Personally, when it comes to Jazz, there is an automatic imagery that comes to mind depending on the tune. While there could be an argument made for the other forms we have studies, there is an element in Jazz that cannot be attributed to the other genres. I cannot pinpoint it exactly, but I think it is the presence of Jazz in film. Whereas in the previously studied pieces I had to use my imagination to paint a scene, their modern counterpart presents me with a point of reference, whether it is through its composition, relatable themes, or contemporary influence.

Louis Armstrong’s “Potato Head Blues” has a composition that highly resembles the structure of contemporary pieces. That is, there is a conjunction of instruments succeeded by a solo that guides the piece. In the case of this piece, the solo is instrumental, while in the case of contemporary music, the solo would be vocal. In addition to its structure, I cannot help but to think of an a cappella group in which the rest of the group soften their pitches to pave way to the soloist. In this particular case, Armstrong’s smooth solos resemble a poem recited eloquently, with the delivery of each line timed perfectly.

Duke Ellington’s “Take The A Train” is perhaps the most vivid out of these three pieces, especially to those who can envision a Subway ride. While I can make a direct comparison to my experiences commuting, Ellington does not fail to provide the imagery to those without it. The constant beat in the background presents the listener with a double entendre, one which mimics the pace of a locomotive and the other which represents the constant movement of people across the city. In addition to allusions of movement, Ellington, through the repetition of pitches, replicates the sound of the train’s horn. Perhaps, the repetition may allude to the anxiety that could arise from the uncertainty of riding a train; whether it is cause by its delays or the possibility of collision.

To me, Charlie Parker’s “Confirmation” was the most pleasing. While the others presented a vivid image, this piece did not. For this reason, I found “Confirmation” to be the most relaxing. Though we have discussed that masterpieces should be examined by their compositional value, I could not help but think that this song would be a great study companion. Moreover, I felt as thought the piece were speaking to me. That is, the speed and tight note range felt like someone giving me advice rather than a song.