhythm, but once you had it the groove was infectious. Ali mentioned that as the band learned the tune he put a clave-like pattern to it which seemed to help. In that pattern you'll count 3+3+3+4 or 123,123,123,12,12 (Stress the ones and you'll have it). Though after the show, Ted Nash stressed original pattern counted 1234,1234, 12345. I didn't feel it that way though. I'm not sure if others did.
I'm with you, Carlos. I definitely felt it as 123,123,123,12,12. The clapping they did certainly helped the audience get in the groove. I can't imagine it as 1234,1234, 12345.
For anyone else interested you can listen to "Dali" on Lala. Here is the link: http://lala.com/ziam
My mom joined me for this concert and in our debate about how to count it, she was feeling the four, but I am definitely with you on 123 123 123 12 12!