Concert Report #3. Music For 18 Musicians.

     In what turned out to be one of the most inspiring and eventful hours of the academic year, I'm glad I turned out for an interpretation of composer Steve Reich's Music for 18 Musicians. In Ford Hall at 9 p.m, November 11th, eighteen musicians from Ithaca College put on one of the best shows I've seen all year. It exemplified what music is meant for, it moved me, it left me speechless afterwards, and it gave me something in return for my time, something I can hold onto forever. During the concert  texture, rhythm, melody, and minimalism set the stage for what would become more than musical values, but raw and pure emotion.
     Music for 18 Musicians was written by legendary composer Steve Reich in 1974 (completed in 76'), and is one of his most prominent pieces. Before I knew of this concert I had just started getting into Steve Reich earlier the week before and had listened to this piece in its one hour non-stop entirety. Literally there are no movements or breaks to rest. The ensemble of eighteen musicians comprised of a violin, a cello, two clarinets (who also played bass clarinets), four voices (all female), four pianos, three marimbas, two xylophones, and a metallophone. Notice how these are all acoustic instruments. The piece revolves around pulses, in kind of a way they were ideas that layered and weaved within one another. According to the program there were thirteen of these ideas, the fourteenth piece going back to the first pulse. The rhythm throughout this piece is basically split in a battle between two voices. The mallets and piano providing one study rhythm and the voices and strings providing a counter rhythm over that. The voices were awesome, they used the microphone to fade in and out in volume, creating a push and pull effect, like the tides coming in. The greatest part of this concert is the effect the music had on me.
     The piece's texture was vast and each had a unique sound. Sometimes it was monophonic, with just the marimbas or piano hammering down on a steady pulse, driving it forward. Other times it turned polyphonic, a battle of xylophone and strings under the steady foundation of the pulse. Each piece weaving in and out, louder, softer, push and pull. To me it was if the earth itself was breathing, as if the tide was coming in and out, the steady pulse and light "melodies" echoing life itself. I sounds like a bunch of mumbo crap but really it was quite enlightening and refreshing. The texture and instrumentation were are a perfect match for the tune and it helped get its message across. It was minimal in complexity, simple in structure and form; yet it proved that complexity is not needed to create music, meaningful music. This piece really gets in your head, it provides imagery and lets our imaginations expand, it creates emotions of passion and contemplation. For me a least, for me. I definitely enjoyed this piece and it reminded me why I play music and incorporate it so heavily into my life.

Clifford Brown: Study in Brown.

Prepare to have your mind blown.

http://www.youtube.com/watch?v=eoLuDSO33js

Stravinsky: The Rite Of Spring

8:17-9:50

Stravinsky: The Rite of Spring

Throughout history, music has always pushed off from the base of its descendants, creating something new in the process. Modernism is no exception to this rule, and yet perhaps it is one of the best examples to demonstrate the drastic change that is possible. Modernism, starting in the early 20^th century, gave art a whole new perspective. It was radical, expressionistic, free, and experimental. It disregarded almost entirely the logic behind the Enlightenment, and the "folk art" of Romanticism. Instead it sought the abstract and unchartered. Perhaps this can all be embodied in one of the most celebrated Modernistic pieces of music in history, at a time when Modernism was really starting to take charge; on the brink of World War One. This piece being Igor Stravinsky’s 1913 Rite of Spring. A product and absolute genius work of Modernism, Stravinsky’s piece showed new ideas like Disjunction, Fragmentation, and Stratification; all which can be shown in just over a minute of this thirty-five minute piece. Stravinsky demonstrates 20-th century aesthetics of modernism by his own use of texture, rhythm, and melody.

            By looking at his work in the Rite of Spring from 8:17-9:50, and his use of texture and rhythm, Modernism aesthetics can be applied. Though Stravinsky uses an exceptionally large orchestra for this piece, he uses them sparingly and often writes parts as if they were playing chamber music. This creates many different voices throughout the piece. This section of the piece starts off with the low strings hitting the one, driving the music forward, while the middle strings and the woodwinds banter for the rest of the bar. And because of this banter the beginning doesn’t shout 4/4, rather the off beats give it this kind of flowing aura. Then the second idea (at 8:29), fronted by the light flutes and the middle strings come in, completely contrasting to the first idea. Then its fades out and the ominous low groove comes back in. This is a play of light and dark, of ritual and the slow awakening of the Earth. As this continues the melody on top is constantly switching instrumentation. The horns take the strings, the strings take the flute, and a complete swap takes place (8:49). Its as if the musicians didn’t know what part to play. This is a good example of Fragmentation, the breaking of ideas. Stravinsky dissected the piece and created more movement by making each instrument play the same line throughout different points. And as the instruments weave in and out of roles Stravinsky weaves in and out of time signature, going from 4/4 to 3/4.

            Stravinsky shows modern ideas like stratification and disjunction through his melody as well. At 9:10 a new melody arises from the flute, completely separate from the underlying theme that flows under it. This flute creates stratification, creating a deep contrast from the light and dark sounds, and making it seem as if they were in conflict. Also disjunction, two sharply unrelated ideas against one another. In Paul Cézanne’s painting The Large Bathers there is a sense of two things going on. The nude bathers sitting on the edge of the river are in complete contrast to the town just across. Two seemingly different things brought together, and that’s what Stravinsky has done with this part.  After this brief intrusion by the flute the listener is taken back to the original theme. This whole section takes place over 32 bars in two different time signatures, coming out from a piece that was considerably faster in tempo, and using its instrumentation in a disjoined way. Stravinsky was painting a picture, and it was unlike anything that had come before it.

           Stravinsky demonstrated these 20-th century aesthetics of modernism in what became one of the greatest and most recognizable pieces of all time. He took the ideas budding in the early 20^th-century and explored them in way no one had conceived before, in fact so radical it caused a riot! His abandonment of past aesthetics like definitive phrase structure and complete embrace of something completely new really did wake the Earth up. This piece was not only an awakening in a ritualistic sense, but truly did bring the 20-th century into full swing.

The Romantic Age: Caspar David Friedrich's painting, Wanderer Above the Sea of Mist (1818)

     The Romantic Era sought in some way to combat the industrial revolution, to bring about a age that seeked out answers through inner thoughts and feelings. This was a revolt against science and reason, for who needed those to explain or define the great power of nature and its beauty? The Romantic Era was just as it sounded, science had done what it needed to do, it was time to let the arts to shine. 

     When looking at Casper Friedrich's Wanderer Above the Sea of Mist it is not hard to see the Romantic ideals present, or at least understand what they were talking about during this time period. The picture presents a lone figure, back faced towards the viewer, overlooking a landscape covered in fog, stretching out until it is engulfed by the mist. From the way the mist lays over the landscape its as if it was the ocean, crashing against the mountains and hills the it covers. The man looks across this divide and its infinity perhaps reflecting over a journey through these hills he has taken or is about to take. Or maybe he is just in awe over it all; taken by the raw power and awe of nature.

     Nature, so revered and knowing, so infinite and unchanging, this is what the enlightenment captured. Here we see this man looking into the great vastness of this landscape where the hills and fog blend seamlessly into the cloud filled sky. Where the future is uncertain and reason stands no ground to the pure emotion and awe of this awesome landscape. A man standing strong and yet so powerless is the power of nature, to the power of his own soul. I believe this painting shows more than a look on nature but a look into his very soul. The uncertainty and vast hopelessness of this man overlooking a endless sea of mist is a metaphor for his very being. His emotions vast and unpredictable, covered in mist and shadow, unknown and unexplored. This is what romanticism was about, emotion, uncertainty. Our feeling fade in and out of the fog like the mountains and the rock formations, never hinting when they will appear or disappear, and yet like this man we must face it and live it triumphantly. Like this painting we must all succumb to the great power of nature and our very inner being.  

Concert Report #2: Symphony Orchestra.

Saturday, October 5, 2013, 8:15 PM
Carlos Sanchez-Guttierrez (2013-14 Karel Husa Visiting Professor) Girando, Danzando (1996/2013)
André Jolivet: Bassoon Concerto 
    Nadina Mackie Jackson, bassoon
Shostakovich: Symphony No. 10, op. 93

     Though I can't find my actual copy of October 5, Symphony Orchestra I pasted a copy of the program above for reference. 

     I attended the Symphony Orchestra a couple of weeks ago and I find it certainly worth mentioning in this report. It was held in the biggest hall they have, which I believe is Ford, at 8:15 p.m. It was conducted by Jonathan Pasternack who is substituting here at the college. He has conducted such orchestras as the London Symphony Orchestra and the National Symphony Orchestra at the Kennedy Center which I thought was pretty awesome. The Symphony Orchestra unlike the Symphonic is made up mostly of stringed instruments; violins, violas, cellos, double basses. But also has trombones, tubas, drums, bassoons, and other non-stringed instruments. I had never seen a live Symphony Orchestra before so I was excited to see what the could do.
     The first piece was actually composed by a visiting professor who happened to be there that evening and gave a bow at the end of the piece at the conductors instruction. It started of simple, playing through passages and stating harmonic and melodic ideas the spun and weaved through one another. Gradually weaving in dynamics and texture. The second piece took a different mood, the parts were much more angular and bold and stood out much more, leaving me on the edge of my seat. I would almost say the second half was the "French Revolution" to the first, splitting off in new ways , throwing out the old and beginning anew.
     The second piece was a Bassoon Concerto which was composed in 1954. This piece seemed to bring about a stir in the crowd because there was seemingly a Bassoon superstar in our midsts. Her name was Nadina Mackie Jackson and she and blue hair, but that's not all, she also played the Bassoon very well. She was the focal point of the piece and though it was written so where near the Enlightenment Era, in retrospect I can see how there were certainly traits of its ideals about it. The way there was a banter between the Bassoon and the Symphony for starters. they were discussing, conversing ideas. The Bassoon would call out an idea then the Symphony would either react or accept, then they would go again and again. Until finally at the end they came to a rational solution of harmony and balance within the piece. At the end it was a celebration of enlightenment and reason and showed between the soloist and the group that they felt the same way. 
     The third piece was by far the most recognized and talked about of the night; that being Shostakovich's Symphony No. 10, op. 93. I had heard the name but not until now realized was a a big deal this guy was. Quite a excellent composer to say the least. I was also surprised to see that this piece was actually composed in 1953 and that Shostakovich had been working on film scores until this time; the death of Stalin. The piece was pretty awesome and thus was the longest and most strenuous of the pieces, for both listener and players. The piece started off with this low weaving, almost haunting line that gradually rolled through loud and soft. Definitely a minor key (e minor if you want to be picky). The rest of the first movement follows this dark roller coaster and end with a piccolo solo, apparently depicting nervous whistling; pretty cool.   The second movement is pretty mind blowing due tot he fact alone that it is four minutes in length as where the first was nearly twenty five! It was syncopated and angry, chromatic, fast, life or death, military, chaos! Then the third and fourth, which have a story all their own, which I won't relate to you on the premise of time. But I will describe that there was no stopping, no polite pauses, no stroll down the lane or row down the lazy river. It was electric it was intense, to the very last second. It showed on the snarled faces of the players, on the sweat and ferocity of the conductor, in the energy of the room. And when it ended it was masterful (and the poor conductor had to come out at least three times for a bow). And that was it, the concert was over, and everyone left a little fuller than they came.
     Was it enlightened, was it revolutionary, was it a masterpiece? Yes to all these things! Was it a balanced Sonata of Mozart? A playful string quartet by Haydn? No it was not, and yet it was powerful, it was bold, it was revolutionary and expansive on the ideas of individuality and conclusiveness. It told a story based in rationality and in reason and those I believe convey the true spirit of the Enlightenment era. As did all the pieces that were played that night. For my first Symphony Orchestra I found myself quite lucky to be placed in front of some quite capable musicians, and will certainly be coming back for more.  

18th-century phrase. Mozart it is.

     The song I chose to represent the enlightenment is Mozart's Horn Concerto No. 3 in Eb-Major K. 447. second movement. The movement is titled Romance (Larghetto). I enjoy this piece because it is very uplifting, simple, and clear. The texture of this piece make it really work. The french horn stands above all and delivers the lines that the strings accompany. The string section includes two violins, a viola, and a nice cello for the bass. They provided a nice soft response and accompaniment to the horn. There are also woodwind instruments that provided subtle tones that almost create a chordal aspect; these are a clarinet and a bassoon. With all these instruments working together they create a lift and enjoyable atmosphere that reminds me a lot of a walk in the park on a nice warm day. The piece is in cut time which I believe also brings the feeling of the piece along nicely. The melody that the horn plays and then the strings repeat is very simple and easy to sing along to. I enjoyed how the whole form of the movement began and ended in the same place, giving the piece a relaxing and enjoyable feel. 

     I found it easy to hear the period structure within the first parts of the movement. I identified the beginning as an parallel interrupted period. Parallel because of the reoccurring theme and interrupted because I could hear that dominant chord, identifying the half cadence. The two periods are each eight bars in a very slow cut time. Each one is concise and is a great reference to what a parallel interrupted period sounds like. 

     This represents Enlightenment ideals to me through its simple and transparent melodies. It is uplifting, it is new, it sounds for all intents and purposes, enlightened. Mozart crafted a beautiful work here that sounds straight out of time period of reason and science, of form and revolution. This movement to me is romantic and bold, it stands out and pushes forward. Good tune. 

Here is the phrase structure for the beginning. (5 should be V for the chord)

Enlightenment

     A revolution of societal and political changes. A time of science and individuality, a time of great thought, and life changing ideas. This was the Classic Era; this was the Enlightenment. Through architecture and music, painting and philosophy, the times were changing. From divine intervention to the possibility of the individual, and from the age of aristocrats to the age of a rising middle class. With the American and French Revolution new emerges from the ashes of old and everything changes. 

     The aspect I'd say the most important and influential was the Philosophers and the enlightened movement they so progressed. People like John Locke and Voltaire who believed in Individual Liberty, blazing the trail for freedom and equality; things our nation relies on today. My favorite quote though is perhaps from Scottish philosopher David Hume who said, "No human can know anything perfectly, so no human has the right to judge another." To me that is such a powerful and resounding statement. We have no right no judge one another, no right, absolutely none. What a statement in such a time period! David Hume never even lived to see the French Revolution. Such claims, such bold thoughts, so early in the 18th century. In a time where arrogance was seemingly a attribute to status this is really something to be heard. And not only is it important then but it is just as important now. 

     In today's society judgment is not something we necessarily wish upon others, but it is most certainly something we struggle with. It is engrained in our culture and our media. We are branded by it as children, molded by it throughout our youth and into adulthood. And all it does is destroy. It separates, it dictates, it causes pain. It is still a problem we find in America and in the World. It is a problem we face in our everyday lives, and yet so much has changed for the good since David Hume. His quote of love and equality for all people is a message that still resonates and is repeated today. It is a message that changed the way the World thinks; the way we think. So much progress has been made and yet so much more needs to be done. David Hume's ideas of kindness and empathy our extraordinarily important, that's why they've lasted so long.

     This is only one aspect of this great time period, a time period that if was inexistent would undoubtedly alter the lives of billions in the future. It was people like David Hume who made a nation and a world a better place. And that is what I found fascinating on the subject of Enlightenment Ideals.

   

     

Folk Music

     Why is folk music hard to define? Why can't after hundred of years of "folk" music can society not come up with a concrete definition? Why do so many explanations apply to some folk music but not others? And what is it about this genre that makes it so difficult to define? The answer is hidden between these very questions. Why can't we define folk music as a genre? Because folk music is not a genre. Folk music is not something that can be classified as a singular entity because it is not one. To define folk music is as broad as to define music itself.
     This theory can be proven through reading Bruno Nettl's An Introduction to Folk Music in the United States. This guy tries for two chapters to come up with an example of this versus that and yet nearly every time he is able to find evidence that contradicts his initial statement. So with this knowledge in moving forward to define in a sense "folk" music there are a few things we have to keep in mind. The first being that folk music has changed from the parameters that Nettl talks about. Though "folk" has it's roots in particular regions, its music set to certain economic standards, the world no longer works in this manner. Music is no longer about status, it is no longer divided into social ranking as who can listen to what. And since music is accessible to anyone from anywhere in the world of any class social status and regional location no longer pertain to new folk music.
     This also brings about another point. Now that music is longer regionalized or socially penned up folk music can be molded by many cultures, taking the "original" and making it more unique and globalized. This brings me to one of Nettl's points "communal recreation vs. unchanging over time." The idea that folk has to be molded by people and is in turn for the people, that it is always evolving and changing. Certainly as referenced in the last paragraph this is true in some cultures and sub genres of folk. However there are plenty of artist who play folk that stick to the music of their ancestors. Perhaps it is oral but whoever said oral communication had to be sloppy? So once again we are brought back to the question what really defines folk music, or since folk music isn't really a genre of music what constitutes these genres to be called folk? Well I think Nettl had some idea about it without realizing it in his first chapter when he talked about the "sound and style." 
     If we take a look at what is considered folk music, appalachian, malian, roots, dixieland, there are certain aspects that are similar between them. The first being tradition, sound and style. What makes a particular body of music a certain genre is its truthfulness to the tradition of the music. You can't play appalachian music and label it new orleans jazz or vis versa; it's not done because it is untruthful. And yet even here there us is uncertainty. However I wouldn't consider Native American Songs folk music and those are certainly based in tradition, so what else constitutes these styles? Could it be participation, functionality, complexity, cultivation? WHERE DOES THE RABBIT HOLE END?!!!
     The answer isn't simple, that's why Nettl wrote a whole book about it and he certainly didn't give the answer in the first two chapters. If I really had to sum up I'd come up with something similar to the late Satchmo and perhaps state that folk music is just "folks music." The genres we think of when we should think of folk music should be just that, folks music. And from each of these forms is when it's appropriate to analyze them using Nettl's points. No, Miley Cyrus twerking isn't folk music, but to prove so we would have to isolate it then analyze it. The same hold true for all genres. Why does Nettl have trouble making categories for his music? Because he could only see the big picture he couldn't see the diversity and culture engrained in the fine print. Nettl missed the point of music when trying to define it. He missed the diversity and UNIQUENESS of so called "folk" music. I guess if there's one thing I'd advise to take away from this article is that folk music is folklore, it's the boogeyman, the chupacabra. Folk is a term used to scare away the mainstream average listener from some really good music, and that's why I don't like the term, that's why I won't define "it."Don't scare us away with your  fancy book language, lure us in to the wonderful world of "folk" music.

Jazz Night

     These are two pages from the set last of Jazz Night, TC Lounge. The jam session lasted from nine to 11:30 and the mood was electric. The songs ranged from standards to covers to originals, and each musician brought about new flare and excitement into the room. What of course turned me onto this concert was that it was Jazz and unlike the concert recitals that other people went to, it was quite interactive. It was not impolite to yell or clap throughout the songs, it was not impolite to stomp your feet or clap your hands. I enjoyed all the music covered and watching the musicians interact with one another.
     The ensemble itself varied from song to song. One notable combo was drums, bass, and trombone. Others involved piano, saxophone, trumpet, and guitar. Each combo brought about its own song but the  fact that no matter who played the energy and level of communication was impressive. All the musicians new such a wide berth of tunes and just had a genuine love for music that showed in their playing.
     There were many forms of music throughout the night. AABAs, 12 Bar Blues, anything you could think of was probably represented. The night proved most useful in observing texture as well. How the piano interacted with the mellow tone of the saxophone on lady bird, how the drums and bass grooved on superstation. It was a moving experience and one that I'll continue to go back to and hopefully one that I will perform at soon. It's too much of a temptation  not to play with all those killer musicians is it not? In conclusion, Jazz night happened, it was awesome. If you didn't go I only ask, why?

Porchfest 2013

     When coming to Porchfest I never would have guessed not only the outstanding musicianship but the wide berth of musical styles that lay in the community. For being there all four hours I was able to see New Orleans Jazz to Bluegrass, Rock to Folk. Every time I walked around a street corner there was another band, another style. I also enjoyed the fact that the name Porchfest was taken quite literally. The setup of the festival was really well done, as it brought about a sense of community within the musicians and within the town. I didn't know what to expect at Porchfest when I got there but I am sure it will remain a tradition during my time here in Ithaca. 

     There were a couple of acts that stood out to me. Not only because of there exceptional musicianship but because of there passion to what they were doing. My first stop during Porchfest was a 17 minute walk to 100 franklin street where the Jazz Happens Now band was playing. I arrived a few minutes late and the band was already in full swing. They were playing one of my favorite styles of music, New Orleans Jazz, in the style of King Oliver and Louis Armstrong Hot Seven. The ensemble consisted of trombone, tuba, trumpet, clarinet, drums, and banjo. The drums were equipped with granite blocks which gave the music a nice upbeat sound additional to the cymbals. The banjo serves as a primary instrument in this style of music and it wouldn't sound as authentic if it were replaced by a guitar. The tuba provided those bass movements and the band joked that the Tuba player only knew two notes. I think the mixture of the brass instruments was perfect. The trumpet reminding me of that early Louis armstrong, the clarinet of the master Sidney Bechet, the trombone of Kid Ory. What I really liked about these tunes is at the end of the sections they would all come back to the beginning to the turnaround in there own unique way. This band really put me into the mood for music. 

     As for the others, the were just as exceptional, I heard one band who played such exceptional Bluegrass music. The band sat in a closely knit circle and played so beautifully together. At one point they incorporated members of the audience to dance along. They brought forth such energy into the crowd, it was really a sight. Then there was a amazing guitar and drum duo called the Red Sled Choir. They had a really good connection and feel, they grew quite a big crowd. Then there was a Brass Quintet that played everything form the family guy theme to whistling march most notably recognizable from "The Breakfast Club." 

     In conclusion, what a day! This festival was more to me than listening to people play music. It was about seeing a community come together, it was about seeing the special bond between musicians and that connection that creates inspiration and unlocks imagination. It showed me once again as a guitar player, why I pick up the instrument. It showed to me the vast importance and joy that can be found in music. I am certainly grateful I went and am only sorry it didn't go on longer. I'm sorry I couldn't see everyone, I really did try. There were a lot of acts, some drew large crowds, others dwarfed in comparison but I don't think that mattered in the end. It was really about of collection of musicians coming together on a day to celebrate their town, their love, their life though and with music. And that was pretty special to me. 

            

Surfer Girl.

     https://www.youtube.com/watch?v=lHNcMs8W660

     I chose to write about "Surfer Girl" by the Beach boys because it not only demonstrates AABA form but examples of cadences.
     To really hear the 32 AABA form I have to advice you to completely disregard the entire intro. though it's an excellent introduction to the song it is not actually part of the form of the song. The song really "starts" when we hear the Beach Boys with "Little surfer, little one." This phrase (and the start of the first A) is actually a Half Cadence, the chord progression ends on the dominant, and the melody ends on re.
     The next phrase also leaves some tension in the air and we don't reach the PAC until the very end phrase with the question "Do you love love me, do you surfer girl?" With the 6/8 one-six-four-five classic progression the cadences though tense give a kind of lifting lullaby feeling, until finally it resolves with the end of the verse.
     Now is where the A section repeats itself again (with different lyrics but still the A section). Then the B section cues for the chorus. Once we return back to the A the key of the song actually changes making you ears pick up and really become interested in the song again.
     This song has a lot going for it and though I don't listen to the Beach Boys often I have to respect Brian Wilson and the rest of them for creating some amazing music. They took two very used forms, the AABA and the I-VI-IV-V and make them into something very unique and ultimately memorable to the test of time. The vocals in this song are amazing and add a really understated but greatly appreciated layer to this awesome song.

Pat Metheny Group : Minuano

     http://www.youtube.com/watch?v=N3rjNHDi6Fg

     To discuss how texture and meter effect and present meaning in music I have chosen this great tune from Jazz guitarist Pat Metheny. The song was originally recorded in 1987 by the Pat Metheny Group on the album Still Life Talking. "Minuano" is a great example of how instruments can come together to create beautiful music.
     The track's meter is in 6/8 though it doesn't become as apparent until later on in the song. What's really cool about this song is how it introduces and dismisses instruments to create a unique feel. The song starts off with guitar, bass, piano, and chimes. With a singular bass note the whole ensemble jumps right in. The bass guitar and piano are playing very minimalistic parts while the guitar plays a continuos line. With the fluctuating guitar volume and the introduction of chimes the piece seems to me to flow in waves, bringing the image of the ocean. Soon the vocals chime in and create a beautiful melody over the piece. The piece seems to be gradually increasing in volume and the percussion ups, adding crashing cymbals to the mix. Soon the waves to me grow larger and larger until they climax with a crash, and the real tune begins.
     Now the percussion and drums really kick in and it definitely feels like 6/8. The guitars melody in the head is beautiful and is accompanied the first time by whistling and the second time by a voice.  During Metheny's solo I could really tell he was trying to make a melodic statement. With the rest of the band in full swing, the upbeat drums and piano the solo really came off as uplifting and energetic. This song to me is just proof that it doesn't really matter if they're are words in a song to get a point across. Jazz music continuously shows this time and time again and this tune is no exception.
     Listen after Metheny's solo and the head as all the parts drop except for piano and drums. They create this punchy repeating passage that grows and grows until finally at the climax we reach this pure awesome energy that leads into the head, loud and apparent as ever. The vocals and guitar are screaming, the drums pounding, the bass flying. Then to add to the noise a new layer of piano come in to envelope the last few bars. The energy couldn't be any higher then it stops. If I could each word in that last paragraph would be getting larger and larger to show how insane this song is. It really shows how texture can create feeling, can bring something across. How instruments can work together to create beautiful compositions. The feelings invoked from this tune are different for everyone. To me it is a song about the joy and exuberance of life. What does it say to you?