eternal interlude

John Hollenbeck Large Ensemble

2009, Sunnyside Records

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Foreign One – commissioned by Scottish National Jazz Orchestra and is dedicated to composer Thelonious Monk and based on his composition “Four in One.”

eternal interlude – commissioned by Gotham Wind Symphony and Sigi Feigl.

Guarana – commissioned by University of Northern Colorado Jazz Ensemble.

The Cloud – commissioned by Bamberg Symphony Choir and Big Band.

Perseverance – commissioned by Orquestra Jazz de Matosinhos.


Ben Kono  flute, sop/alto saxo, whistling (4)
Jeremy Viner  clarinet/tenor sax
Tony Malaby  ten/sop sax
Dan Willis  ten/sop sax, flute, Eh., whistling (4)
Bohdan Hilash  cl., bass/contra-alt cl., whistling (4)
Ellery Eskelin  tenor saxophone (5, 6)
Rob Hudson  trombone, whistling (4)
Mike Christianson  trombone, whistling (4)
Jacob Garchik  trombone, thn. (2), whistling (4)
Alan Ferber  trombone
Tony Kadleck  trumpet, flugelhorn
Jon Owens  trumpet, flugelhorn, whistling (4)
Dave Ballou  trumpet, flugelhorn
Laurie Frink  trumpet, flugelhorn
Kermit Driscoll  acoustic/electric bass
Gary Versace  piano, organ, keyboard
Matt Moran  mallet percussion (1, 3, 4)
John Ferrari  mallet percussion (2, 5, 6)
John Hollenbeck  drums, comp., whistling (4)
Theo Bleckmann  voice, whistling (4)
JC Sanford  conductor

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“Calling the drummer-composer John Hollenbeck a jazz musician is like referring to Thom Yorke as a mere rock and roll crooner. It seems a rather narrow description for someone with such prodigious talents and ambitions. Mr. Hollenbeck writes pieces for his large ensemble that are almost symphonic. They share a lot with the more ecstatic strains of contemporary classic music, the kind practiced by John Adams and the drummer’s longtime employer, Meredith Monk. And yet if David Binney is a jazz musician then so is Mr. Hollenbeck. They are both reinvigorating the art form with influences from the broader culture. Jazz needs more of this.” – Devin Leonard, The New York Observer

 

“The tour de force 19-minute title track unfolds like a shimmering vernacular symphony, merging detailed cornice work with large architectural blocks. A long meditative, pastoral episode is ornamented with wind and keyboard flurries that remind me of similar squalls in Benjamin Britten’s “Four Sea Interludes.” The motifs expand, building forcefully and logically into a steady rhythm with deft bits of controlled improvisation integrated into the weave.” – Mark Stryker, Detroit Free Press