After sitting through three hours of the jazz performance, I realized that Vaughan was right: it was difficult to fall asleep during the performance.  The music was too lively and vibrant! Everyone, especially Vaughan, performed exceptionally.  However, the one saxophone player in the corner that played some disturbing, yet oddly alluring, music was eye-catching (or should I say ear-catching?).  My favorite part of the play was when the musicians emulated the sound of a crying baby, which succeeded in eliciting laughter and astonishment from the audience.  The play was also loud.  Really loud.  This intensity was one of the factors that made the music likable.  I also liked the great amalgam of sounds that were presented to the audience.  When I closed my eyes, I tried to separate the sounds that I heard.  I heard a little bit of the piano and some other instruments that I have difficulty naming.  Overall, however, the wind instruments (particularly the trumpet) and the drums were the loudest.


I noticed that the relationship between the musicians in the band seemed more informal than I thought it would be.  For instance, the composer picked out his friend from the audience and asked him to direct the show!  This was fascinating because it reminded me that the musicians were very relaxed and truly enjoyed what they were doing.  Unlike a professional setting, like the Opera, the musicians seemed more connected with the audience members, who sat in relatively close proximity to the musicians.  This physical closeness to the musicians also intensified the effect of the music that was made.  The musicians were also allowed their own solo during the performance, further contributing not only to the informality of the play but also to the audience’s enjoyment of the play.