Before writing a review of jazz music, it is useful (at least once in a lifetime) to do an exercise: go to the club and sing a jazz song in the presence of a hundred people in the audience. It’s hard to imagine, right?
Many will say that they do not have to do this. Singer and music critic are different professions. And yet I ask you to be modest. After all, it’s true that the professions of jazz singers are more labor-intensive and energy-intensive (physically and mentally) than those who review their work.
The time for writing a review varies. If you feel that you can’t complete your review on time, it is better to hire an essay writer. They will write you a review so that you don’t have to spend lots of time on its writing.
How to write a jazz review
Now let’s get started. In the beginning, it is desirable to demonstrate erudition: knowledge of the context, the mainstream of modern jazz, and an understanding of the “past in the present.” Remind about the author and their jazz.
What to review
- Let’s move on to the song or album, depending on what you are reviewing. First, talk about music. (If we choose another continuation option – lyrics or singers – at this point, we risk losing a significant part of the audience.)
- What to say about the singers? It is better to limit yourself to epithets: “amazing voice,” “did it decently,” “screwed it up,” “stable” – “unstable,” or “disgusting phonetics.” Suppose you are a connoisseur of vocals and your own vocabulary available to the elite: “failed a high note,” “bad in timbre,” “not enough chest,” etc. You even guess what is meant by all this. Knowledge is worthy of respect but not desirable for use. Do not confuse the reader; do not put pressure on them with intellect.
- You know the notes. Download the score. Listen – follow the score – check your impressions. Do you see where and what instruments were used? Write about them in your review because jazz music is always about using lots of musical instruments.
Steps for writing a review
- Start working on the structure of the assignment as soon as you complete the first draft. The reason for this is that your memories, perspectives, and emotions are fresh, so it’s time to write down all of them. Please follow the directions provided for the assignment. Remember that you must organize the beginning, main part, and end of your essay.
- Start with general information about the song, album, or show, including who performed, where the record was made, and other important things for the subject of your review. Underline the songs that you liked the most if you are talking about an album or show. Talk about what you liked the least. It is extremely important to write about the emotions caused by the piece. Portray each song. Close your essay by summarizing everything and giving general thoughts.
- Proofread and edit your review to get rid of all mistakes.
Samples of jazz review essays
Cécile McLorin Salvant, “Ghost Song”(Nonesuch)
When at the age of 32, you are the main jazz vocalist of the planet and a three-time Grammy winner, it seems that there is nowhere else to grow. Cécile McLorin Salvant’s latest albums, for which she received gramophone statuettes every time, were consistently impeccable. No other, at least among young jazz singers, can so skillfully combine the highest technique with a noble, intellectual presentation – and at the same time sing all the feelings as if you had twenty years of acting career behind you.
However, there was something too correct and boring in this impeccability. I wanted Salvant to show a rebellious character more often, which clearly sparkles in her. That’s exactly what happened on Ghost Song: by changing a label, Salvant unleashed the genie from the bottle and instantly soared to such creative heights that her jazz rivals could no longer catch up with her again.
The new album is a celebration of postmodernity: the singer covers Kate Bush and Sting, whirlwinds through the musical “The Wizard of Oz” and the songs from the Threepenny Opera, and refreshes Gregory Porter‘s repertoire with the help of a banjo. One of the most curious things here is “I Lost My Mind” by Salvant herself; the tender ballad rapidly develops into epic art-pop with heaps of organ parts performed by pianist Sullivan Fortner.
But most importantly, there is so much freshness in this album and such a triumph of life beats from each voiced note that even the singer’s previous works begin to look like faded ghosts.
Alabaster DePlume, “Gold” (International Anthem)
To call the new double album of the Manchester saxophonist Alabaster DePlume jazz is not enough, so let’s immediately designate the stylistic “elephant in the room.” “Gold” sounds like a hodgepodge of folk, gospel, acid jazz, and even trip-hop. But this does not prevent it from getting into the stream of modern jazz, as it is represented by “young and hot” – Shabaka Hutchings, Jaimie Branch, Irreversible Entanglements, Angel Bat Dawid, and others.
All of these musicians have something in common besides the desire to try jazz instrumentation on the legacy of pop and rock music. They are bright individualists, ready to blaze new trails, whether in jazz or in public and social discourse. In “Gold,” DePlume talks a lot and willingly about the topic of the agenda and even pumps up Instagram mantras for success (“Don’t Forget You’re Precious”).
His saxophone fades into the background here. And the talent of the “conductor” of a large and motley orchestra is in the foreground. DePlume is helped with the recording by two dozen artists, mostly as ideologically charged as himself (for example, drummers Tom Skinner from Sons of Kemet and Sarathy Korwar).
The voice of each in the final work is clearly audible – which means that DePlum has coped with the task.
Following the presented tips and reading through the samples, you can write a high-quality jazz review essay.
