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University of Surrey Big Band Easter Concert

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University of Surrey Big Band Easter Concert

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This was a concert that I played Bass in, but I watched the recording back and wrote the following review:

On the evening of March 28th, the PATS Studio 1 hosted an extraordinary performance by the University Big Band. With a diverse repertoire encompassing samba, swing, and funk, the concert was a testament to the ensemble's impressive musical range.

The concert started at 7:00 PM, with the stage illuminated and filled with anticipation.

The performance took the audience on a captivating musical journey through various genres. The samba pieces transported listeners to the lively streets of Brazil, with infectious rhythms that had the audience tapping their feet. The swing arrangements evoked a sense of nostalgia, capturing the elegance and charm of a bygone era. The smooth ballads, with their gentle vocals, tender melodies and heartfelt expressions, provided a wonderful contrast to the lively numbers. And the band's foray into funk infused the concert with energy and groove, prompting enthusiastic responses from the crowd.

Throughout the performance, individual musicians took turns showcasing their talent through captivating solos. The trumpets soared with impressive high notes, the saxophones wove intricate melodies, and the rhythm section provided a solid foundation. Each soloist left a lasting impression, showcasing their technical prowess and musicality.

An impressive aspect of the concert was the band's ability to seamlessly transition between genres. The smooth shifts from samba to swing, and ballads to funk demonstrated the ensemble's versatility and adaptability. These transitions added a dynamic element to the performance, keeping the audience engaged and enthralled.

Beyond the musicianship, the band's stage presence was captivating. Each musician exuded passion and enthusiasm, their love for the music evident in their expressions and movements. This connection with the music was contagious, drawing the audience into the performance.

As the final notes resonated through the venue, the audience erupted in thunderous applause and a standing ovation.

In conclusion, the University of surrey Big Band managed to pull off an excellent concert full of a wide variety of big band tunes, varying from the exotic and rhythmic samba music to groovy funk, and from smooth ballads all the way to the energy and intensity of traditional big band swing tunes. The soloists demonstrated a deep understanding of the intricate harmonies of the music, and were able to showcase their incredible talent and months of practice in a humble yet exciting way. This concert demonstrated the University's ability to create passionate and talented musicians, and was a memorable experience for all those who were there.

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On May 3rd, I had the pleasure of attending the Lunchtime recital performances held in PATS Studio 1. The concert featured a diverse range of musical pieces, including pop covers and classical recitals performed on cello, trombone, flute, violin and trumpet, and another flute recital. While I was unable to locate the program for the classical recitals, I thoroughly enjoyed the pop medley that kicked off the recital. The medley included captivating renditions of well-known songs such as Phil Collins' "In The Air Tonight," The Human League's "Don't You Want Me," Prince's "Purple Rain" (which evoked nostalgic memories for me), a funky version of "Kiss," originally by Prince, Whitney Houston's "I Wanna Dance With Somebody," and a closing performance of "Blue Monday" by New Order.

The pop medley, in particular, resonated with me as it featured songs from my childhood. The cover of "Purple Rain" was especially poignant, bringing back memories of sitting at home, listening to the album on vinyl. The rendition of "Kiss" was refreshingly funky and introduced a unique interpretation of the song. I couldn't help but feel jealous that I wasn't one of the performers...

Transitioning from the pop medley to the classical recitals, the atmosphere shifted to one of elegance and grace. The performers displayed an undeniable connection with their instruments, and I was transported to a much calmer and more relaxed world than the energy of the pop medley.

The classical recitals were also captivating, showcasing the performers' exceptional musicality and skill. Each musician seemed deeply connected to their respective instruments, which made for a truly enjoyable experience.

Overall, I would say that the whole concert was a joy to watch, as it allowed me to escape from the stress and energy of everyday life for a few hours. It was especially nice to not have to assist with the running of the concert, and allowed me to simply be another audience member for once.

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For the Wednesday 15th of February Lunchtime Recital I was assigned to the role of Concert Management Assistant (CMA).
Coincidentally, that was the same day that I was down on the Tonmeister rota to assist on the recording as well.
Come the morning of the recital and no replacement CMA was found, so I ended up doing both jobs on the same day! This meant I had to help set up the mics and control room for the Tonmeisters before and during soundchecks, Hand out programmes as the audience came in and then sit at the front of the audience for the concert so I was able to move stands and mics between performances.
There were two main performers for the concert, Anais Willequet playing piano and Robin Bailey playing piano and singing. For Anais' performances she wanted them to be recorded for a performance portfolio, so I had to operate the camera for her performance as well. So on top of Tonmeister assistant and CMA, I was also camera operator!
Given I was so busy with juggling all of these roles, I learnt that there is a lot of pressure to do everything quickly, properly and efficiently within a small time frame. I had to ensure I was completing a task set by the lead Tonmeister, whilst remembering what the Concert Manager had asked me to do. This led to trying to optimise my time by completing all the tasks in one area at the same time before moving on to the next.
Thankfully, once the concert has begun there isn't much for the CMA to do aside from move music stands and chairs etc on the stage between performances, which I did at the same time as moving microphones for the Tonmeisters. This allowed me to focus more on the filming for Anais
All in all, I would say this experience was definitely busy and slightly stressful at times, but definitely a great learning experience and one I would happily do again if the need arose.

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This year I have been the Bass Player for the University Big Band.
I've been playing a combination of Electric Bass Guitar and Upright Double Bass, which has been a wonderful experience.
Before I came to Surrey, I was the main Bass player for the Big Band and Advanced Combo at the Hampshire County Youth Jazz Centre for 5 years.
Now that I have come to Surrey, I thought I would continue my journey as a jazz musician by joining the University Big Band. We have done two concerts so far, one at Christmas and the other at Easter. We have our final concert of the year on Tuesday 6th of June which we have been preparing for since we came back after the easter holidays. Due to the shorter time we have had to prepare for this final concert, we have been working on some new tunes, but about half the set are our favourites that we have played over the last year.

One of the things that has been a struggle to manage for me is switching between Upright and Bass guitar efficiently between songs. Upright bass is also a challenge because it has no frets, so intonation is something that needs a lot of practice to pull off well.

It has been a pleasure playing with the Big Band, and I have developed my playing so much this past year. The musicians in the ensemble are incredible, and we always have a blast during rehearsals! Due to my dedication to the big band I was elected as the Vice President for next year. I am also looking forward to our 2023 Birmingham tour in late June, where we will be touring some local pubs along the canals of Birmingham.

I am so excited to see what interesting directions we can take the big band in over the coming years. Hopefully I will be able to make some important and lasting impressions on the society before I leave!

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Suggestion for future LTRs and Performances

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Suggestion for future LTRs and Performances

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I'm well aware that this final post takes me over the 1500 word limit, but I wanted to put it in anyway to just share my thoughts - you don't have to mark it (although you are welcome to), just take it into consideration :)

I would like to offer a comment and suggestion regarding the stage setup and presentation in Studio 1. There have been concerns raised by myself and others that the current setup leaves room for improvement. Specifically, during performance assessments, it would be useful to reconsider the layout of the stage. For example, when there are drummers and singers in the band, arrangements should ensure that the drummer remains visible, without being obstructed by the singer. In the May 3rd pop recital, sitting in the centre of the audience made it difficult to see the drummer clearly. Also the presentation at the back of the stage could be enhanced. The exposed mic cable wall box, which creates a large white rectangle on the wall between the curtains, can sometimes be distracting and detract from the performance. Additionally, the drum kit cage and large acoustic barriers used for recording sessions at the back of the room should be moved out of the way, allowing for a cleaner stage appearance. This could easily be something that is added to the list of responsibilities for the Concert management team, perhaps giving the first year assistants something to do aside from just folding and handing out programmes.

Another aspect to consider is the placement of the front of house/PA mixing desk. Currently, it is located front and centre of the audience, which can be distracting with the lights on the desk visible out of the corner of your eye. To fix this, a solution would be to move the mixing desk to the back of the seating area, allowing the audience to focus solely on the performers with minimal distractions. Although this suggestion is unrelated to the performance itself, it would certainly contribute to a cleaner and more professional-looking stage, improving the overall concert experience for years to come.

As I reflect on these experiences and contemplate taking on the responsibility of managing the front of house/PA mixing for next year, I am determined to implement these changes in the future. By addressing these aspects, we can strive for a more seamless and visually appealing concert environment, ultimately raising the standard of the recitals.