This past Friday and Saturday, I attended a couple of big band concerts at the local Atlanta universities. Here some notes about the concerts.

GEORGIA STATE UNIVERSITY BIG BAND

The first concert featured legendary trombonist Slide Hampton with the Georgia State University big band. You can always count on Gordon Vernick to select an eclectic mix of tunes, and this year was no exception. Actually, this year was even more diverse than normal due to a couple of Slide Hampton's arrangements for trombone choir. For those pieces, about 15-20 trombonists came on stage (where do you even find that many trombone players?!) to perform with the rhythm section. Joining Slide Hampton as co-soloist for those tunes was local Atlanta trombonist Wes Funderburk. It had been a couple of years since I last heard Wes Funderburk play and I was amazed at how good he's gotten. It was great to hear Slide Hampton play live and the band was solid as always.

MOREHOUSE COLLEGE BIG BAND

The annual Morehouse College Jazz Festival came to a close this past Saturday with a big band concert featuring saxophonist Don Braden. Morehouse's band director and trumpeter, Melvin Jones, came through again with a very entertaining concert.

It was actually two concerts in one, as the evening began with a performance by the Clarke Central High School Jazz Ensemble. The highlight of their concert was the final number, "What Is Hip" by Tower of Power. They sounded so good on "What Is Hip", that one could easily compare them to the legendary Kashmere Stage Band. These kids were on fire. Adding extra sizzle to the performance was the addition of Melvin Jones on trumpet. His solo breaks took the tune to another level. You'd never know it was a high school band. If you're in the Atlanta area, be sure to catch the Clarke Central High School Jazz Ensemble at this year's Atlanta Jazz Festival.

After the high school band performed, The Morehouse College big band took the stage. Highlights included "Groovin High", where Melvin Jones played the role of Dizzy Gillespie, with high soaring solos. Don Braden and the Morehouse band also played wonderful arrangements of "Smoke Gets In Your Eyes" and Chick Corea's "Spain". But, the best tune of the evening was Melvin Jones' up-tempo arrangement of Earth Wind & Fire's "Can't Hide Love". The rhythm section played a groove that was electrifying, so much so that several members of the band couldn't help but dance throughout the tune. It was impossible to keep still! "Can't Hide Love" was definitely one of those tunes you wish wouldn't end. But, when it did build toward the ending, the horn section started singing the "ah-ah-ah" part from the original recording while the rhythm continued to drive forward, and man was it cool. I really wish more people were there to hear it.

GETTING THE MOST OUT OF A BAND

I've heard too many college big band performances where the students seem bored by the musical selections. This typically occurs with lifeless arrangements and/or unnecessarily complex tunes. When playing these tunes you can tell that the students just aren't into it. The groove ends up sounding stiff, the solos are weak, and the audience is bored. It doesn't matter how good the band is, if the musicians aren't enjoying themselves, it's going to be a dull performance. On the other hand, the Morehouse College big band is a great example of how good a band can sound when they're performing tunes that they themselves enjoy playing. Half of the members of the Morehouse big band aren't even music majors, yet when they're feeling the music and enjoying themselves, they sound better than any band in town.

DON'T HOLD YOUR APPLAUSE UNTIL THE END

As most readers of this jazz blog surely know, it's common courtesy to applaud after somebody takes a solo in a jazz performance. Applause after each solo is immediate feedback to a musician, letting him or her know that we appreciate their efforts. Note that I used the word "appreciated" instead of a word like "enjoyed". I chose "appreciated" because it doesn't matter whether the jazz solo is good or bad. All that matters is that the soloist gave it their best effort.

While it certainly makes sense to applaud after a great jazz solo, it's really those not-so-great solos that need your applause the most. It might seem counter-intuitive, but it makes sense when you think about the people who play the not-so-great solos. Who are they? They're all of us at one point or another. Unless you were a jazz prodigy, you certainly went through a period where you struggled to play a good solo. You too were once terrified before playing the opening notes of your solo, and you knew that sense of humiliation that comes when you put your horn down after a lousy solo. And, if you're anything like me, you also know how comforting it is to hear even the faintest sound of applause after those bad solos. It's the audience's way of showing appreciation for the risk you took and the effort you made to play.

I bring this up now because during the Slide Hampton concert, I sat next to somebody who didn't clap after a single student solo. At first I thought there might be something wrong with his wrists or hands. How else would you explain not clapping when everyone around you has been clapping after each solo? But he managed to clap just fine after each tune and he even clapped a couple of times after some of Slide Hampton's solos. But student after student soloed and not once did he even make the effort to applaud. I guess he thought the students weren't good enough to warrant applause. Who knows, but it was a shame to see such a lack of support. Don't be that guy. Applaud after all solos, good or bad. And remember, those not-so-great solos need your support the most!