The NEC Jazz Composers' Workshop Orchestra features NEC students performing NEC student–composed works, under the direction of Frank Carlberg.

Jeff Michaels Mental Peace
soloist: Kazemde George, soprano saxophone

Kazemde George Redi’s Dilemma/Life Flows On/Souled Out
Kai Sandoval, trumpet (Redi’s Dilemma)
Kazemde George, tenor saxophone (Life Flows On)

samples used:
in Redi’s Dilemma: "Ready for Love" from The Main Ingredient's album Ready for Love (1980)
in Life Flows On: "Mixed Emotions" from Chris Connor's album I Miss You So (1956)
in Souled Out: "Theme from Shaft" and "A Friend’s Place" from Isaac Hayes's album Shaft (1971)
"Ain’t No Sunshine" from Isaac Hayes's album Wattstax—The Living Word (1972)
"The Look of Love" from Isaac Hayes's album …To be Continued (1970)

In the 1940s and 1950s, Jazz innovators such as Charlie Parker, Thelonious Monk, and Bud Powell began to use popular dance music and Broadway songs as the basis for a new style of improvisation: Be-Bop. They used these simple forms and harmonies, and the constant beat, as a springboard for improvisations that took the music out of the sole realm of entertainment and into the sphere of intellectual art-music. Throughout the history of Jazz, popular dance music and many other contemporary musical influences have been important reference points in the music’s development.

This concept of using existing material as the starting point for creating something new was later applied in the context of Hip-Hop in the 1980s and 1990s. Young black artists in New York City began making music that utilized previously recorded material from their parent’s vinyl collections to create new loops and textures that would be arranged into a beats, which a rapper or poet could improvise over, or a break-dancer could dance to. Producers such as J Dilla, DJ Premier, Dr. Dre, and Pete Rock mastered this process of using recorded samples as their materials, and found ways to create music that was truly novel.

This project brings some of this modern Hip-Hop approach to the Jazz big band. I have taken beats that I created by arranging, editing, and altering recorded samples in Logic Pro, and transcribed and arranged them for live instruments. This is my way of bringing Hip-Hop, which already draws so much from Jazz, back to its roots.

Utar Artun Overdub in 7 Takes
Sarah Hughes, alto saxophone
Jeff Michaels, trumpet

Overdub in 7 Takes’s title presents the leitmotif (melody) of the tune. The story tells us the hard moments of a recording producer during the overdubbing session of the tune. The melody loses one beat in every exposition. Re-expositions are varied with different orchestrations, harmonies and counter melodies. It starts in 7/4 then turns into 6/4 and 5/4. There is an odd time—7/8 section—which is the B part of the tune. This section has the Turkish maqam "hijaz" without microtones. It's similar to a mix of harmonic minor and Dorian b5 scale. The music is based on a Sonata Allegro form with improvisation sections. Essential of groove is focused on bass and drum parts/riffs.

Lorenzo Marquez Negro Pálido
Henrique Eisenmann, piano
Russell Holzman, percussion
Felipe Durán, percussion

Peter Jonatan Hymn of Hope
soloist: Kazemde George, tenor saxophone

Hymn of Hope is a piece inspired by the simple, yet elegant melody of hymns. The main theme first appears in chorale-like setting and then it develops into 6/8 afro-cuban rhythm. Some transitional rhythmic figures throughout the piece are derived from the polyrhythmic nature of the 6/8 afro-cuban rhythm. The tune is episodic, with contrasting sections of diatonic and chromatic harmony. Section A has the main theme with diatonic harmony, whereas section B has the development of the main theme with chromatic harmony and tonality moving in 3rds.

Steve Bass Excerpts from Swan Lake
Will Bridges, alto saxophone
Kazemde George, Kevin Sun, tenor saxophone

Aaron Bahr Lamb
Kazemde George, tenor saxophone
Jonathan Gaines, trumpet

For a composer, it is always interesting to take material that is very familiar to most people and change its context in order to surprise the listener. In this piece, I have taken the well known children's song "Mary Had a Little Lamb," and transformed it by changing its rhythmic and harmonic context.

The piece also breaks the melody down into smaller melodic samples which are developed on in various ways.

Chase Morrin Settling Grise Fiord
soloist: Kevin Sun, tenor saxophone

In this piece, I hoped to explore some of the raw orchestrational elements of the big band. Not only does this piece develop the motifs in a slightly unconventional way, but it also draws a lot of inspiration in terms of phrasing and timbre from outside of the jazz idiom. Grise Fiord is a remote city in Nunavut, Canada.

Mariel Austin The Erratic Dances of Lower Manhattan Turnstiles
Kazemde George, soprano saxophone
Gabe Gladstein, violin (guest soloist)

Joe Ricard Stale Marshmallows
Thiago Gomes, guitar
Kazemde George, tenor saxophone
Will Bridges, soprano saxophone

Jenn Allen Cosmic Dreams
Henrique Eisenmann, piano
Will Bridges, soprano saxophone
Kai Sandoval, trumpet

the setting sun
(easing out of day
in her twilight dance)

rests cheek against Earth
and dreams (in gold)

Inspired by Six Dances in Bulgarian Rhythm from Béla Bartók’s Mikrokosmos

Jazz Composers’ Workshop Orchestra

Frank Carlberg, director
Henrique Eisenmann, assistant

Will Bridges, alto saxophone
Sarah Hughes, alto saxophone
Kevin Sun, tenor saxophone
Kazemde George, tenor saxophone
Daniel Sagastume, baritone saxophone

Kai Sandoval

Jon Gaines
Jenn Allen
Jeff Michaels
Elmer Churampi

John Cushing
Eric Stilwell
Rex Bennett
Mariel Austin
Joe Ricard

Rhythm Section
Henrique Eisenmann, piano
Thiago Gomes, guitar
Neil Patton, bass
Michael Dick, drums

Date: December 3, 2013 - 8:00:PM
Price: Free
Location: Brown Hall

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