Motown founder berry gordy has been credited with the famous quotation, “don’t bore us—get to the chorus.” it’s a slogan that applies to jazz-pop singer lauren desberg’s fat-free, 31-minute release, out for delivery.Cognitive learning theory in the classroom the album, which includes 10 desberg compositions and two standards, is peppered with four flavorful nuggets that are each fewer than 85 seconds in duration.Cognitive learning theory in the classroom the listener never has time to get complacent or sated, because the program’s pace is brisk and the hooks are strong.

The album opens with “the way you feel inside,” which merges modern pop production and multitracked vocals with andrew renfroe’s jazz guitar licks.Cognitive learning theory in the classroom this song’s protagonist encourages people to express themselves honestly, and, like much of desberg’s work, there’s more depth to the lyrics than one might initially notice—thanks to the breezy melody.Cognitive learning theory in the classroom “something wrong with me,” the tale of an unlucky-in-love narrator whose fortune mysteriously turns to sunshine, is a showcase for the production prowess of drew ofthe drew, who gracefully eases braxton cook’s saxophone into the mix, first as a background voice deep in the echo-laden distance and then, gradually, as the featured instrument, clear and authoritative in the foreground.Cognitive learning theory in the classroom also among the seven gifted musicians at the sessions was pianist kris bowers, who shines on the introduction to the brief closer, “the choice.”

cognitive learning theory in the classroom

Desberg, drummer jonathan barber and drew ofthe drew (who also mixed and mastered the album) ensure that the two standards—“the sweetest sounds” and “I’m gonna sit right down and write myself A letter”—are given fresh aural twists for a millennial audience.Cognitive learning theory in the classroom on these interpretations (and throughout the program), fans of norah jones might be drawn to desberg’s vocal delivery, which is buoyant but not lightweight.Cognitive learning theory in the classroom

The zoho label has earned a strong reputation in part because of its commitment to brazilian music and legendary artists such as acoustic guitarist carlos barbosa-lima, who, after moving to new york in the 1980s, frequently collaborated with fellow countryman antônio carlos jobim (1927–’94).Cognitive learning theory in the classroom delicado, barbosa-lima’s 10th release for zoho, is a tribute to the music traditions of rio de janeiro, such as bossa nova, samba and choro.Cognitive learning theory in the classroom the program includes compositions by jobim, luiz bonfá (1922–2001), joão pernambuco (1883–1947), baden powell (1937–2000) and others. For the recording sessions, the leader assembled an all-star quintet, featuring artists who have appeared on previous zoho releases: larry del casale (guitar), duduka da fonseca (percussion), nilson matta (bass) and helio alves (piano).Cognitive learning theory in the classroom

Sixty years after the release of director marcel camus’ orfeu negro ( black orpheus), musicians still find inspiration in the film’s soundtrack, which features work by jobim and bonfá.Cognitive learning theory in the classroom in his 15-song program, barbosa-lima interprets three tunes from the film’s score. The band’s version of “samba de orfeu” is an earworm with delightful percussive accents.Cognitive learning theory in the classroom A creative arrangement of “A felicidade,” another samba number, segues from a full-band treatment into a twisting path of delicate solo parts and whimsical segments that evoke the sounds of tropical birds.Cognitive learning theory in the classroom del casale and barbosa-lima—who have been collaborators for more than 15 years—offer a gorgeous duo reading of “manhã de carnaval” that tugs at the heartstrings.Cognitive learning theory in the classroom barbosa-lima’s arrangement of “odeon,” written by pianist ernesto nazareth (1863–1934), illustrates the drama and poignancy that this icon can generate in a solo guitar setting.Cognitive learning theory in the classroom

Diverse aspects of greek mythology, ancient china and the multiculturalism of contemporary san francisco all factor into wise dreams and fables of the sky by the ultra world X-tet.Cognitive learning theory in the classroom the bulk of the bay area quintet’s third release is devoted to the titular suite, a four-song adventure inspired by homer’s the odyssey. Gary schwantes (saxophones, bamboo flutes, ocarina) composed nearly all the material here, which was recorded live at san francisco’s old first church with doug ebert (bass), surya prakasha (drums), yangqin zhao ( yangqin, a chinese hammered dulcimer) and winnie wong ( guzheng, a zither that originated more than 2,500 years ago and became common during the qin dynasty).Cognitive learning theory in the classroom the result is a smorgasbord that organically blends straightahead jazz, fusion, funk, blues, world music and other sonic elements. Listeners don’t need to know the plot of the odyssey to fully appreciate the dramatic, cinematic qualities of this instrumental program; however, thanks to liner notes that outline the plot of books nine through 12 of homer’s epic poem, one can make a game of matching melodic segments with their corresponding literary scenes, such as odysseus’ encounter with the cyclops or his return to ithaca.Cognitive learning theory in the classroom

Although this is a concert disc, there is no stage banter and very little crowd noise, giving it the feel of a studio recording. A couple of memorable motifs—one involving a march-like rhythm and another featuring the guzheng—provide a buttress in the sturdy architecture of the suite.Cognitive learning theory in the classroom A far cry from a mere exercise in eclecticism, this album invites contemplation about the enduring components of that most human of endeavors: storytelling.Cognitive learning theory in the classroom

Across three consecutive recordings, bassist christopher tordini has been a constant companion, helping to provide niescier with a versatile rhythm section that’s either been rounded out by tyshawn sorey or gerald cleaver, who’s behind the kit on this newest set.Cognitive learning theory in the classroom working in a chordless troupe here, as well as on 2018’s the berlin concert, grants the reedist unsparing freedom to roam, and the berth to examine and re-examine a pair of compositions on each album, while also interspersing a handful of new confections.Cognitive learning theory in the classroom

“I was [excited] to include them in a different environment,” niescier recently told downbeat while chatting at a cologne cafe. “I think I cut [the introductorily passage of ‘the surge’] for the live performance, because we had so little time to rehearse, and included the whole thing [on the studio version].Cognitive learning theory in the classroom and ‘5.8,’ I think I wrote a different solo section. I was like, should I do this? Then I was like, fuck it, yeah. It was such a different energy.”

cognitive learning theory in the classroom

It’d be easy for niescier only to spotlight her burly approach to alto, augmented on new york trio by trumpeter jonathan finlayson, and come to each composition with a stormy fervor.Cognitive learning theory in the classroom but for “ekim”—its melody borrowed from turkish composer nazife güran—the bandleader and tordini bend, blow and bow quietly, finlayson weaving in lines with only minimal chatter from cleaver.Cognitive learning theory in the classroom programming “push pull” as the next track—one where the drummer leans into a groove more than anywhere else on new york trio—might just be a satisfying accident, pointing out the bandleader’s various, contrasting and erudite approaches to composition.Cognitive learning theory in the classroom but it’s just as likely a clever and playful move, again flashing niescier’s wit for a growing stateside audience.

Leap of faith presents the tenor saxophonist in a liberated light, with few harmonic constraints to heed and no commercial expectations whatsoever from jimmy katz’s nonprofit organization giant step arts [ ed.Cognitive learning theory in the classroom note: katz is a regular downbeat contributor]. Alexander takes full advantage of this artistic and financial opportunity to explore his own wide-ranging tastes and shed his image as a bebop purist by boldly venturing into avant-garde territory and beyond.Cognitive learning theory in the classroom his playing is explosive, unbridled, searching and cathartic in this chordless trio setting—wide-open terrain that previously was unexplored by alexander.Cognitive learning theory in the classroom

The program is all alexander originals that were composed during a recent period of turbulence in the saxophonist’s life, and he clearly uses this new material to vent his wildest ideas and innermost emotions.Cognitive learning theory in the classroom leap of faith begins with a brief free investigation that quickly takes shape as “luquitas,” a showcase for the group’s boundless energy and unceasing momentum.Cognitive learning theory in the classroom the saxophonist plays with uttermost intensity on the swaggering “hard blues” and the coltrane-fired “second impression.” blake’s thundering drums anchor the blistering “frenzy,” and weiss’ resonant bowings serve as an essential undercurrent for “magyar,” a work based on a reduction of themes from béla bartók’s music for strings, percussion and celesta.Cognitive learning theory in the classroom

With leap of faith, alexander followed the advice of his longtime friend katz and pursued a project that radically departs from the norm, investigating a more expansive setting than the traditional bebop métier that has defined his artistry for decades.Cognitive learning theory in the classroom the resulting album is an honest depiction of one of today’s most burning tenor players, unleashed, at a pinnacle of raw passion.

By contrast, sam newsome’s prepared saxophone, though it clearly takes inspiration from cage’s approach, involves a whole other level of invention and virtuosity.Cognitive learning theory in the classroom head over to his blog, and you’ll not only hear but see him alter the sound of his soprano in a variety of mind-bending ways, from inserting a noise maker into the neck, to adding lengths of plastic tubing between the mouthpiece and body of the horn.Cognitive learning theory in the classroom the clip where he stretches a deflated balloon across the bell and plays his horn like a bata drum is particularly brilliant.

Despite the title’s promise of chaos, newsome’s song cycle maintains a fairly conventional sense of melodic logic and rhythmic consistency.Cognitive learning theory in the classroom although some tunes—such as “chaos theory, no. 2 (hiss-ology)” or “solo, no. 3 (flutter-effect)”—largely are built around specific techniques, other tracks layer a range of preparations to create rich and inventive soundscapes.Cognitive learning theory in the classroom “sonic polarity,” for example, is built over a percussive ostinato and didgeridoo-like drone that lends a sort of persian classical feel to newsome’s improvisations, while “bubble mute boogie” builds off a prepared percussive pattern to create an addictively sweet blues groove.Cognitive learning theory in the classroom I can’t wait to hear what other possibilities newsome discovers as he dives deeper into his preparations.

Galvin uses the piano trio format within the confines of three­- to five-minute tunes, spinning right-hand flights into swelling waves of choppy chords.Cognitive learning theory in the classroom it doesn’t all actually come off sounding like pop music, and to modern times’ benefit, the playfulness these tunes rest upon sometimes is absent the overly serious stance listeners might associate with the jazz genre.Cognitive learning theory in the classroom maybe it’s a generational thing; polish saxophonist kuba więcek, another 20-something bandleader, moves in similar circles, ideologically if not sonically.Cognitive learning theory in the classroom

The ensemble’s setup—as well as galvin and dick performing together in UK group dinosaur—enables the troupe to easily float into the odd, moody tune amid all the ebullient compositions here.Cognitive learning theory in the classroom “fountainhead,” a three-minute cut about halfway through the disc, opens with a solo turn, before the bandleader is joined by bassist tom mccredie’s arco spotlight.Cognitive learning theory in the classroom “gold shovel” and “into the dark” are relatively somber works, too, but offset by the playful “jackfruit,” a tune presumably named for the meat-substitute.Cognitive learning theory in the classroom

Because they normally work in the background, solo albums by bassists often are marked by long bass solos, or unaccompanied bass performances, or even just an unusually bass-heavy mix.Cognitive learning theory in the classroom to that extent, aventurine sounds little like a typical bass player’s album, as leader linda may han oh keeps the music’s focus on her ensemble, not her acoustic or electric bass.Cognitive learning theory in the classroom

It isn’t just a general lack of bass solos. There are long stretches in the elegiac “the sirens are wailing” when oh doesn’t play at all, instead letting the string quartet and saxophonist greg ward take the helm for much of the piece, mixing improvised lines with those oh has written.Cognitive learning theory in the classroom it’s an amazing bit of writing, and quite a testament to oh’s abilities as a bandleader, as shifts between the composed and the collectively improvised sections are utterly seamless.Cognitive learning theory in the classroom moreover, there’s not even the hint of a bass solo in its whole nine minutes.

Although some might read that as evidence of oh’s selflessness, a better take would be to see aventurine as a reflection of the type of music she most wants to make: deeply compositional, strongly collective and drawing freely from a range of musical traditions.Cognitive learning theory in the classroom hence her treatment of “au privave,” which uses charlie parker’s serpentine blues as the basis for a churning, polytonal set of variations on a theme, giving us an approach to melodic elaboration that encompasses both jazz and classical music.Cognitive learning theory in the classroom when the group begins “song yue rao,” oh states the melody and others join in, making the chinese folk tune sound like an old-timey string band piece.Cognitive learning theory in the classroom but as more voices enter, rhythms are added, lines are improvised, and other keys are suggested, until the music owes as much to ornette coleman as to any folk tradition.Cognitive learning theory in the classroom