Smalls Jazz Club Concert Review

The live opera jazz performance took place at the Small s Jazz Club in New York. From first sight, someone can easily dismiss the small dark room with ragtag chairs as being any other ordinary place. However, after visiting the area, I got convinced that the building plays host to some of the quintessential jazz performances which sooth the soul and calm the mind of the audience. The club is hospitable and offers attendees different cocktails even as they wait for the commencement of the actual performance. The audience thronged the club early enough before the concert by the ingenious jazz music players Joe Farnsworth Trio Featuring Buster Williams began. A mixture of sizzling instrumentation and musical improvisations dominated the performance.

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As people settled to give way to the live performance, the trio instrumentalists each take their position on the stage and taking charge of an instrument. The performance was characterized by the use of various instruments which when collectively played produced unique elements of jazz including melody, rhythm, harmony, and syncopation. Some of these instruments included piano, saxophone, trumpet, trombone, drums, bass, and guitar. It was fascinating to feel the blend of the instruments which when played brought out a musical mix of tones that not only keeps the audience connected but also jerked. From the onset, it is clear that the tunes that the performers take are not necessarily premeditated. They seem to have particular freedom in the use of their instruments which solely manifests the improvisation element of jazz. The beats are perceivably made up on the stage, but still, the trio expressed a unique aspect of coordination.

The performers strived in every bit to prevent their presence on stage from becoming boring. Even though instrumentation was the main component of the show, they played them in such a way that enhanced syncopation. After every short interval, the performers ensured that each instrument ushered in a new tone which then caught the audience in surprise and caught their attention. In doing so, the performance never grew dull or flat at any time. To assert their stage presence, one of the three interjected the play and appreciated their welcome on stage. In doing so, he achieved the critical element of effecting performer-audience interaction. In essence, the artists recognized the fact that even though the instrumentation had the potential of keeping the audience alert, it was essential to foster a human interaction with the audience.

At any one time, it was difficult to explain the sound of the instruments as they were not only homogenous but also shifted from one beat to the next. Just like any jazz show, the artists ensure that they maintained an infinite number of nuances akin to the human voice. Every time they changed from one string of tone to the next, the audience got jerked and joined in acclamation. This in itself implied that the performance gripped the attention of the attendees. Before attending the show, I could not imagine that artists can entirely manage the instruments in such a way that they are played by different individuals without any perceivable element of pre-coordination but still manifest the highest levels of creativity. From one performance to the next, it was easy to develop a deeper understanding of jazz as music and appreciate the creativity of the genre of music since it does not limit the performer in any way. The performers expressed carefreeness on the stage and transited from hit to smooth flowing beats and kept the audience nodding in appreciation. Psychologically, this audience-performer connection represented a bonding of music with the soul that was highly achievable based on the creativity of the artists.