Tag: instrumental

Rob Harbron | Besinox

“Rob Harbron is a uniquely skilled player of the English concertina, described by The Guardian as a ‘concertina wizard’ and renowned for his highly individual and harmonic style of playing,” (artist website). “He is a member of Leveret (alongside Sam Sweeney and Andy Cutting), with whom he has toured extensively and released six landmark albums.

Known for his work with a wide range of artists including Jon Boden and the Remnant Kings, Emily Portman, Emma Reid, and The Full English, he has also worked with the Royal Shakespeare Company. His debut solo album Meanders was released in 2019 and was followed by a tunebook of original compositions.”

“Besinox,” from As the Days Begin to Lengthen (2024), begins in Bb major. At 1:20, a less stable middle section is announced by a prominent F minor chord. 1:53 brings a resounding shift to G major, which then falls in and out of focus a few times via compelling but fleeting harmonic sidesteps. The tune ends on a D major chord, with the key of G major clearly in effect.

Clara Schumann | Piano Trio in G Minor, op. 17

“Thanks to her constant touring, which almost always included performances of her own music, Clara was probably a better-known composer than Robert when they married,” (LA Philharmonic). “The Four Polonaises of her Op. 1 (not her actual first compositions) had been published when she was 11 years old, to be followed by numerous other solo piano pieces and her Concerto.

After her marriage, Clara turned to larger forms, studying jointly with Robert through all of his enthusiasms. Their influences were mutual – composed in 1846, Clara’s Piano Trio in G minor, Op. 17, was a direct influence on Robert’s Piano Trio in D minor, Op. 63, written the following year. (Robert’s own G-minor Piano Trio would be composed in 1851.) After Robert wrote his trios, Clara lost confidence in hers, but Brahms was one of many others who also played the work.”

While the Trio’s first movement, Allegro Moderato, begins in G minor, one of several harmonic shifts begins early (1:18) as a change in emphasis to the relative Bb major takes root.

Sure Fire Soul Ensemble | Out on the Coast

“Sure Fire Soul Ensemble, from San Diego, is one of the most talented new bands on the West Coast. Mixing funk, soul, jazz, and Latin & African influences to create unique, exciting music… their ‘cinematic soul’ is like a cross between the music from Jim Jarmusch movies & Blacksploitation films of the 1970s,” (AllAboutJazz). “If you like Snarky Puppy, The Beastie Boys’ instrumentals, Quantic, The New Mastersounds, Karl Denson and Greyboy Allstars… then you’ll love Sure Fire Soul Ensemble.

The title track (of the band’s 2016 release), ‘Out on the Coast,’ is a cover version of a rare-groove classic by Larry Willis from 1973 — one of the very finest examples of electrifying jazz-funk from the ’70s. Sure Fire Soul Ensemble updates it to become a contemporary jazz funk jam you can’t resist. It’s a little meaner than the original—Peter “D” Williams attacks the drums & Tim Felten takes a brief, yet nasty organ solo on this one. The horn section plays the refrain spot-on and tremendous tone on the guitar all make this tune sound more modern and stimulating than the original.”

The track starts in C minor, but then the emphasis flips over to the parallel Eb major for the off-kilter chorus, first heard at 0:41-0:48. The contrast between the two sections is magnified further by a shift in groove from the verse’s gritty, syncopated funk to a sophisticated swing on the chorus.

Wolfgang Amadeus Mozart | Piano Quartet #2 in E-flat Major, K. 493: I. Allegro

In 1786, early in the era of the pianoforte, “Mozart wrote his two piano quartets for an ensemble essentially as new as the piano,” (Earsense.org). “But for a few random and now obscure composers before him, Mozart became the first to claim a genre that would captivate composers from Mendelssohn and Schumann onwards … Mozart’s “piano” quartets are considered the first in the genre not because they are historically the first, but because they are the historically the first great ones.

When he wrote them, Mozart was at the zenith of his fame as a performing concert pianist as well as a confirmed master of chamber music. The quartets are superbly balanced chamber works with all the craft and intimacy that implies, but they are also magnificent showcases for piano — in essence, chamber concertos, a kinship emphasized by their three-movement designs.”

The first movement’s opening section is in Eb major, but by 1:40 we’ve clearly shifted to Bb major after several hints and feints. The movement eventually concludes in its original key as well, but not before some more delightful harmonic meanderings!

Flim + the BBs | At the Hop

Even in the world of instrumental jazz fusion, which represented a tiny slice of recording sales even at its height, the trio known as Flim and the BBs enjoyed only a cult following as a band. Over the years, much of the information from the few short articles about the band has already been excerpted here on MotD. Some additional information about the trio’s musicians:

“Bassist Jimmy ‘Flim’ Johnson has played on countless standout sessions with everyone from Stan Getz to Ray Charles. Since 1991, he has recorded and toured regularly with James Taylor,” (VinylDiscovery). “Drummer Bill Berg, who was never credited for his work on Blood On The Tracks, is a native of Hibbing, Minnesota, birthplace of Bob Dylan. He now lives in western North Carolina where he plays gigs from time to time. Pianist, composer, filmmaker, screenwriter (etc.) Billy Barber wrote the theme song for the long-running ABC soap opera All My Children, along with a whole bunch of other stuff you’ve probably heard of.”

Keeping a focus on a light-hearted yet strongly syncopated melody and plenty of dynamic range, “At the Hop” (1985) starts with an emphasis on Bb major. There’s a shift to Gb major at 3:13, another to Ab major at 3:39, and then a return to the original key drops at 4:05. After a (mostly!) very soft-spoken percussion break, the full band returns to end the track.

Herbie Mann | Insensatez

“Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the ’70s became so immersed in pop and various types of world music that he seemed lost to jazz,” (Qobuz). “However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann began on clarinet when he was nine, but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews’ Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse.

… After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader’s flute. He toured Africa (1960) and Brazil (1961), had a hit with “Comin’ Home Baby,” and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962) … he had among his sidemen such top young musicians as Willie Bobo, Chick Corea, Attila Zoller, and Roy Ayers … As the ’70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the ’70s, Mann had his own label for awhile and gradually came back to jazz … He passed away on July 1, 2003.”

Mann’s version of the Brazilian standard by Antonio Carlos Jobim, “Insensatez” (“How Insensitive”), released on 1964’s Latin Fever, is built in a slightly de-tuned C minor overall. The middle chorus, where the melody passes to the trombone while the Mann’s flute provides a harmony line (1:07 – 1:48), is in D minor .

Charles-Valentin Alkan | Grande Sonate ‘Les Quatre Ages’, Op. 33 | No. 2 – 30 ans

Parisian pianist and composer Charles-Valentin Alkan “wrote his Grand Sonata ‘The Four Ages’ after he returned to performing in 1844 after a six-year hiatus.” (Musical Musings). “The work was published in 1847. Alkan lived in an apartment in Paris, the Square d’Orléans for about ten years and was a neighbor to Chopin. They became close friends, and he became acquainted with many other artists that lived in Paris at the time, including Franz Liszt. 

The work is in four movements, with each one portraying the ages of a man. Alkan wrote a preface to the published work where he expressed his intentions with the titles and structure of the sonata:

The first piece is a scherzo, the second an allegro, the third and the fourth an andante and a largo, but each of them corresponds, in my case, to a particular moment of existence, to a particular disposition of the imagination. Why should I not point it out?”

The second movement corresponds to the age of 30; perhaps not surprisingly, it goes through several transformations and shifts along the way. Starting in D-sharp minor, it shifts to B major, G-sharp minor, and finally F-sharp major (quite a list of relatively rare keys!). We won’t timeslate the changes, because in order to fully experience this piece, your full attention will be required — and the video provides a full score! Make sure you’ve packed a lunch and have had some coffee first.

Sharon Shannon | Bag of Cats

“Irish President Michael D Higgins called her ‘A National Treasure’ and after 20 of her own albums, countless DVDs, filmed concerts, musical collaborations and a career that has spanned 40 years, Sharon Shannon in 2024 is still breaking new musical ground,” (artist website).

“… Sharon continues to redefine and re-imagine the boundaries of Irish traditional music, elevating the genre through her experimental collaborations with reggae, rap and classical musicians. Her list of collaborators is as extensive as her musical repertoire. She has recorded and toured with Bono, Willie Nelson, La Bottine Souriante, Shane Mc Gowan, Nigel Kennedy, Steve Earle, Justin Adams, Johnny Depp, Linton Kwesi Johnston, The Waterboys and Dessie O’Halloran, and the RTE Symphony Orchestra, to mention just a few.

… The genre-defying star has achieved multi-platinum album sales and has had several chart topping albums, singles and DVDs in her home country. Her album Galway Girl went 4x platinum in Ireland, with the title track winning her the Meteor award two years running for the most downloaded song. She also celebrates being the youngest ever recipient of the Meteor Lifetime Achievement Award.”

MotD regular JB adds: “Irish dance tunes are often played in sets of two or three tunes, where each tune is in a different key.  Because each tune is distinct, however, these mixed-key sets don’t really qualify as modulations. This tune has a very similar feel to a mixed-key set, but because it was composed as a single tune, the mods are fair game.”

Starting in D major, “Bag of Cats” (1997) by Shannon’s Big Band shifts nearly seamlessly to A minor at 1:07, A major at 2:43, then finally E major after a measure’s pause (3:47).

Artie Shaw | Alone Together

“Jean Sargent introduced “Alone Together” in the Broadway musical Flying Colors … (which) opened at the Imperial Theater on September 15, 1932, produced by Max Gordon and directed by Howard Dietz,” (JazzStandards.com).

“The late Artie Shaw had impeccable musical taste. He was an obsessive perfectionist, and his clarinet playing and the bands he led performed exceptional, quality music. Many of the tunes he selected for his big bands of the 1930s and 40s became standards years after he recorded them. Shaw was the premier jazz musician to record “Alone Together.” The first reading was with his standard “reeds, brass, rhythm” band in 1939. He recorded it again in 1940 with a group including strings and with a different arrangement. Although both versions lean towards the smooth, instrumental, dance band style of that era, it’s Shaw’s brief clarinet expositions that reveal the improvisational potential of the song.”

The AABA tune, built primarily in D minor, shifts to the closely-related key of G minor for the B section before returning to the original key for the final A section.

Allman Brothers Band | Kind of Bird

“1990’s Seven Turns was a tentative comeback for (the Allman Brothers Band), which had gone nine long years without making a record,” (Ultimate Classic Rock). “Sparked by some new members, including guitarist Warren Haynes, the Allmans were blazing forward when they returned with Shades of Two Worlds. Haynes has a bigger role on the record, cowriting more than half of its songs. Veteran member Dickey Betts also turned in some of his strongest numbers.

… ‘There was just so much freedom, so much space,’ cofounder Butch Trucks told the Los Angeles Times in 1991. ‘For the first time since Duane (Allman) and Berry (Oakley) both died, there was a group of guys all going in the same direction, all feeling the same type of music and energy. It really (had been) a problem since that long ago.’ … Rooting themselves in tradition also set this lineup apart from the band’s doomed second edition, which saw what became a more pop-leaning 1978 comeback bid fizzle a couple of years later. Shades of Two Worlds would instead hearken back to the lengthy improvisational excursions found on 1971’s At Fillmore East, the last complete recording featuring Duane Allman.”

After starting in C minor, the instrumental track “Kind of Bird” shifts to Eb minor at 1:05, then cycles through both keys again before introducing an E minor section at 2:16. Angular melodies and the occasional odd meter keep listeners on their feet throughout the tune!