Omar Thomas: Come Sunday (2018)
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- เผยแพร่เมื่อ 28 เม.ย. 2023
- Omar Thomas (b. 1984)
Described as "elegant, beautiful, sophisticated, intense, and crystal clear in emotional intent," the music of Omar Thomas continues to move listeners everywhere it is performed. Born to Guyanese parents in Brooklyn, New York in 1984, Omar moved to Boston in 2006 to pursue a Master of Music in Jazz Composition at the New England Conservatory of Music after studying Music Education at James Madison University in Harrisonburg, Virginia. He is the protégé of lauded composers and educators Ken Schaphorst and Frank Carlberg, and has studied under multiple Grammy-winning composer and bandleader Maria Schneider.
It was while completing his Master of Music Degree that he was appointed the position of Assistant Professor of Harmony at Berklee College of Music at the surprisingly young age of 23. Following his Berklee tenure, he served on faculty of the Music Theory department at The Peabody Institute of The Johns Hopkins University in Baltimore. Now a Yamaha Master Educator, he is currently an Assistant Professor of Composition and Jazz Studies at The University of Texas at Austin. He was awarded the ASCAP Young Jazz Composers Award in 2008, and invited by the ASCAP Association to perform his music in their highly exclusive JaZzCap Showcase, held in New York City. In 2012, Omar was named the Boston Music Award's "Jazz Artist of the Year." In 2019, he was awarded the National Bandmasters Association/Revelli Award for his wind composition “Come Sunday,” becoming the first Black composer awarded the honor in the contest’s 42-year history.
Omar's first album, "I AM," debuted at #1 on iTunes Jazz Charts and peaked at #13 on the Billboard Traditional Jazz Albums Chart. His second release, " We Will Know: An LGBT Civil Rigths Piece in Four Movements," has been hailed by Grammy Award-wining drummer Terri Lyne Carrington as being a "thought provoking, multi-layered masterpiece" which has "put him in the esteemed category of great artists." "We Will Know" was awarded two OUTMusic Awards, including "Album of the Year." For this work, Omar was named the 2014 Lavender Rhino Award recipient by The History Project, acknowledging his work as an up-and-coming activist in the Boston LGBTQ community. Says Terri Lyne: "Omar Thomas will prove to be one of the more important composer/arrangers of his time."
Come Sunday (2018)
I. Testimony (0:06)
II. Shout! (6:49)
Winner of the 2019 National Bandmasters Association’s William D. Revelli Award
I played trombone in wind ensembles from the 4th grade through college. This experience has contributed significantly to the life I lead now. I had the pleasure of being exposed to sounds, colors, moods, rhythms, and melodies from all over the world. Curiously absent, however, was music told authentically from the African-American experience. In particular, I couldn’t understand how it was that no composer ever thought to tell the story of a black worship experience through the lens of a wind ensemble. I realize now that a big part of this was an issue of representation. One of the joys and honors of writing music for wind ensemble is that I get to write music that I wish had existed when I was playing in these groups -- music that told the story of the black experience via black composers. I am so grateful to Dr. Tony Marinello and the Illinois State University Wind Symphony for leading an incredible consortium that brought this piece to life. I can’t tell you how much I’m looking forward to hanging with Tony and the group for a week in about a month’s time!
Come Sunday is a two-movement tribute to the Hammond organ’s central role in black worship services. The first movement, Testimony, follows the Hammond organ as it readies the congregation's hearts, minds, and spirits to receive The Word via a magical union of Bach, blues, jazz, and R&B. The second movement, Shout!, is a virtuosic celebration -- the frenzied and joyous climactic moment(s) when The Spirit has taken over the service. The title is a direct nod to Duke Ellington, who held an inspired love for classical music and allowed it to influence his own work in a multitude of ways. To all the black musicians in wind ensemble who were given opportunity after opportunity to celebrate everyone else’s music but our own -- I see you and I am you. This one’s for the culture!
- Program Note by composer
Instrumentation
For Wind Ensemble
Performer
Baylor Wind Ensemble
Conducted by J. Eric Wilson
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Thank you Omar Thomas for throwing the double reeds a doggie bone here.
As an oboist myself it’s rare to find us playing more then the trumpets and flutes lol
I fcking love that the crowd started cheering when the music got quiet at 11:36. It makes it so much better listening.
Excess in the right way.
This kind of music praises God in the highest! I love it! Hallelujah!!
Played this a couple years ago in the Cleveland youth wind symphony. Best song I’ve ever been a part of!
Went to JMU and overlapped with Omar... his music is almost as awesome as his character. Awesome person. 🙂
Nice....This is a great piece that is getting a LOT of exposure in the last 3-4 years. I always wondered if the parts were more " written" of if there was gliss or ad lib in it. I say that as I have seen groups make it really swing and they play with the beat and tempo
Saw this performance live and Baylor absolutely played the Shipoopi out of this. Congrats and such a fine piece!! 👏👏
0:06 - I. Testimony
6:49 - II. Shout!
This masterpiece change my life.
The clarinets at 9:10 🤩🤩🤩
Beautiful Tenor sax in there 🧑🍳💋
You picked the best recording 😎 sic em bears!
love the bass trombone on the last note. were you in this recording?
oh my gosh
I remember playing bass trombone on this a couple semesters ago and just recently. Definitely one of the better written base trombone parts
Yeah, it’s quite a workout.
@@bassbone52 honestly. I remember sweating buckets with those baselines.
Played this at superstate last year. It was beautiful
*bass not base
@@nickmatheos3689 *bass lines not base lines
why the hell did the video which this recording came from get taken down???
Yk the Baylor one
idk rip
copyright probably
@@t1m0thyduk3 but.. Baylor posted it themselves?
@@msewell763 well if it was the tmea recording than im pretty sure it could still be taken down. idk im not sure how that works exactly
its almost grainger esc, welp the first movement at least.
Grainger esc? Huh?
Not even close
Some of the notes on Bari sax in this are impossible to play litteraly
What part?
Errant was here
10:11
7:59 mm: 42
Percussion is overscored and shouldve just been a drumset part with an auxiliary part.
I actually asked Mr. Thomas why he did this 2 days ago, he said its too much for 1 person, and having the percussion all play certain parts just amplifies the drums part. So its on purpose!
Imagine it was all written on one score and just titled it “drums”