Choir Concert 11/28/18
Sam Sims 

    The red, velvet curtains open and in the middle stand about 80 singing Coop students from both choir and other arts offered at the school. They are all dressed in burgundy gowns with white embroidered choir stoles around their necks as their angelic voices fill the auditorium with “Non Nobis Domine” by R. Powell. The background behind them is deep blue and littered with clouds. Pianist Ingeborg Schimmer presses on the keys as if singers’ voices are dancing with its sound. In addition to the sounds that wash over the crowd, there is also some visual movement as the choir sways back and forth during this opening number.
    Following the end of the first Winter Choir Concert selection, student Savannah Lee welcomes the audience with great enthusiasm and positive energy. “You are in for a treat,” she exclaims and Lee is right!
    The performers do a seamless job of delivering each song with passion and power. Their voices are smooth but also full of texture, with curves and waves. The choir director, Ms. Harriett Alfred, finds a common ground within the individuality of each voice. I can hear both deep voices and high pitches that melt together to create the perfect sound. Each person works together to embody a single voice. They operate as a well-groomed and professional unit that uplifts the audience. Listening to this vocal blend eases the mind, because it demands full attention, so other troubles can temporarily fade away.
    Sophomore Nicdaniel Charles captivates the audience in this way as he sings for his solo in “The people that walked in darkness.” Being the bass, his voice is low and strong. The atmosphere is intense. The control he has over the different levels of his sound is impressive. He can hold notes and tell a story through the lyrics he recites. A woman whispers “he can sing.”
The complexity in the solo is handled well and with care. It exemplifies Ms. Alfred’s attention to detail and the students’ skillful execution of it. There are certain pauses in places where the music such as the piano, the guitar, and percussion are given their space to shine. Then, there are moments were certain types of voices are given their space as well.
    During “And he shall purify,” the juniors and seniors sing. The background is starry and resembles a night sky. The altos start and the basses and sopranos join in. Their voices contrast, but complement each other in the best way. They all repeat the same line, “he shall purify,” in one part of the selection. Each time the verse is sung, it sounds different, showing the uniqueness and significance of each group. In other songs, certain verses are soft and subtle while others are louder and have more emphasis.
    Ms. Alfred announces that the students will perform collaborative pieces. They chose their own groups and songs for auditions and Ms. Alfred selected the final four. One of these collaborations is a duet by junior Jerell Wise and senior Tyonna Barros. The two sing their emotional version of “Like I’m Gonna Lose You” by Meghan Trainor featuring John Legend. Their rendition is a unique take on the original song; Wise and Barros maintain eye contact that solidifies their connection, making the performance feel intimate. At one point, Wise pulls the microphone from its stand and walks closer towards Barros. He does several runs as he sings and the crowd shouts in excitement.
    The second to last selection, “We Are Christmas,” is the most heartwarming and intricate. The piano starts with a classic Christmas song and then switches to a different melody and the soloist Jaylene Hinton starts off. Her voice is big and unbreakable. It is soulful and impresses the crowd as they holler and clap. Two other students, Ronnjae Gordon and Shauly Soto, sing their solos as well. The fourth soloist is, surprisingly, an alumnus from Co-op of the year 2017 and her name is Tiannah Cotten. The audience is thrilled once they recognize her. Her voice roars. The piano even stops playing to focus on her. Once the song is over, the crowd whistles and stands up.
    The concert is heartfelt. There are awkward moments when the choir transitions. It is not uncomfortable, but endearing and genuine. Watching the choir perform in such a professional manner makes me forget they are young high schoolers. They move as if it requires no effort and they have been doing this for years.
    One of these heartfelt moments occurs when Ms. Alfred acknowledges everybody involved in the making of the show and when two students, Iyana Galan and Barros, greet her with gifts on behalf of the entire choir. She smiles and embraces the students. I can tell she is proud of everyone up on stage. Without the tech crew, teachers allowing the students to be pulled out of class for practice, her colleagues, the pianist, their parents, and the Co-op alumni—a few of which she thanks— there would be no show to put on.
    For their last piece, Ms. Alfred invites alumni to join the stage and sing their traditional “Hallelujah! (From Handel’s Messiah).” She also encourages the audience to join in but only if “[they] know [their] part.” Otherwise, they are advised to sit, listen, and “smile real big.” The sound is breathtaking. They wave goodbye as the velvet curtain closes on them.



​

Jazz Band and Wind Ensemble

Ancestral Rhythms 12/5/18
Samantha Sims ​

    Student conductor Peter Hines bends over the short microphone and stands awkwardly due to his height, causing the audience to laugh.
     “I dedicate this song to my mother,” he says, “I played this song for her and it brought her to tears.”
The piano begins “Spain” by Chick Corea with Jake Ludington on the keys. Outright, the sound is professional and immediately leaves me impressed. The guitar and drums are added in gradually. As the three instruments sizzle, the saxophone comes into the mixture, nice and smooth. Hines plays with passion and his sound captivates the audience. His solo is perfection and a wonderful representation of his love for music. He sways back and forth and closes his eyes as if he is at ease and at home.
     He counts loudly to three. The rest of the concert jazz band joins in collectively to form a unified sound. It is upbeat and makes me want to get out of my seat. Hines claps his hands to the beat, encouraging the audience to follow his example. Both the listeners and performers seem to have fun during the selection.
     The concert is divided into three portions, where groups of performers on selected instruments showcase their talents. The first group is the Studio Lab Band directed by first-timer Mr. Joshua Murphy. The Studio Lab Band is a combination of freshmen and sophomores while the second group, the Concert Jazz Band, consists of juniors and seniors. Lastly, the third group is variety of students in Wind Ensemble.
     The Studio Lab Band focuses on percussion and regulating a rhythm to control the entire tune. Some songs are set at a quick pace, such as “Birdland” by Joe Zawinul arranged by V. Lopez. It makes me nod my head along. The tone of the music is easygoing and light. Other songs are slower, such as “Georgia on My Mind” by Gorrell and Carmichael. It is more emotional than the rest. It makes me imagine riding on a calm sea at night on a gondola. The busyness of life is silenced by the soft sound of the water gliding against the paddles and the boat. I drift off often, guided by the instruments that play before me, into the depths of my imagination. The sound of each group is so rich, I can visualize images in my head.
      The Concert Jazz Band plays with volume. There are moments when certain instruments quiet down to allow for other players to be celebrated. Then, they reunite to fill the sound. Students are highlighted individually, but still a part of the bigger picture. An example of this takes place during “Nica’s Dream” by Horace Silver and “Wabash III” by John Scofield. Trumpets, saxophones, drums, and even the banjo are put into the spotlight. In “Rocks in My Bed” by Duke Ellington, vocalists are introduced, making the performance even more powerful and a fantastic collaboration.
     The Wind Ensemble is fun and airy. The atmosphere is set for a festive carnival scene, with cymbals and xylophones. It makes me think of the rides-- their joy, wonder, and allure. Ethan Dupont is a student conductor of one of these pieces. “Flight of the Flutes” by James Ployhar, arranged by Mr. Smith is upbeat. Drums mimic a marching band’s beat. The flutes are the focal point of the song and each of the six instrumentalists is polished.
     In the last song, an array of cultures are paid tribute to in “Ancestral Rhythms” by David R. Gillingham. The song incorporates music culture from places like The Caribbean, Africa, and Asia. Mr. Smith drums and the group of percussionists to the left of him respond with the same beat. Soon enough, the drumming melts together and the entire ensemble plays. When additional instruments are added, they build up and so does the intensity. This is a powerful skill to possess because the sound is much more intense and impactful to listeners. This control is executed throughout the concert.
     When the song ends, the crowd claps and cheers as the curtain closes.