Prowl’s contributions to Jazz are widely known in Los Angels and he has become a sought after composer amongst his peers. He Is slowly developing a world-class reputation in the Jazz genre as one of the most prolific pianist. The piano is one of the most popular musical instruments. Composers from Sebastian Bach to Ludwig Van Beethoven and many more have played this wooden box of strings with black and ivory keys. In the Jazz genre alone, pianists run the gamut from Theologies Monk’s, Favorite Things to Art Datum.
If you think you’ve eared Just about everything that can be done with a piano, hold on to that thought and menthol Proud and his trio. Intense communication Is not uncommon for Proud_ He leads the trio with Gary Foster (saxophone), Chuck Forgoer (bass) and Tim Pleasant (drums). During the performance at LACK, Proud said “with his trio D it’s one of the freest situations he’s ever played. ” John Proud began his formal musical education at the age of four in Grand Rapids, Mimic.
He originally started out by taking violin lessons, but quickly switched to piano lessons and has pursued the IANA ever since. His grandfather was a Jazz guitarist and introduced him to the world of Jazz. John completed his secondary studies at Roosevelt university Chicago school of Performing Arts. In 2001, John moved to Los Angels and has since become a young, emerging talent. He recorded his debut solo album in 2004. He has also formed his own trio and performs in the Los Angels area frequently.
Foster is one of the most exciting and in-demand performers carrying on the great tradition of American Rhythm & Blues on the Saxophone, both In studio and clubs, and concert alls worldwide. With his astonishing ability and virtually unmatched energy, Foster brings rocking sax workouts, swinging classics and deep ballads alive Like no other player on the scene today. The trio’s drummer, Tim Pleasant made his way to Los Angels from New York City in the late sass’s. His credentials are impressive. Pleasant background includes a degree in music from the University of Iowa, and studies with Harold Jones.
Furthermore, he is an alumnus of the Count Basis Band. During the concert at LACK, Pleasant sound on East of the Sun was wonderful cause Pleasant combined the drum knowledge of an elder witchdoctor with the drum snapping provided a fantastic undercurrent for everyone to follow and was simply ministering. Completing the ensemble was Chuck Forgoer on the bass. Foreseer’s subtle and often understated sound on the bass while performing Alice in Wonderland was warm in tone and clear in pitch, balance and melody.
His solo passages seemed like the steady stream of meditative breathing of a body at rest. One of the highest musical points during the performance came when the music got o this place where it was unexplainable. The music seemed to be going on and on and it became this thing that if you became conscious of it, it would stop. The music, the melody and the performance became the highest level of communicating music to an audience that I’ve ever witnessed. For a brief moment it seemed as if nothing on stage had to be figured out or talked about.
The music Just happened. To think about later after the concert was over was mind blowing. Sometimes music creates such an intense atmosphere that it begins to control the listeners breathing. The else connects to the tempo. Everything touched while listening becomes intensely sensual, while the mind drifts to other worldly realms. When John Proud and his trio played the music 0 every wavering, undulating, sustaining note hung in the air until the room was filled with and invisible, dream like fog.
The trio would then revert back to a recognizable melody and it was the most beautiful thing in the world, because all those glowing, shuddering sequences of sound suddenly made you understand why you felt so compelled to sit in the audience and watch and listen in he first place. One thing that was distinctive about Prowl’s music is his ability to feel the shape of the songs, for their architecture; it’s a virtuosity of deep structure rather than surface.
When asked about his music he said, “It is real important for me to keep the melody going all the time, whether you’re actually playing it or not, especially when it’s some sort of standard tune or familiar form song. ” As a result, a lot of people play the melody and rush right into their solo, almost with an attitude of “Whew that’s out of the way, now lets really play! Proud doesn’t take on this methodology; he likes to keep the melody going. When you hear his music it is like listening to Theologies Monk or Miles Davis continuously bringing their bands back to the melody.
The trio has an unbelievable quality and a seamlessness with which they have navigated such a variety of styles. With his concept of melody and form, Proud is a real composer and song player. Proud has a unique approach to composing. He revealed that he writes music on music paper in a stream of consciousness fashion. His compositions range in style from classic ballads and traits-ahead Jazz to gospel and R&B. He can conceptualize any piece of music and play it. A tune does not seem to hold him back.
He has an approach of his own and can tackle any piece of music. His live performances evoke vivid images and adventurous fantasies. While listening to his opening piece during the performance, one could envision his fingers gracefully swaying across the piano keys as dusk settles over a deserted desert town. While John Prowl’s music often reaches back into our collective past, one of the elements that make his work so distinctive is his eve for Jazz and his ability to use the tricks of the trade 0 only not in the expected ways.