Columbia Blues Ensemble

The Blues Ensemble 1 & 2, performed in the Columbia College's music center on December 5. The ensemble was made up of two groups of students exploring a wide range of both blues and old time classics. There was Etta James, Aretha Franklin, and even a Muddy Water's song (though the Coco Taylor version) to keep the audience both familiar and interested. Sadly there were no (what I consider) real blues, you know like Junior Kimbrough, Leadbelly, or Son House. The music center—a building that has probably gone unnoticed by all non-music majors is right on South Michigan. Since I'd never been there before, I had to ask the security guard at the front desk where I was going, and she was very helpful. I was told to just go right on through the door and into the concert hall. It was reminiscent of the many scholarly music halls I'd been in throughout my five years in art school—I found it comforting, because the space doesn't need to change or improve. In all reality, the space doesn't even matter—only the music being played and the musicians do.

Blue and white lights shine down on the players and I spotted a pink one or two that created a green glow on everyone. They were all dressed business casual in blacks, whites, and grays—your typical ensemble get ups. I understand why this dress code exists, as I was in honors choir for several years and it's based on the idea that the music matters, not the people making it. However, I always disagreed. Yes, the music is ultimately what matters, but at the same time doesn't the personality of the players aid in their bravado? Wouldn't they feel more comfortable and in their element if they were wearing an outfit of their choosing? I thought about this for a little while, so doesn't it mean it was doing the opposite? For wanting to be all about change, it seemed as if they were fitting the “norm” and conforming. I thought we weren't supposed to conform. You're confusing me Columbia.

One element that I found really noticeable and appreciated, was that both bands (though especially the first group) were constantly switching instruments after a song. Constant instruments played throughout included drum kit, bongo, bass, guitar(s), piano and several men and women on vocals. Both this style and event, I found incredibly reminiscent of Columbia's feel as a whole. This is because it is commonplace for students at Columbia to be Jack's of all trades. We are encouraged to spread our wings into other areas within our own field (though often times, not branch out enough to explore outside of our actual major). I attended the show, not only to review it, but because my friend Johnny was performing. Just within the first four songs Johnny had moved from bass to guitar and back again. The girl that started out on bongos made her way to regular drums and on bass. It shows how important is is to know your craft well, because when you do you can move on and learn other instruments and understand how they work all together, as well as how each part has its own presence. The vocalists had a chance to go solo or together on backup vocals, so if you didn't like one it didn't ruin the show. The first group performed a solid set and everyone seemed very comfortable playing their instruments, even though there was a lot of switching off happening constantly. The second group however (which I assumed was supposed to be the “better” of the two, like the 1^st is opening for the main act, right?) had a lot of musicians that stayed on their respected instruments but it seemed I caught more slip ups. The one guitarist in particular looked a mixture of surprised/amused/impressed/flabbergasted all at once. It was actually kind of difficult to focus on anyone else, but then one female singer came out. Adorned with black lace sleeved dress and red lips, she sang the first number and I was impressed—but more with her beauty than anything. Then, she started to sing Billie Holiday, and I melted into my seat. She was able to manipulate her voice to sound so reminiscent of Holiday's own style and quirks. The second act also busted out a metal slide for the guitar—adding what I consider the bluesiest of elements.