Music I'm checking out! - August 2025

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This blog will be an interesting edition (at least I think). This past month has been quite eventful with a few experiences truly shaping my perspective, and giving me time to check out different works. The start of my month was spent in Aspen, where I participated in the JAS Academy Afro-Caribbean Big Band (which I highly recommend). Asides from learning an incredible amount of Afro-Caribbean music, I was fortunately able to check out some of the music at the Aspen Music Festival (including the premiere of "Siddhartha, She" and the percussion ensemble concert). After this, I had the longest solo driving trip I've done to the Northeast, during which I was also able to listen to a lot of music. Point being, this is definitely a month where my experiences more/less helped decipher some of these works.

To cover the usual groundwork, my criteria:

1. Genre does not matter, good music is good music!

2. I am inspired by a particular element, sound, or form of the piece

As I've stated previously, I am not a music critic and/or somebody who is critically analyzing these pieces. The way I talk about these works will (hopefully) be very casual. I also take no credit for any of these amazing works, and am focused on highlighting the amazing qualities of these pieces! With that being said...

Primal Colors by Jim McNeely

In many of my concert works, I aim to integrate the idioms of jazz and classical music (even though "classical" is somewhat of a misnomer). I think this album features some of the most colorful writing that incorporates both of these idioms seamlessly complimentary. The very beginning of the album sounds like the introduction of a 20th century concert work with each gesture resolving around the D pedal point growing into the larger melodic phrase. In general, I love the use of Neo-Heterophony, or just the use of when specific instruments play a similar figure at slightly different rhythms to create some rhythmic dissonance. If that all sounds fancy, I just love how this technique creates lots of color and space within the ensemble. The "Interlude" sounds like a contemporary large ensemble work (aka big band) with its use of vamps, motivic development, and orchestration but it does a nice job in resetting the palate for "II. Yellow," where the orchestra re-introduces itself. This movement in particular makes great use of layered backgrounds and again maintains clarity despite a dense harmonic and orchestral texture. It also captures some of the fanfare with its use of orchestral breaks in contrast with the more flowing accompaniment and melodies. The next interlude reminded me of Maria Schneider's Sputnik, where it's just a saxophone with drums (using mallets) during an extended solo section where the goal is for the saxophone to search. Contrasting this nebulous feel, the next groove enters with a pretty heavy swing, quite contrasting to everything preceding it. With the swing, McNeely incorporates some nice contrapuntal lines and solis which provide a playful energy to the texture. When I see the color red, I typically think of something more agressive but I think this is a fun cherry-red. The next interlude "Fuchsia," is really the first interlude that leans into the orchestral timbre. The opening passages sound just like a wind ensemble ballad and the harp provides another pleasant texture contrasting the piano or guitar, and even creates some mystery paired with a trombone solo, shaker, and woodwinds. The beginning of "Blue" feels magical and adventurous, with its use of harmonics and piano ostinato complimenting a soaring tenor (in register) melody. With this movement in particular, I love how the emotional timbre changes and shifts from an optimistic outlook in the beginning to a more mysterious and noir improvisation section. The overall shifts are not drastic and don't just occur because of one thing (change in instrument, harmony, meter, etc.) but rather modulate and shift with the emotional connection. The last interlude is another beautiful example of trumpet with strings, and leans into the last section softy. The last movement features some interesting percussion sounds in the form of gongs, tom drums, and woodblocks. Though all of the rhythms generally fit within a 16th note grid, the variety of timbre and accents throughout make this section unpredictable and interesting. The rest of the ensemble compliments and continues this fun, groovy feel, and the strings balance these hits with some exciting angular lines. A staple of any McNeely composition, the ending melodic counterpoint is on point (see what I did there lol)! In addition the the counterpoint, there are also great moments of call and response through different instrument groups which add up to the dynamic ending of the album.

When listening to this whole album, I couldn't help but think about my own work "The Sixth Stream" and say "Why didn't I do that???" This album had great pace from track to track incorporating some nice variety in approach, while also sounding succinct as a record. All of the solos are incredible and the actual mixing is quite impressive. This complete work sounds like a classic Jim McNeely big band album while incorporating some very creative orchestral writing. Overall, I really enjoyed this record!

If I had one sentence:

Jim McNeely's Primal Colors seamlessly incorporates modern big band composition with 20th-21st century orchestral writing and orchestration for a dynamic musical journey.

"Elegy - Snow in June" by Tan Dun

The first time I heard this work was at the Aspen Music Festival's percussion ensemble concert. A number of my colleagues (who were mainly jazz musicians) and I attended this concert and many of us were wowed by this particular work. The cello writing is very idiomatic and versatile, and the percussion quartet adds many different great textures and gestures to the work. Starting from the opening, the cello glissando gestures truly sing throughout the register and highlight the full range of the cello (not to mention the left hand pizz. which sounds great). The percussion doesn't fully enter the work (asides from some small effects) until 4:30, but its entrance is very effective. The polyphonic counterpoint of different woodblocks, timpani, gongs, and mallet percussion provide a spontaneous and chaotic feeling which then gradually become a more synchronized groove. Just the sheer number of percussion instruments and effects is enough to get any composer excited! In complimenting the cello, multiple instruments and players form a klangfarbenmelodie (a fancy way of saying different timbres are used in a single line of melody). In this piece, I also love how the actual sections never overstay their welcome. Even if there is a section with a sixteenth note groove, it doesn't last too long where the listener gets settled but rather transforms back and forth with the cello solo. Another great moment in the piece is where the cello bowing echoes within different cymbals, gongs, and vibraphone. Just another great example of how Tan Dun uses timbre in their composition. The moments of full keyboard percussion were also effective, especially with the different timbres of harder mallets mixed with soft yarn mallets, and even moments of brushes and the butt end of the mallets. The vibraphone solo towards the end of the work is also one of my favorite moments and features some great virtuosity from that performer in the ensemble and initiates the raging cymbals and cello, a moment in context that is quite exhilarating. Even though Tan hints at the whistles a little bit at the beginning, the call back at the end of this exciting section with whistles and bass drums provides a nice closure to the section, and sets up the listener for a mostly soundscape oriented ending, where the cello returns to some of the longer melodic lines from earlier in the work. Overall this piece really inspired me both as a composer and a music enjoyer, and is a work that is both beautifully constructed and exciting throughout.

If I had one sentence:

Tan Dun's "Elegy - Snow in June" is a virtuosic example of how to write for percussion and solo instrument, featuring a thoughtful and methodical way of incorporating timbre and rhythm into melodic ideas.

"muffled screams" by Ambrose Akinmusire

This work by Ambrose Akinmusire is not necessarily a new piece I've recently discovered. Actually, my first encounter with this album was during my Peabody Conservatory audition trip. I remember walking across downtown Baltimore (in the freezing cold) thinking about my interview and how I want to present myself to the faculty. During that walk, I decided to listen to Ambrose's new album honey from a winter stone. Within just a few minutes of listening to the album I thought to myself, this is exactly the type of music I want to make at some point in my career. It is a crafty, intellectual, and spiritual album which beautifully blends contemporary jazz with classical, hip-hop, and even electronics. The inspiration from this album (according to the composer) sprouts from "Julius Eastman and his organic music concept." The passion and heart for each aspect of this album is truly present from beginning to end and has certainly been one of my favorite albums this past year.

The specific track I've been influenced by lately is "muffled screams." The text and story for this piece came from a near-death experience Akinmusire had, and this text was the base of Kokayi's improvisational rapping. The base instrumentation is jazz quartet with a rapper and string quartet. Using this nine piece ensemble, Ambrose is able to take the listener through a journey and paces it beautifully. The beginning starts with a trumpet and piano featuring just a melody with a rolling pedal-point. The melody generally centers around B major but takes beautiful harmonic diversions, creating poignant dissonances with the B/E pedal. As the melody progresses and reaches the climax of the phrase, Ambrose's tone absolutely shines in its richness and color. This beginning gradually introduces the synthesizers, which also become integral to the track. The bass drum enters in the next section reminiscent of a heart beat. In contrast to the steady quarter notes, the cello and piano have an unsteady angular figure which layers some of the dissonance that makes this track stand out. When Kokayi enters, he uses space and lays out of some phrases, which is complimented by the ambient trumpet pads. This whole section before the solo is also a gradual build which is mixed and layered perfectly. It never feels overwhelming but it fills the sonic space well. The next section begins with just string quartet playing contrapuntal and independent material bridging the gap of activity back into a more steady groove. When the groove and voices enter, it resets the texture once again and prepares the listener for what happens next. When the drum groove changes and the rapper comes in, this section definitely begins to feel like the climax of the piece. Kokayi's rhythms begin to compress compared to his verses earlier in the work. His phrasing along with the bass ostinato, really push the piece forward as the pads continue to be set in time. Ambrose's solo then fills the space with vocabulary which compliments the preceding phrases and feels truly connected (not just fast bebop lines in the background) to the story. The ending reintroduces the beginning melody but now with the main groove found in the later half of the piece, providing new context to the beginning of the story. This work and this album, is just yet another incredible piece of artwork by Ambrose Akinmusire which is both inspiring and captivating!

If I had one sentence:

"muffled screams" is a beautiful example of cross-genre unity, creating a bold piece of art which stands on its own as a intellectual and spiritual journey.

"Are You Looking Up" by Mk.gee

Towards the end of last school year, all of my friends started talking about this guitarist who goes by Mk.gee (maybe they were talking about him before and I wasn't listening but nevertheless...). Normally, I am not on the cutting edge of what is happening in the indie music scene (and still am not) but I decided to take a listen to this track "Are You Looking Up" that was the center of conversation (also note that this is from the live version on Youtube). I'll be honest, this song has such a refreshing vibe. One of the obvious traits that makes Mk.gee brilliant and unique, is his use of baritone tunings for the guitar. This creates a tone that is warmer and deeper than guitar, but still cuts through the texture melodically. It's an interesting timbre that is perfect in his approach to songwriting and production. The opening hook, though straight forward and diatonic in the key of F major, captured me right into the groove and emotion of the song. It's rare to find a great beginning (especially one that isn't necessarily dramatic) which tells you almost everything you need to know about the piece. Even the way the guitar is mixed with pedals, panning, and effects truly color the sound in a fascinating way. Mk.gee's singing also feels emotionally grounded in his lyrical approach and inflection, a contrast to the heavily produced guitar. I think this balance (yin-yang) is an integral aspect to his sound. The synthesizers add an awesome layer of ambience and background lines to the texture. The actual heavier strums also give some nice power and depth to the groove. I like how in the beginning, the attacks are saved for the ending of phrases and by doing so, are extremely effective - particularly that first strum coinciding with the synthesizer's A. Another aspect of this track that I love is the patience of this song. The drums don't enter until almost 2/3rds of the way through but once they do, the song just instantly relaxes even further and the runs and background textures continue the already awesome vibe. I also love (I feel like I've said it a lot) how the song ends on an extended IV chord section. Just another example of longing and journey which I believe this song conveys perfectly.

Well yeah... If you don't have 3 minutes to check out this incredible song, then something's wrong with you...

If I had one sentence:

Mk.gee's "Are You Looking Up" creates a unique and captivating sonic landscape through the balance of organic vocals and harmony, with surreal effects applied to the guitar and synths.

"Juan Pachanga" by Rubén Blades

I was introduced to this chart during my residency at the JAS Academy in Aspen. Maestro Etienne Charles transcribed this chart for Big Band and I will say, it was definitely one of my favorite works from our set. "Juan Pachanga" has such a playful energy and captures some of the bombastic nature of salsa big bands. To me, it also contains a mysterious quality through the use of production particularly in the moments where it is just percussion and bass. Even the very end of the piece ends with an interesting major 7th sustained with the trumpets (in relation to F minor) and the ending bass figure outlining the final cadence. The mixing/production of this record is also stellar, with capturing such a specific vibe and emotion through the use of different guitar effects, string panning, and just overall balance. It really directs the listener's ear well to where the story is going. Of course, in this recording there is a kick-butt piano, vibes, and bass solo which all bring something unique to the table. Lastly, I would be stupid if I neglected the lyrics. Unfortunately, I am not very fluent at Spanish (if at all despite living in Miami for four years). Even though this work captures heartbreak from missing a loved one (which is not a novel concept), I love how it introduces this character (Juan Pachanga) as some who is fake and is put out of place in context. After the two introductory versus, the call and response between the chorus and soloist is quite fun, even though the chorus repeatedly tells Juan to "forget about her!" By no means am I a salsa expert or for that matter, hip to many salsa pieces. But this piece has definitely inspired me to dig more into the genre!

If I had one sentence:

"Juan Pachanga" tells a bombastic and fun story about love and heartbreak, and features some of the best writing/production for salsa big band.