The song is from the Bebop era, and I believe it is a 12-bar blues, but I am unsure because the chord progression seemed to be longer than just 12 bars. The first thing that I noticed about this piece was how the band played slightly louder and that there was more emphasis on the trumpet compared to the last two songs, which emphasized the trombone a bit more. The syncopated rhythm, combined with the trombone’s harmonics, helped promote a swinging sensation during the main theme. Also, when the solo improvisations started with the piano, which sounded a bit simplistic, I noticed that the piano had rarely done anything noticeable since its other solo in “Doodlin’,” and continued to be so unused that the pianist had her right, non-playing hand on her lap for most of the performance. Otherwise, I thought that the piano and drum solo at the end were very powerful. The drum solo was an especially wonderful way for the first student combo to
The song is from the Bebop era, and I believe it is a 12-bar blues, but I am unsure because the chord progression seemed to be longer than just 12 bars. The first thing that I noticed about this piece was how the band played slightly louder and that there was more emphasis on the trumpet compared to the last two songs, which emphasized the trombone a bit more. The syncopated rhythm, combined with the trombone’s harmonics, helped promote a swinging sensation during the main theme. Also, when the solo improvisations started with the piano, which sounded a bit simplistic, I noticed that the piano had rarely done anything noticeable since its other solo in “Doodlin’,” and continued to be so unused that the pianist had her right, non-playing hand on her lap for most of the performance. Otherwise, I thought that the piano and drum solo at the end were very powerful. The drum solo was an especially wonderful way for the first student combo to