Spring Break
Jazz concert in Slosberg showcases professor's talents
Prof. Bob Nieske (MUS) and friends played a variety of evocative pieces, cementing his reputation as a jazz force to be reckoned with.
by Alex Singer
Arts | 3/4/08
Posted online at 11:54 PM EST on 3/3/08
/ Last updated at 2:40 AM EST on 3/3/08
When asked about his approach to music, jazz musician Prof. Bob Nieske (MUS) explains, "Music comes from the individual ... Play yourself.
Last Friday evening, Slosberg Recital Hall hosted a night of jazz with the Bob Nieske 3 and Tre Corda, putting Nieske's methodology to the test. The overall mood was low-key and personal, just as a jazz concert should be. Moreover, the music performed was varied in style and presentation, highlighting each musician's own compositions, as well as jazz classics. The combination of the musicians' mastery of their crafts with the relaxed environment made for an entertaining night.
First up was the Bob Nieske 3, with Bob Nieske on bass, Phil Grenadier on trumpet and Moses Eder on the drums. The stands were arranged in a crescent shape opening toward the audience. This formation fostered a certain closeness between the musicians and the audience that is essential to jazz. After a brief welcome, Nieske introduced his first song, "Little Opera." Without hesitation, he started to strum a beat reminiscent of film noir. What was evident from the beginning, and important to note, was that no instrument was simply backup; all these instruments shared the spotlight and blended together well. The low strums of the bass and the smooth clashes of the drums contrasted with the abrupt wails of the trumpet. In addition, each musician built on the others. Each solo echoed the riffs of the preceding solo. It was interesting to see the bass in the foreground for most of the pieces, competing with the trumpet for the melody. Overall, the group was very cohesive.
The following piece was a jazz standard that I recognized immediately: "I Love You" by Cole Porter. As a classic tune, it was a nice departure from the more avant-garde tunes before. With the standard running bass line, the tapping symbols, I guess one could call the mood "swingin'." At first, the trumpet player seemed hesitant, skirting around the notes. Still, the bass entered with a confident, discordant beat. It was impressive to see a group take a jazz standard and break it down into something completely different.
Last Friday evening, Slosberg Recital Hall hosted a night of jazz with the Bob Nieske 3 and Tre Corda, putting Nieske's methodology to the test. The overall mood was low-key and personal, just as a jazz concert should be. Moreover, the music performed was varied in style and presentation, highlighting each musician's own compositions, as well as jazz classics. The combination of the musicians' mastery of their crafts with the relaxed environment made for an entertaining night.
First up was the Bob Nieske 3, with Bob Nieske on bass, Phil Grenadier on trumpet and Moses Eder on the drums. The stands were arranged in a crescent shape opening toward the audience. This formation fostered a certain closeness between the musicians and the audience that is essential to jazz. After a brief welcome, Nieske introduced his first song, "Little Opera." Without hesitation, he started to strum a beat reminiscent of film noir. What was evident from the beginning, and important to note, was that no instrument was simply backup; all these instruments shared the spotlight and blended together well. The low strums of the bass and the smooth clashes of the drums contrasted with the abrupt wails of the trumpet. In addition, each musician built on the others. Each solo echoed the riffs of the preceding solo. It was interesting to see the bass in the foreground for most of the pieces, competing with the trumpet for the melody. Overall, the group was very cohesive.
The following piece was a jazz standard that I recognized immediately: "I Love You" by Cole Porter. As a classic tune, it was a nice departure from the more avant-garde tunes before. With the standard running bass line, the tapping symbols, I guess one could call the mood "swingin'." At first, the trumpet player seemed hesitant, skirting around the notes. Still, the bass entered with a confident, discordant beat. It was impressive to see a group take a jazz standard and break it down into something completely different.
Be the first to comment on this story