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 You Like Jazz? Take A Chance on Ithaca College!

The Ithaca College Jazz Vocal Repertory Ensemble offers a night filled with extraordinary talent and welcomed surprises for all music lovers to indulge in.

Improvisation in every form, the performance by the Jazz Vocal Repertory Ensemble had everything one could ask for. On the 27th of January 2020 the ensemble, home to Ithaca College, put on a fantastic show that music-lovers from all walks of life could enjoy. A time when blissful concertgoers could enjoy the privilege of attending in-person concerts on a regular basis without having the fear of being infected by a deadly virus. Unfortunately, we no longer have the same privilege, but alas we have learnt to accept this change and grown accustomed to watching recorded concerts from the comforts of our own homes. As luck would have it, the performance was recorded and is accessible for all to relish on the Ithaca College School of Music 2019-2020 Archive webpage. Even if you are a casual listener of Jazz, I can guarantee you will enjoy the talent and exuberant energy the ensemble exudes. Directed by the gifted John W. White, an active and involved member of the Ithaca college community who has clearly cultivated a special relationship with his musicians, the performance does not lack in any aspect.

Allow me to preface my remarks about the extraordinary talent this ensemble possess by describing how the concert opens: Prior to the concert the conductor and his students spontaneously decided to ‘add a tune’ for the rhythm section, in light of the fact that it was a jazz concert. Of course, every jazz concert must contain at least one piece for the rhythm section, so this last-minute revelation was really no surprise. In case you are convinced that the spontaneity was a ploy to paint the musicians in a more talented light and impress the audience, let that doubt be put to rest as the piece was not even included in the program. With precise instruction to the ensemble, consisting of a piano, upright bass, and drum set, they proceed to perform ‘All The Things You Are’ perfectly, hitting every note with unmatched precision, leaving us to question the nature of their being; perhaps they are robots and the piece was programmed into their very being? This explanation may offer more merit than the idea that they are simply human like the rest of us. Each musician seems to have masterful control over their instrument, always on time and in tune. Throughout their performance, they glance at one another, as if speaking their own secret language through gestures and facial expressions, in order to communicate cues. An impressive feat given the fact that they are not paying full attention to their instrument when attempting to perform a rather musically and technically demanding piece. They casually trade improvisatory solos among themselves with such grace and ease that one can only assume they are all being controlled by a singular higher being. Every soloist has an unparalleled accuracy with pitch and sharp cut offs. Each solo speaks to the mastery and versatility of each member of the ensemble, demonstrating to the audience the immense amount of talent packed onto the tiny stage.

After the unplanned detour, the scheduled program begins as the jazz vocalists walk on, immediately commanding control of the stage. An ensemble of 10 female vocalists stand confidently in front of their music stands, ready to amaze. Starting with ‘One Note Samba’ by Antonio Carlos Jobim, the performers sway around enthusiastically to the driving beat of the music drenched in Latin flavor. The ensemble enters in unity, singing with clear diction and outstanding pitch. Sharp cutoffs and solid entrances make the performance professional-esque. Throughout the piece, they add musical variation by performing intriguing harmonies that include octaves and other, more complex, intervals. As soon as we are left feeling satiated with all the musical motifs that had been offered, a few different vocalists perform unique solos. Not just any type of solos, scat singing— vocal improvisation with wordless vocables, nonsense syllables or without words at all— a considerably harder form of singing. The soloists, one by one, walk up to center stage and start improvising their hearts out. Making up vocal melodies on the spot with an unparalleled amount of confidence and accuracy, leaving the audience in complete awe.

As the applause echo through the hall, White introduces the next song, ‘Route 66’ by Bobby Troop and promptly exits the stage. The piece opens with an emphatic bass solo, setting the tone and tempo for the rest of the performance. As the low notes reverberate throughout the concert hall, the bass is quickly joined by the drums and piano, setting the stage for the vocal ensemble to enter. Upon entrance the vocalists show off their expansive range by singing rather low notes. With fun little scoops and precise cut offs, the performance was definitely an enjoyable one. Like the last number, there was a section of scat singing once again but this time, with a surprise element. White jumps into the performance with some of his own improvised melodies from off-stage, leaving the audience completely stunned. Suddenly, there was an impromptu call and response happening between White and the three soloists on stage; it seconds the whole audience is in on it on-time claps and everyone singing, creating an energetic and delightful atmosphere. White seamlessly conducts the ensemble to end the improv section and proceed with the full-fledged chorale arrangement which is perfectly executed musicians and singers.

We then transition to the next piece, “Taking A Chance On Love.” It opens with a soloist, whose voice is strong yet tender, accompanied by lavish chords on the piano. Almost lullaby-like, the tranquil duo might just make your eyes start to fell heavy and induce a deep slumber. The jazz sound we have grown accustomed to then makes a prompt re-entry, knocking us back in our chairs. Instantly, we start to hear a chorus of voices singing jazz-like harmonies escorted by the driving rhythm section. For those who enjoy jazz and easy listening, this would be perfect to listen to. Upon completion, White converses with the audience briefly and comes up with a great segue into introducing the next song on the program, ‘There Is No Greater Love’ by Marty Symes & Isham Jones. Though the tempo seems to be quite erratic during the introduction, it seems to become steadier and easier to follow once the vocalists join in. Like all the other songs, the audience are left to the devices of the heavenly chorus accompanied with harmonies. Finally, we have a soloist perform her own vocal improvisation making use of random syllables and occasionally lyrics. From the depths of the tenor range to the sky-scarping altitude of the soprano range, her vocal scope seemed to be endless. It was so magnificent that the audience felt compelled to accompany her with claps as a vote of appreciation.

For the final number, White decided to end with an a cappella performance , Toyland by Glen MacDonaugh & Victor Herbert, in order to really emphasize the talent of his vocal ensemble. After giving a brief history lesson, and so graciously warning the audience that there would be a quiz on it, White gives a starting note and raises his hands to indicate the beginning of the end. What would easily be the most impressive vocal performance was to proceed. The ensemble had perfect diction which created a blend like no other; it was as if all their voices were combined together to form a single sound. Furthermore, they managed to remain on pitch throughout the performance, without the assistance of any external instrument, which in itself, is a spectacular feat. The melodies and countermelodies move effortlessly in unison, complimenting each other at every turn. With dynamic contrast and perfect timing, the piece had all the ingredients necessary to make it the highlight of the concert. The perfect end to a night filled with outstanding music. Whether or not you are fan of jazz, I can promise you that this ensemble will bring you copious amounts of joy.

Watch the performance here

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The Treble Chorale and Choir from Ithaca College bring a “A Rainbow During the Storm” to help lift the spirits for those stuck in quarantine.   

 From the comforts of their own homes, the dynamic choirs create a magical virtual experience for all to enjoy.

During a time where we are confined to our homes and can no longer enjoy the wonders and connection of an in-person concert venue, The Treble Chorale and Choir from Ithaca College, did an outstanding job at trying to bridge this newly found gap. The extravagant performance was conducted by the celebrated and charismatic Janet Galván. Both groups cultivated a relaxing atmosphere with their casual clothing, smiley personality, and colorful backgrounds. Close to 45 members make up each group, all of whom exuberate excitement and enthusiasm. On May 11th, shortly after the arrival COVID-19 to the US, which quickly prompted the premature closure of colleges around the country, the Ithaca Choral community nimbly adapted to the new circumstances, and came together, stronger than ever before, to put on one last concert before the end of the Spring 2020 semester—it was for the history books. The lack of in-person interaction failed to take away from a decade-long tradition where the seniors are surrounded by their peers and sung to one last time. With the use of technology, they managed to continue this tradition despite the abnormal position they were put in. Not only were traditions withheld, but so was the quality of music produced from both of the ensembles.

The concert begins with The Treble Chorale performing a breathtaking rendition of ‘Blessing’ by Katie Moran Bart. Each voice seems to blend in perfectly together to form a heavenly and calming chorus. Naturally the mixing played a huge role in creating the heavenly sounds we hear, but that should not take away from the beautiful voices that make up the inconceivably talented ensemble. If you listen closely, you can hear their individual voices, all of which are just as beautiful as the next. The control, pitch and tone are otherworldly. One may think that trying to coordinate such a large group of singers would result in timing issues and other technical issues, but the group demonstrates that it is possible to create magical sounding music using technology.

The concert concludes with a powerful performance of ‘The World, This Wall, and Me’ by Michael Bussewitz-Quarm, performed by the Choir. Commenced with a strong opening by the male voices that creates the foundation of the piece; we immediately know we are in for a spectacular performance. Once the foundation had been established, the remaining voices enter, and suddenly we are transported to a different galaxy. The beautiful counterplay between the lower and higher voices creates an exquisite sound and introduces intriguing musical ideas. Like, the last performance, all the voices complement each other perfectly, and in unison create a majestic sound that will be talked about for years after this performance. The small section with the three soloists acted as the icing on the cake, showing the audience that there are very talented individual singers that make up the incredibly talented ensemble.  

I know you may feel frustrated watching this concert alone in your bedroom under the light of your single luminescent bulb, but it may be comforting to know that the members of both Treble Chorale and Choir did not get to enjoy the benefits of performing at a live venue either. Instead, they too were trapped to the confines of their own homes, where they produced and recorded the sounds necessary to fill their part. This concert was a powerful demonstration of the beguiling music that can be created from the comforts of your own home. Grim as it may seem, perhaps this is the future of ‘live’ concerts and perhaps, we may have to get used to it—at least for the foreseeable future. Whether this may be the case or not, the Treble Chorale and Choir from Ithaca College have certainly shown that it is possible.

Watch the performance here

 

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“Be Happy” by Dixie D’Amelio: A poorly written, generic pop song that shows off the TikTok stars’ sub-par vocal ability.

D’Amelio’s debut single is topping billboards and crushing competition but does not offer any real musical intrigue.

 

TikTok, the sensational social media app that allows users to share and view short videos, has thrusted a host of individuals into the spotlight of fame. Among those most brightly illuminated by TikTok’s searing beam of celebrity is the charismatic and easy-going Dixie D’Amelio. She first started gaining popularity in early 2020 and has now amounted to over beam of celebrity is the 34.6 million followers on the app. Though she was first known as Charli D’Amelio’s older sister, she has, since then, has created a name for herself by releasing her own single, “Be Happy.” To date, this song has accumulated close to 40 million streams on Spotify, 80 million views on YouTube, and has cracked the top charts in the US. An impressive feat for someone who, prior to TikTok, was completely unknown to the world. Does “Be Happy” have the musical intrigue to warrant the tremendous amount of attention it has been receiving?

The song opens with an acoustic guitar repeating a simple riff accompanied by D’Amelio’s average vocals. In a flurry, the addition of snaps on the two and four along with a basic rhythm from a kick drum, a rhythmic drive takes over causing us to unconsciously start tapping our foot. We are then sent into the pre chorus where the atmosphere changes and becomes more spacious as we lose the rhythmic drive provided by the snaps and kick drum. After a short rest we are launched into the celebrated chorus where D’Amelio sings ‘Sometimes I don’t wanna be happy’ complimented by an energetic musical accompaniment. The lyrics are quite sad as D’Amelio speaks about her struggles with depression and tries to communicate this idea in a playful way, through the use of an upbeat and catchy instrumental track. D’Amelio uses the upbeat and catchy vibe of the song in order to show how our generation often deals with depression, through the use of humor or making their struggles sound more jovial than they actually are. The upbeat nature allows the true meaning of the song to be concealed underneath the music, a similar technique many individuals in our generation employ in order to conceal their depression. At best this is a mediocre attempt at creating what feels like a generic pop song. Though it has a catchy hook and has clearly been professionally mixed and mastered, D’Amelio’s vocals are quite insipid. Despite the generic nature of this pop song with no real appeal, it has managed to climb the charts and experience huge amounts of success, thus showing the power social media fame has nowadays and how it has completely revolutionized the music industry. Without the existence of TikTok, artists like D’Amelio would stand no chance at receiving the kind of success she has. In the global romper room of TikTok being followed is better – and more lucrative – than leading. Starry-eyed influencers like D’Amelio can seamlessly transition from one form of entertainment to another and experience tremendous amounts of success, regardless of whether or not they possess any real talent.

 

 

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Me: Elton John: A scathingly honest and brilliantly written autobiography of the legendary Sir Elton John.

Written to be enjoyed, the autobiography gives us stories upon stories, in lavish detail, of Elton John’s extravagant life, exploring every conceivable facet of his extraordinary existence.

Sir Elton John. A name and title that can be recognized around the world. A name that has become synonymous with talent and perseverance. A name that embodies the defiance against the status quo and the breaking of norms. Elton John is a musical genius and a trailblazer in so many facets of life. Not many artists ever get the chance to reach the remarkable stature of Elton John and only a few are knighted by Queen Elizabeth II herself. The list of accomplishments and accolades associated with his name are plentiful, leaving many to wonder how anyone becomes an “Elton John.” For those people, I would refer you to the outstanding autobiography of Elton John, Me, ghost written by Alexis Petridis of The Guardian. The incredible piece of work gives us insights into every crevasse of his life, leaving no stone unturned and, for the first time, giving us a comprehensive account of his journey. In the scathingly honest and tell all autobiography, John recounts events from his childhood in Pinner, London, all the way through to his final tour, Farewell Yellow Brick Road, and includes details that may or may not be wanted by the reader, like the use of adult diapers.

 

Elton John begins by recounting his grueling childhood years in the London suburb of Pinner. Born to a pair of abusive parents, John was frequently the victim of verbal and physical abuse, often for the most bizarre reasons. “I would get into trouble if I kicked my football off the lawn into the flower bed, but I would also get in trouble if I ate celery in what was deemed to be The Wrong Way,” the list of activities that could inspire punishment seemed never ending and each more peculiar than the last. The only approval he would ever win from his parents was from playing the piano, fostering an incredible bond with the instrument from a very young age. “But he liked music, and if he heard me playing the piano, I’d get a “well-done”, maybe an arm around the shoulder,” which may seem trivial to some but can be very rewarding for a child that generally lacks any sort of emotional support/approval. His tough childhood beckons the question: How did this kid end up turning into Elton John? Not to mention that his parents never thought that the music business was a suitable career choice for him. However, from a young age John had always possessed a phenomenal knack for playing the piano. As he relates, “if I heard a tune once. I could go to the piano and play it perfectly by ear,” an impressive talent for any individual to have and an outstanding talent for a young boy to have. Despite his awful relationship with his parents, John was able to seek comfort in his nan, formally his grandmother, “she was the person I trusted the most,” he` says. This trust is made undeniably clear as he goes on to describe how she casually helped to extract his penis from his uncooperating trousers that decided to entrap his foreskin in the zip.

 

After meeting his songwriting partner and lifelong friend, Bernie Taupin, John’s musical journey seemed to take off. The famous and celebrated song, “Your Song”, was released shortly after this brilliant duo united, almost immediately gaining worldwide recognition in 1970. The song gained so much attention that John felt that a tour in the US was obligatory, where John recounts some extraordinary stories, from stunning audiences with his extravagant wardrobe to throwing oranges at Bob Dylan when the American proved incapable of playing charades, his time in the US seems to have every type of experience conceivable. Perhaps one of the funniest stories was – “In September 1980, I played in front of half a million people in Central Park, the largest crow I’d ever performed to” … in a Donald Duck costume. In light of his lack of foresight, John was left completely immobile and incapable of sitting due to the bulky nature of the costume, creating a memorable experience, to say the least. John could, no doubt, write brilliant music but his eccentric nature and outlandish personality contributed greatly to his success and popularity.

 

Me isn’t strictly a tale of fun stories and amazing experiences, John opens up about his struggles with addiction and much more, for the first time giving us insight into his seemingly perfect life. At the forefront of his struggles was his cocaine addiction, alcoholism, and bulimia. John describes his first experience with cocaine and how, despite making him sick, he would go back for more, marking the beginning of a dark era in his life. John has never been one to do small things, its either big or go home, so it’s no surprise that he took advantage of his financial status to indulge in copious amounts of cocaine and alcohol. At the height of his addiction, he recounts a story where, after a night of drinking and doing drugs, he was escorted to a hotel room that was left in a disastrous state, almost everything turned upside down, rendering him speechless and determined to figure out who could cause such chaos. Unbeknownst to him, he was the incredible force that left the room in ruins. Upon this eye-opening revelation he finally decided to seek the help he had been denouncing for years. Another sombering moment in the autobiography occurs when John describes the AIDs outbreak and the loss of close friends such as Mercury.  “Not being that interested in having sex myself is the reason I never got HIV”— John highlights, attributing this personal quirk as the reason he lives to this day. Due to its impact on his life, AID’s has always been a very important cause to John which inspired him to found the Elton John AIDs Foundation.

 

John’s post-rehab life was draped with moments of doubt – “I thought I couldn’t make an album without drink or drugs” – but he would quickly realize that this wasn’t the case and, with the help of his brilliant musical mind, continued to create outstanding music and immerse himself in charity work. Unfortunately, tragedy always loomed close behind. John lost two of his dear friends Gianni Versace and Princess Diana, back-to-back – “I turned on the TV in the bedroom and sat there, watching the coverage, bawling”. Enough to put any ordinary individual out of commission, however, John persevered and tried to continue to do what he did best, somehow never falling back into the dark place he was in before. John reveals that his very successful tribute to the late Princess Diana, “Candle in the Wind 1997,” made him uncomfortable. “It felt as if people were somehow walling in her death,” he said, for a long and unhealthy period of time. An interesting thought that not many would have thought of but was nonetheless, the reality in John’s mind. Finally, John leaves us with one last struggle he has had to endure in the past few years: the onset of prostate cancer. Somehow, he has managed to keep his condition from the world, despite accidentally urinating on a stage in Las Vegas, in front of 4,000 fans. Only John would be comfortable enough to share such intricate details of his life, speaking greatly to the type of person he is. Despite his grueling battle with cancer, he still managed to get up on that stage and perform in front of thousands, another feat that only Elton John could pull off.

 

Elton John’s journey to paramount success was not an easy one; it took years, extensive amounts of talent and the wow-factor that seems to have been entrenched into his being to become the famous Sir Elton John. Though this autobiography does not detail the genius that went into some of John’s brilliant musical pieces, it offers never before seen insight into his life and his riveting experiences, presented in an incredibly enjoyable way. With pictures interspersed throughout the book to give life to the outlandish descriptions of his extraordinary experiences (the picture of him in the Donald Duck costume was definitely a highlight), this autobiography has everything one could ask for, making it a must read. Whether or not you enjoy his music, after reading this autobiography you will be left with a newfound respect and admiration for the legend that is Sir Elton John.

 

 

 

 

 

 

 

 

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A quick claim to fame followed by a tragic, premature death.

The 20-year-old superstar, Pop Smoke, full of promise and potential, re-invigorated the New York Drill scene, leaving us to wonder what could have been.

Pop Smoke striking a pose for publicity.

2020 has to be one the worst years in recent memory. From the infamous coronavirus to the civil unrest throughout the country, this year has brought to light a wide range of problems. Among the host of terrible events that have occurred, a variety of influential musicians have passed away, one of which was the rising star, Pop Smoke. As quickly as Pop Smoke rose to fame, was as swiftly as he lost it all. The 20-year-old Brooklyn born hip-hop rapper, Pop Smoke (originally named Bashar Barakah Jackson), was on the verge of making an international breakthrough before his life was mercilessly taken away. On the 19th of February 2020, at around 4:30am, two masked men broke into his house in an attempted robbery but instead ended up fatally shooting Smoke and fleeing the scene. Smoke was quickly rushed to the closest hospital where he was pronounced dead after futile attempts at revival. Shock and anger ripped through the community that had grown so fond of his unique voice and compelling style of music. But how did a 20-year-old out of Brooklyn grow to have such an impact in such a short period of time?

Jackson was born on July 20, 1999 in New York City where he spent his early childhood in the Canarsie section of Brooklyn. To say that Jackson had a rough childhood would be an understatement; in eighth grade he was expelled for bringing a gun to school, shortly after he spent two years under house arrest for illegal possession of weapons. Though there were occasional highlights, an invisible force always seemed to prevent Smoke from achieving sustained success. For example, when he was 15, he won a basketball scholarship to a prep school in Philadelphia, however, was forced to decline the offer after being diagnosed with a heart murmur, a condition that can be exacerbating by playing sports. Despite his early struggles, Smoke’s unfaltering failures would soon lead to unimaginable fame in one of the most competitive and volatile industries.

Smoke only started playing around with the idea of music back in 2018, making his story even more unbelievable. His love for music stems from the time he spent in the studio during recording sessions with other well-established artists; these interactions fostered a deep-seated passion for the art and inspired him to embark on his own musical journey. During the recording sessions he started to attend more regularly, Smoke would secretly record his own vocals, immediately piquing the interest of some producers due to the unique nature of his voice. He began to work with 808Melo, a talented producer from the UK who would soon become one of his close friends and appear on numerous projects. On December 19, 2018, he released ‘MPR’ which created some buzz around his name in the Brooklyn area. The positive response he received urged him to continue fine-tuning his craft and creating music to share with the world. A month later, he followed up his debut single with another captivating piece called ‘Flexing,’ which ended up receiving over one hundred thousand views on YouTube within the first day of its release. With success stirring and the stars aligning, the journey seemed to be going much better than expected for the hopeful teenager, and after everything he had been through, this was a nothing short of extraordinary.

Smoke quickly befriended a producer, Rico Beats, who was well acquainted with the record executive for Victor Victor Worldwide, a subsidiary of Universal Music, known for cultivating the growth of young artists. After a quick introduction and brief interview, Smoke announced that he had signed with the record label and suddenly, everything seemed to have fallen in place, poising the young artist for international fame and triumph. In April 2019, Smoke released the lead single, ‘Welcome to the Party,’ of his debut mixtape— ‘Meet The Woo’ – foreshadowing the incredible celebratory party that would ensue. The record experienced tremendous amount of praise and recognition; the type of attention aspiring artists can only dream of achieving. It made its way around the world and caught the attention of heavyweights in the music industry such as Niki Minaj, Travis Scott, Quavo and many other globally acclaimed rappers, leading to some outstanding collaborations. Though the mixtape did not debut in the top 100 on the billboards, it was placed at 173, an impressive feat considering it was Smoke’s first commercial release. With people around the world echoing their unwavering support for the dynamic mixtape, Smoke and his label were confident that they could generate even more buzz with future releases. After taking a few months to refine and perfect his craft, Smoke announced the release of his second mixtape which would feature major artists such as Quavo, A Boogie wit da Hoodie, Fivio Foreign and Lil Tjay. What would be Smoke’s last project was released on the 7th of February 2020. Unlike his previous release, this mixtape not only cracked the top 100 but ended by debuting at 7 on the US billboards; giving Smoke the confidence to say that he had finally made it, despite his rough start and through all the adversity, he had achieved his biggest dream. Unfortunately, though this tale has elements prosperity and triumph interspersed throughout, it eventually ends in tragedy and heartbreak. Smoke never seemed to escape the demons that haunted him from a young age. Only a week after experiencing nationwide recognition and praise, Smoke was brutally murdered in his own home, putting an end to his short-lived, exceptionally successful life.

Smoke’s success was largely attributed to the connection he drew between the New York and London drill scenes, forming a captivating bond that had once been vilified by the media. Drill was originally a British rap sub-genre that emerged in London; it quickly gained popularity inspiring the creation of other regional scenes. It is characterized by dark, violent, nihilistic lyrical content and ominous trap-influenced beats. The lyrics tend to reflect life on the streets in a violent, gritty and realistic way. The rappers generally use a grim, deadpan delivery with vocals that are slathered in auto tune, a method that was commonly employed by Pop Smoke. Though the sub-genre shares many similarities with trap music, it is generally slower with a moderate tempo of 60 to 70 beats per minute. Drill promptly made its way to the US where a regional style emerged in the south side of Chicago in early 2010 and by 2018 New York had seen its own iteration. Smoke did not stick to the conventional characteristics of the New York Drill scene yet was still was considered one of the biggest artists for the sub-genre due to its audible influence. Smoke often wrote about his environment and ambitions, glamorizing drugs and sexualizing women but never referencing excessively violent events. All of which is a direct result of his rough childhood; only Pop Smoke would be capable of turning something dreadful into something poetic and musical for all to listen to. In an interview Smoke stated that he makes music for the young kids growing up in poverty, like he did.

Many fans and critics attributed the newfound popularity of New York Drill to the catchy melodies and autotuned vocals Pop Smoke offered in his mix tapes. Smoke transformed the sub-genre and put it back on the map, capturing an entirely new audience that never existed before. He was praised for his unique style and stand out musical personality, which distinguished him from other rap artists, ultimately allowing him to experience tremendous amounts of fame and recognition. It was his distinctive approach to the sub-genre that caught the attention of many major recording artists. Upon his untimely death, the music world appeared to let out a unifying cry that echoed the remorse and heartbreak everyone was feeling about the tragic event. Quavo referred to Pop Smoke as a ‘very talented, humble, respectful, and appreciative’ young kid in a post on Instagram. Similar types of statements were shared by artists of similar status, showing the immense amount of appreciation and respect the 20-year-old had cultivated during his short musical journey. Now, all we have is the incomplete legacy that Smoke left behind. We are left to wonder what could have been. To what extent would he transform the genre? How would he grow as an artist? So many pressing questions that will never be answered. 808Melo recounts what Smoke said to him during a studio session – He knew, I need to do something else, I need to be versatile. I’m trying to be that superstar – Smoke was the type of artist that transforms genres and creates trends. There seems to be no limits in sight for what Smoke could have achieved. After all, he was only in the music game for two years before he achieved some top charting songs, who knows where he would have been in the next ten years. To lose him at such a young age and so early on in his career is not only devastating to his friends and family but also to the entire music community.

 

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A Wind Ensemble That Will Blow Your Mind

A college ensemble puts the world on notice by performing complex pieces of music at a high level, comparable to professional ensembles.

The Ithaca College Wind Ensemble

Times are tough, people are stuck at home without much to do, desperately searching for ways to stay entertained and motivated. But thanks to the heroics of the Ithaca College music program and the wonders of modern technology, not all hope is lost yet. On March 3rd, 2020 at 8:15pm, the Ithaca College wind ensemble, led by the celebrated conductor, Christopher Hughes, put on a marvelous show. The concert took place prior to the premature closure of universities across the US, due to the pandemic, and so lucky concertgoers got the privilege of experiencing what would end up being the last in-person concert for the foreseeable future. Though we may not be getting the same in-person experience, we are fortunate enough to have access to a video recording of the event (available on the Ithaca College School of Music 2019-2020 Archive webpage). Unfortunately, due to copyright issues, the wind ensemble was not able to release the entire performance, but thankfully we still get to view a majority of the concert.

Opening with ‘…and the mountains rising nowhere’ by Joseph Schwantner, the recorded concert begins with a bang, quite literally. The percussion section plays the drums with an incredible amount of force, producing a sound that is sent echoing throughout the building, immediately capturing the attention of the entire audience and leaving them to wonder what could possibly proceed such an intense entrance. What can only be described as an ominous and musically ambiguous section proceeds the drums, leaving everyone quite confused as a typical spectator would have assumed that an intense entrance would be followed by an equally intense musical motif. This ominous music continues as it begins to feel like a battle between the conductor and ensemble, wherein the conductor is constantly trying to regain control of his seemingly lost ensemble. There are moments of success within certain instrumental sections, however, he never seems to gain complete control. The wind ensemble appears to be blowing into seemingly hollow aerophones failing to produce any sort of musical sound and only emitting a sound that can only be described as the howling winds you hear on a cold dreary night, which adds to the eerie nature of the piece. To give the average reader an idea of what kind of music to except, when listening to this section upon closing your eyes you may just see yourself trapped within an abandoned house while slowly watching its interiors being contorted into different shapes and sizes by an invisible force. As we progress, the conductor acquires more and more control of the ensemble until it is clear he has regained complete command and the ensemble are playing as they are supposed to. By the end, the average listener may be questioning what array of cacophony and musical dissonance they just witnessed however the more experienced listener would be awed by as they know the technicalities and skill required to perform this unique piece.

Upon completion of the last piece a majority of the ensemble leaves and we are left with eight members, marking the beginning of an intimate experience of ‘Serenade No. 12 in C minor K388 (I. Allegro II. Andante IV. Allegro)’ by Wolfgang A. Mozart. As soon as the performance beings we are overcome by beautiful melodies and countermelodies. But perhaps the most impressive facet of the performance was the incredible technical ability of each member of the sub-section. Each individual clearly demonstrating expertise in their instrument with their quick transitions between notes and ability to clearly sound each individual note without ever faltering. Though the Allegro movements were excellent in that they showcased the musician’s incredible technical abilities, the Andante movement showcased a different side of the musician’s talents: their ability to generate emotions by paying attention to cutoffs and dynamics. I must also compliment their unbelievable stamina, the ability to play the wind instruments at such a high level for such an extended duration of time is truly an incredible feat. Imagine the amount of breath required to be playing for up to 22 minutes with a few second intervals between each movement, a feat that I am sure takes years of dedicated practice. Mozart would be proud of this performance.

As the applause of in-person attendees echoed through the hall we are reunited with the rest of the ensemble and prepared for the next piece, ‘Molly on the Shore’ by Percy Grainger. Immediately we are greeted by the technical expertise of the wind section that we have grown so accustomed to through the clear articulation and rapid fluctuations of notes but this time it is performed by the entire ensemble thus creating a much more powerful and overwhelming sound. Accompanied by the percussive section that never seems to miss a beat, this performance is truly one to remember. Throughout the performance I found myself forgetting that this was being performed by a cohort of college students, accompanied by a few professionals, and realizing the enormous amount of time they must have dedicated to their craft to reach the point where they are today. After a bit of reorganizing we are catapulted into the final performance of the night, ‘Elsa’s Procession to the Cathedral’ by the famous Richard Wagner and transcribed by Lucien Cailliet. It opens with a heavenly chorus performed by members of the sub-section we saw perform earlier. They are then joined by the rest of the ensemble creating a heavenly and full sound for the audience to relish. Unlike the last piece, this one is much slower and thoughtful which allows the ensemble to showcase their other incredible abilities such as expression and dynamics. Cultivating a feeling of triumph and success through the grand and glorious nature of this piece, the performance acts as a perfect way to mark the end of a magical night  that leaves the audience satisfied and feeling complete. As the stand ovations and overpowering applause fill the auditorium, I am left wondering what can’t the Ithaca College Music Program do.

Watch the live performance here

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My Musical Summer

Summer 2020 rekindled my love for the legendary Sir Elton John, prompting the musical equivalent of bingeing an entire show in a week. 

This summer I found myself listening to a lot of music by the infamous Elton John. The obsession began when I heard my parents blasting ‘Your Song’ on the speakers and I found myself feeling followed by a sudden urge to start listening to his music again. I promptly downloaded a couple of his albums and had his songs on repeat, however, I found myself gravitating towards one song specifically, this was none other than ‘Candle in the Wind’ (the rendition for the late Princess Diana). Perhaps this was due to a nostalgic element, as this was the first Elton John song I had ever listened to. Furthermore, the meaning and significance of the piece always seems to evoke some sort of emotional response. From the start of the song, the intention is clear as Elton John sings ‘Goodbye England’s rose’, referring to the passing of Princess Diana. As I learnt more about Princess Diana and her legacy, I started to connect with this song on a deeper level, which is the main reason it is so successful in evoking an emotional response.

Elton John uses a relatively simple chord progression, however, adds a lot of ornamentation and passing notes to make it much more musically interesting. His masterful ability to play the piano allows him to turn these seemingly simple chords into interesting musical motifs and ideas that are repeated throughout the song. The fact that the piece is a ballad contributes greatly to the emotion the song ultimately achieves. During these uncertain and challenging times, for some reason, I managed to find comfort in this song which is why I spent a majority of my summer listening to it on repeat.