Ethan Hunt

UNC Jazz Band featuring Jim Carroll and Charanga Carolina

Location: Moeser Auditorium
Date: 10.6.2018 Time arrived: 7:30 Time left: 9:30

General Observations: The concert featured two bands with the first being Charanga Carolina
directed by David Garcia and main performance being the University of North Carolina Jazz
Band directed by Jim Ketch. Charanga Carolina performed three Latin tunes while the UNC Jazz
Band performed common jazz standards. Within the venue the crowd was of medium size and
was made up of a range of people from students, MUSC 145 students, family members of
performers, and some music program faculty. The stage was setup in the traditional Big Band
fashion, with rhythm section grouped together on stage right and the horns grouped on stage left.
Most of the rhythm section was mic’d or plugged into the system while the horn section did have
microphones but were mainly used for solos. On the front center stage were two microphones,
one for Jim Carroll who was the special guest playing with the Jazz band and the other mic for
certain soloists throughout.

Charanga Carolina
First Tune: Nel’s Song Juan – Juan Alamo

Second Tune: Quierres volver – Chen Feliciano and Nick Jimenez

Thrid Tune: Si envidia – Rafael Lay Apeteguia

UNC Jazz Band

First Tune: Straight Ahead (Basie) – Sammy Nestico
This tune implements the walking bass technique throughout and stylistically is swing with a
medium tempo. The main melody resides with the saxophone section, while the trumpets and
trombones having counter-melodies and lines. There are elements of call and response and
features a lot of syncopation within the trombone section with each interjection. Dynamically the
song lacks much variation as it doesn’t get under mezzo forte.

Second Tune: Old Time Ways – Robert Watson

The introduction section is very free in tempo and the band utilizes dynamics to phrase the intro.
The tempo picks up some speed as the tune moves out of the introduction and into the main
section of the piece in which the Saxes have a riff that is harmonically supported by the rest of
the band. This song really identifies that the band is listening to other instruments and know
where they fit into the structure. The alto sax takes the first solo in which begins technical and
mellows down, while the tenor solo is very technical, playing quick moving lines.
Third Tune: There Will Never Be Another You – Harry Warren; arr. V. Wiester & J. Carroll

Fourth Tune: A Penthouse Dawn – Oliver Nelson

Fifth Tune: Better Get Hit In Your Soul – Charles Mingus; arr. Sy Johnson
Sixth Tune: Repetition – Neal Hefti